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South Korea, 1954 Artist Biography Works Next Choi Sungho South Korea, 1954 BIOGRAPHY Sung Ho Choi is a Korean American mixed media artist whose work delves into themes of cultural identity, immigration, and the Asian American experience. Born in Seoul, South Korea, in 1954, Choi completed his Bachelor of Fine Arts at Hongik University in 1980. He moved to the United States in 1981 and earned his Master of Fine Arts from the Pratt Institute in 1984. Since then, he has been living and working in New York City and Bergen County, New Jersey. Choi's art is characterized by a fusion of painting, drawing, sculpture, and mixed media, reflecting his bicultural experiences. His works often incorporate everyday materials and found objects, creating visual narratives that explore the contrasts and complexities of being a minority within a majority culture. Notable projects include "American Dream" (1988-1992), where he used ballpoint pen on lottery tickets pasted on wood panel to comment on the elusive nature of the American dream for immigrants. In 1990, Choi founded the SEORO Korean Cultural Network, a collective aimed at promoting Korean American artists. His work has been exhibited in solo exhibitions at institutions such as the University of Massachusetts Amherst, the Queens Museum of Art, and the Kumho Museum of Art. In 1996, he was commissioned by Percent for Art to create an installation work, further cementing his role in the public art sphere. One of his significant public artworks is "Quiltroad" (1999), a 17-foot-wide acrylic on canvas painting located in the U.S. Courthouse in Seattle, Washington. This piece reflects his interest in the journey of immigrants and the patchwork of cultures that constitute American society. Through his multifaceted works, Sung Ho Choi offers profound insights into the immigrant experience, identity, and the blending of cultures, making significant contributions to contemporary art and the discourse on cultural integration. WORKS

Apr 17, 2024 shane guffogg: at the still point of the turning world - strangers of time SCALA CONTARINI DEL BOVOLO MUSEUM, PHOTO CREDIT: VICTORIA CHAPMAN Shane Guffogg, “At the Still Point of the Turning World - Only Through Time is Time Conquered” 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) Shane Guffogg (photo credit Sonia Huckabay) PRESS RELEASE Celebrated American artist Shane Guffogg lands in Venice this April New exhibition opening during the Venice Biennale to showcase ongoing dialogue between the abstract artist and poet T.S. Eliot This April, at the historic Scala Contarini del Bovolo, Venice, American Artist Shane Guffogg will present a new series of 21 paintings titled At the Still Point of the Turning World – Strangers of Time , opening during the 60th International Art Exhibition – La Biennale di Venezia 2024. Guffogg’s latest major exhibition promises to add a splash of joy and a touch of magic to Venice’s energetic art scene this April. This unprecedented collection of work in fact represents the ongoing dialogue between the abstract artist and poet T.S. Eliot’s renowned set of poems, Four Quartets , which has inspired Guffogg to create works that explore the intersection of time, space, consciousness and transcendence. The series of large-scale paintings explores concepts of movement, escape and migration, placing human nature as innately transitory throughout history. These themes are particularly autobiographical, as Guffogg's father immigrated to the United States in 1957 from Northern England, driven by the pursuit of the "American dream". Subsequently, Guffogg moved from the central valley of California to Los Angeles in the late 1980s, in the pursuit of artistic and cultural acceptance. The exhibition will be split in two rooms, each inspired by a different passage from T.S. Eliot’s writing and will feature selected works that can be enhanced through augmented reality (AR). Utilizing AR and artificial intelligence, Guffogg expands the possibilities of what art can be, inviting viewers to see and think beyond the 24/7 age of information, in a meaningful and immersive way. At the end of the first room, for example, will be the large canvas Only Through Time is Time Conquered (7 x 9 feet; 213.6 x 274.3 cm), which draws on the colours of the rich history of Venice and a painting by Tintoretto permanently exhibited in the rooms of Palazzo Contarini. The canvas will be AR-enabled, to allow viewers to experience the movement of the artist's hand in creating the work. The viewer will have a QR code to scan and then, once pointed at the painting, the AR will be activated showing the inversion of the application of colours and lines, until the painting is in its initial phase, which will then dissolve visually revealing the work by Tintoretto underneath. Jacopo Tintoretto, Paradise, (ca. 1588 – oil on canvas, cm 154 x 350 ) photo credit: courtesy of Gioielli Nascosti dI Venezia Guffogg’s “Only Through Time is Time Conquered” and tintoretto’s “paradise” near by “JACOPO TINTORETTO’S 1388 OIL-ON-CANVAS PAINTING, “PARADISE,” MEASURING 154 X 380CM, IS PROMINENTLY DISPLAYED AT THE SCALA CONTARINI DEL BOVOLO IN VENICE, ITALY. IT SERVES AS A FOCAL POINT IN DIALOGUE WITH GUFFOGG’S “AT THE STILL POINT OF THE TURNING WORLD - STRANGERS OF PARADISE” EXHIBITION. MOVED BY THE PROFOUND INFLUENCE OF TINTORETTO’S WORK, GUFFOGG DECIDED TO CREATE SITE-SPECIFIC PIECES AT SCALA CONTARINI DEL BOVOLO. FOLLOWING THOROUGH CONTEMPLATION, HE OPTED TO HARMONIZE HIS COLOR PALETTE WITH THAT OF TINTORETTO’S MASTERPIECE, A DECISION THAT SUCCESSFULLY SUPPORTS THE COHESIVE THEME OF HIS EXHIBITION AT THE SAME VENUE.” — VICTORIA CHAPMAN, STUDIO DIRECTOR, GUFFOGG STUDIO Enamoured with Europe’s Old Masters and inspired by their techniques, Guffogg has developed his own unique style incorporating a fascination of magic, iconography and quantum physics, which perfectly matches the uniqueness of the exhibition’s setting. The iconic Scala Contarini del Bovolo, a Venetian palazzo featuring a spiralling 15th Century staircase, 28 meters high, intertwines and dialogues with the artworks seamlessly. - Midas Neither Flesh nor Fleshless #1 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Written by Victoria Chapman (Studio Director, Guffogg Studio) "In Four Quartets, T.S. Eliot explores themes of the present moment, the cosmic order, and coexistence, a sentiment shared by artist Shane Guffogg. Commencing in April 2023, Guffogg embarked on a creative journey, producing twenty-one paintings inspired by three stanzas from Burnt Norton, the first chapter of Eliot's work. These artworks, employing lines and colors, provide a visual examination of the exchange of thoughts across time. Guffogg's engagement with Four Quartets commenced over three decades ago and endures, as he contemplates Eliot's exploration of the abstract interplay between life experiences and the formation of memories. Eliot's poem, written in England between 1936 and 1942, is divided into four sections, each relating to one of the classical elements: air, earth, water, and fire. Eliot's verse, 'Be remembered; involved with past and future. Only through time is time conquered.' from Burnt Norton Section II, highlights the central theme of time's influence on human existence. Influenced by both Eastern and Western literature, including the Bhagavad Gita, Confessions of Saint Augustine, and The Divine Comedy, Eliot also drew inspiration from Beethoven's quartet, which may have influenced the poem's title and musical underpinnings. Guffogg, with his sound-to-color synesthesia, instinctively recognized this musicality, evident in his paintings. The works convey an inherent 'sound score' through their visual rhythm, offering an intuitive perception that guides the composition through the choice of lines and colors. The exhibition's largest piece, 'Only Through Time is Time Conquered,' exudes a dynamic quality, with blue lines at its core that pulse and summon supporting red and yellow lines, infusing contrasting tones with an oceanic sense of movement. Guffogg shared his creative process, revealing a connection between sound and color: 'As I was working on the seven by nine-foot canvas, and listening to abstract-classical-orchestrated music, I noticed the presence of dissonant chords. This parallel with my paintings, especially 'Only Through Time, Time is Conquered,' where complementary colors push against each other, creates a tension akin to the unsettling notes in the music. This experience immerses me in the present moment during the painting process, disconnecting from extraneous thoughts.” “The importance of a painting’s title varies from artist to artist. In the case of Shane Guffogg, the title serves as an informative element for the painting but does not determine or predict its creation. The titles, “Only through time is time conquered,” “Reach into the silence,” and “Neither flesh nor fleshless,” draw inspiration from T.S. Eliot’s desire to transcend time and live in the present, as explored in these stanzas.” Neither Flesh nor Fleshless #2 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #3 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Neither Flesh nor Fleshless #4 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) “Guffogg’s enduring fascination with Eliot’s Four Quartets has led to the evolution of his artwork, reflecting increasing complexity. His approach to life also mirrors this deepened connection, as he embraces fleeting moments with a sense of permanence. Using glazes, he masterfully creates the illusion of multiple light sources within his compositions. In addition, his extensive research into the techniques and materials of old masters, along with his background in publishing articles on art, results in figurative subjects transformed into abstract forms.” The interplay between light and dark, represented by transparent veils of light and complementary colors, produces a dynamic tension within the paintings, leading the viewer into an infinite shadow of darkness while drawing them towards the light. Guffogg's work encapsulates a timeless quality, capturing the eternal moment, which resonates with Eliot's themes. It invites the viewer to engage consciously and subconsciously, seamlessly merging these aspects and revealing the essence felt rather than merely perceived. Neither Flesh nor Fleshless #5 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #6 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #7 , 2023, oil on canvas, 40 x 36 inches Neither Flesh nor Fleshless #8 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #9 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #10 , 2023, oil on canvas, 30 x 24 inches, (76.2 x 60.9 cm) Neither Flesh nor Fleshless #11 , 2023, oil on canvas, 60 x 48 inches, (152.4 x 121.9 cm) Neither Flesh nor Fleshless #12 , 2023, oil on canvas, 40 x 36 inches, (101.6 x 91.4 cm) Guffogg's "At the Still Point of the Turning World" series, originating from a subconscious sketch in 2009, explores his quest for inner balance and serves as an autobiographical narrative. These paintings are not self-portraits in the conventional sense but expressions of his existence, a journey through the human condition, and his relationship with time. His artistic process involves a silent, solitary exploration of his work, where thoughts become visual language. Music plays a pivotal role in his creative process, acting as a conduit to connect with the universal essence. This process, which Guffogg describes as dipping his toes into the pond of the universe on a good day, is a ritual he continues to uphold. “This narrative underscores the profound and personal dimensions of Guffogg’s artistry and the unique creative process that fuels it.” Guffogg's art, much like T.S. Eliot's poetry, encapsulates a profound yearning, inviting observers to experience the authentic, providing a space to encounter time and the present. These works serve as a testament to Guffogg's need to share evidence of what it means to be alive, encompassing thoughts, emotions, love, suffering, and healing. His art, particularly in the "Neither Flesh nor Fleshless" series, is deeply autobiographical, portraying moments of existence. The "Neither Flesh nor Fleshless" series invokes an enigmatic quality, exploring the interplay of flesh and the absence of it. Guffogg's approach involves allowing his hands to move across the canvas, making the brushes an extension of his physicality. Thin veils reminiscent of Renaissance art, particularly the translucent black veil seen in the Mona Lisa, represent the delicacy and fragility of life and the moment of transition. These paintings aim to present an unsolvable question, provoking contemplation. Emotional and primarily red in color, with various shades of dark, earthy-red, charcoal, and smoky hues, the series delves into the convergence of spiritual and physical worlds. These works provoke contemplation of time and composition, offering a reflection on the past, present, and even the future. They express a belief system rooted in human existence, sharing intimate thoughts, sensations, and a blend of the mental and spiritual. They evoke words like "annunciation," "rapture," and "communion," prompting self-awareness and introspection. Collectively, the series emanates an ethereal quality, while individually, each painting conveys a unique message. Gestural marks transform into ribbons or veils of light, revealing saturation and fluidity, evoking celestial elements. The series prompts a sense of longing and contemplation, exploring the boundary between order and chaos. Guffogg's work serves as a testament to truth, representing both a historical narrative and a visual and emotional experience. Reach into the Silence #1 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) “The “Reach into the Silence” series, comprised of eight paintings, visualizes a Gregorian chant, embodying the concept that words and music can reach stillness only through form and pattern. Guffogg’s ability to follow a command and create in response to a voice reflects the depth of his creative process.” In contrast to Monet's works at Giverny, Guffogg doesn't depict his garden but paints abstract moments informed by the landscape. His connection to the land and his understanding of light enables him to create a sense of depth and movement, similar to Monet's approach. Guffogg's keen perception of the environment, weather patterns, and his intimate connection with his chosen workspace contribute to the unique quality of his artwork. Reach into the Silence #2 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #3 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #4 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #5 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) This narrative delves into the intricate and profound dimensions of Guffogg's artistic process, inviting viewers to explore the intricate layers of his work and its connection to the world around him. “In Guffogg’s own words, his artistic process serves as a form of meditation, a means of documenting his journey through life. Each line, each brushstroke on the canvas represents a unique moment in time. What viewers witness in his paintings is the accumulation of these moments, all distilled into a singular, profound instant.” His artworks are not only visual expressions but also personal narratives, sharing his own story while reflecting on the profound themes found in T.S. Eliot's text. In each brushstroke, viewers can explore the interplay of line, color, and elements of space, delving into the essence of his experiences and the emotions woven into his work. Reach into the Silence #6 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #7 , 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Reach into the Silence #8 2023 oil on canvas, 72 x 60 inches (182.8 x 152.4 cm) Only Through Time is Time Conquered, 2023, oil on canvas, 84 x 108 inches, (213.6 x 274.3 cm) “Be remembered; involved with past and future.only through time is time conquered.” — Burnt Norton Section II, T.S. Eliot Since Guffogg’s first encounter with the Four Quartets , his fascination has not wavered. If anything, it has grown deeper, which is evident in the developing complexities of his paintings and can also be seen in how he lives life, taking each moment in each day as something that is fleeting but permanent. Guffogg uses glazes to paint the illusion of various light sources within the composition. He has also written and published numerous articles analyzing paintings of the old masters and reads books on artists’ materials from the past. The results are figurative subjects painted as abstract forms. There is a balanced struggle between the light and dark, yin and yang, represented through painted transparent veils of light and complementary colors, that push the illusionary picture plane further back into an infinite shadow of darkness as light pushes toward the viewer. The paintings embody a certain timelessness; capturing the eternal moment, which is the key and link to Eliot. The viewer is an integral part of the work because these paintings require an exploration that engages the conscious and subconscious, which the artist seamlessly fuses together, bridging the essence of what is felt rather than merely perceived. In 2009, while listening to a public speaker and without thinking, Guffogg felt a need to sketch his subconscious. This was the beginning of the At the Still Point of the Turning World series – lines that would loop out toward the edge and back around to the center of the page as if there was a hidden gravitational force controlling his hand. It was the artist’s way of finding his own still point and inner balance. These paintings are autobiographical. They aren’t mirror images of what he looks like; eyes, face, hair, etc. Rather, they are the evidence of his existence, the exploration of the human condition, and his relationship to time. Not only are they paintings, they are a confirmation of truth. When Guffogg enters his studio, it is a silent act. The artist walks around, looking to see what his paintings are telling him. He works alone, there are no assistants. Watching him lay down the first traces of lines is quite mystical. He has said that thoughts become words, but what do our thoughts look like before they become language? Then the music is turned on and he becomes a conduit. As Guffogg likes to say, when he is having a good day in the studio, he gets to dip his toes into the pond of the universe. Like Eliot’s poetry, Guffogg has instilled a certain yearning into these works. These paintings also bring a moment for the observer to experience a place to witness time and the present. I think this may be Guffogg’s need to share evidence of what it means to be alive; think, feel, love, suffer, heal. I am returning to the fact that it is autobiographical. Guffogg has said he paints moments of existence. “The experience of these paintings transports us to places of refuge that are completely unknown. They are summoning moments of his existence, steeped within the consciousness of which they are manifested.” [Source from VC Projects press release] www.vcprojects.art Shane Guffogg/Scala Contarini del Bovolo Museum, Italy — VC PROJECTS Previous Next

2025 CHASE Project HONGBIN KIM JUL 24 - AUG 5,2025

CHASE Project JUL 24 - AUG 5, 2025 CHASE Project Hongbin Kim’s exhibition, h color and form. We invite you to Something Sweet Gallery Cafe to encounter a new realm of art that transcends the boundaries of perception and being.

Artist Biography Works Media Next Woo Jiyeon BIOGRAPHY EDUCATION 2001 Bachelor of Fine Arts in Oriental Painting, Hongik University 2006 Master of Arts in Art Education, Korea University EXHIBITIONS 2014 New York Art Fair 2014 Korea Young Artist Project, 69 Regiment Armory, Lexington Ave & 25th St, NYC Seoul Open Art Fair, COEX Petit Petit Art Shopping Exhibition, Khalifa Gallery, Cheongdam Your Eternal Love with Light, Sarang Gallery Hongik Women's Korean Painting Association Exhibition, Gana Art Center 2013 Solo Exhibition, SPACE UM Confessions of Dreamers Exhibition, Beautiful Land Solo Exhibition, Astoria Hotel 4th Young Artist Invitational Group Exhibition “Obet Gives Birth to This Bird..”, Beautiful Land Gallery Fundraising Art Product Exhibition, Beautiful Land 2011 Solo Exhibition, Luden Dental Clinic, Gangnam Regular Exhibition of Chunchuhui, Gong Art Space Young Artist Invitational Exhibition, Global Village Gallery "Worship of Magos" Exhibition, Beautiful Land 2010 Solo Exhibition, A1 Gallery MITZVAH Opening Invitational Exhibition, MITZVAH Selected Artist Exhibition by Sohn Asia Arts and Cultural Society, Gallery Zhang Invitational Exhibition of Awarded Artists by the Art Mission of Church of Love, Beautiful Land 2009 Invitational Duo Exhibition, Gallery Sonamu Regular Exhibition of Chunchuhui, Hwabon Gallery GAGA ART FESTIVAL, GAGA BLUE-SUMMER 21 Exhibition, GAGA Gallery 2008 Korean Contemporary Painting 2008 (Solo Booth Exhibition), Hangaram Art Museum, Seoul Arts Center Opening Invitational Exhibition, Ina Gallery Curated Exhibition by Chunchuhui, Sejong Gallery Preview & Review Exhibition, Alternative Space Team Preview Regular Exhibition of Chunchuhui, Sejong Cultural Center Annex International Young Artist Spring Art Competition, space*c A3 Exhibition, Namsan Library Gallery 2007 Expansion of Korean Painting Exhibition (Solo Booth Exhibition), Hangaram Art Museum, Seoul Arts Center Chunchuhui Exhibition, Gallery La Mer Invitational Exhibition, Gangneung City Museum of Art Nahye-seok Art Competition, Suwon Art Exhibition Hall Midsummer Fan Exhibition, Sejong Gallery Hongik Women’s Korean Painting Exhibition, AS Gallery, Japan 2005 Exhibition of Intelligence Unfolding, Danwon Art Museum Drawing Exhibition, Hongik University Museum of Modern Art 2004 Exhibition of Intelligence Unfolding, Danwon Art Museum Early Summer Fragrance Exhibition, Korea University Lyceum 2003 Hongik Women’s Korean Painting Exhibition, Hongik University Museum of Modern Art Hongik University Alumni Exhibition, Gongpyeong Art Center WORKS Load More MEDIA

Korea Artist Biography Works Media Next Kim Sae Jun Korea BIOGRAPHY EDUCATION 2021 MFA, Yale School of Art, New Haven, CT 2015 BFA, School of the Art Institute of Chicago, Chicago, IL EXHIBITION 2021 Arcadian Feedback, M23 Project, New York, NY 2021 To Hear No Echo, Yale sculpture MFA thesis, New Haven, CT 2018 Accumulated Loss, Art Space Anygol, Goyang-si, South Korea 2017 Lie To Me, Burren College of Art Residency Program, Ballyvaughan, Ireland Nature vs. Nurture, Evanston Art Center, Evanston, IL Solo Show, Comfort Station, Chicago, IL Here and After, Korean Cultural Center of Chicago Art Gallery, Wheeling, IL 2016 Sustainability Show, Waterfall Gallery, New York, NY Bridgeport Artist walk, Fat City, Chicago, IL Structure, Union Street Gallery, Chicago Heights, IL 2015 Entropy and Industry, Fat City, Chicago, IL Bachelors of Fine Art Show, School of the Art Institute of Chicago, Chicago, IL Visiting Artist Exhibition, The Chicago Academy for the Arts, Chicago, IL 2014 Call & Response, Evanston Art Center, Evanston, IL 2013 Frontier Exhibition, Morpho Gallery, Chicago, IL 2012 To / From Public critique Exhibition, School of the Art Institute of Chicago, Chicago, IL Alumni Show, The Chicago Academy for the Arts, Chicago, IL Art Bash, School of the Art Institute of Chicago, Chicago, IL REDUDENCY / AWARDS AND GRADNTS 2024 VSC Fellowship, Vermont Studio Center, VT 2023 Real Art Award, Real Art Ways (2026 exhibition) 2021 George R. Bunker Award, Yale University 2017 Burren College of Art, Residency, Ireland New Zealand Pacific Studio, Residency, New Zealand 2016 ACRE, Residency, Steuben, WI 2015 Shaping the Future Award, Remet Corporation 2012 Buonanno Scholarship Award, School of the Art Institute of Chicago, Chicag, IL 2007 Presidential Scholarship Award, School of Art Institute of Chicago, IL WORKS MEDIA

South Korea, 1955 Artist Biography Works Next Moon Insoo South Korea, 1955 BIOGRAPHY Moon Insoo is a celebrated South Korean sculptor and painter, renowned for his pioneering use of industrial materials such as cement and steel to create large-scale works that challenge conventional boundaries between sculpture and painting. Born in Korea in 1955, Moon graduated from Hongik University with a degree in Sculpture and later completed his graduate studies at the same institution. Emerging in the 1990s as a leading figure in contemporary Korean art, Moon’s innovative approach to material and form gained both national and international recognition. Moon’s works are characterized by their monumental scale, raw textures, and integration of industrial materials. His cement paintings, a hallmark of his practice, merge the physicality of sculpture with the flat surfaces of painting, creating a dynamic interplay of texture, weight, and light. Through his use of oxidized steel and weathered cement, Moon captures the passage of time and the interplay between human-made structures and nature. His philosophy reflects a deep engagement with the contrasts of modern society—industrial and organic, permanent and ephemeral. One of Moon’s most iconic works, Barrier , was installed at the Seoul Arts Center Sculpture Park in 1993. This massive structure of steel and cement is a powerful meditation on division and connection, both physical and symbolic. The work’s weathering over time has added layers of meaning, drawing comparisons to Richard Serra’s Tilted Arc for its bold presence and ability to provoke discussion among viewers. Moon achieved critical acclaim early in his career, winning back-to-back special prizes at the Grand Art Exhibition of Korea in 1984 and 1985. In 1993, he was awarded the Kim Sejung Young Sculptor Prize, and his work was exhibited internationally, including a notable solo exhibition in Paris hosted by the French Ministry of Culture. Currently, Moon Insoo continues to live and work in Korea, where his practice remains focused on exploring the relationship between material, space, and societal structures. His contributions to Korean contemporary art, particularly his innovations with cement and steel, have left a lasting impact on the art world and continue to inspire new generations of artists. EDUCATION 1974 Graduated from Seoul Arts High School 1981 Graduated from plastic art department, art college of Hongik University 1983 Graduated from sculpture department, graduate school of Hongik University Art fair 2013-2023 Kiaf (Seoul) 2013-2013 Gallery Art Fair (Seoul) 2017-2018 Changwon Art Fair (Changwon) 2015-2023 Soaf (Seoul) 2017 Manif (Seoul) 2016_2019 Plastic Art Fair (Seoul) 2015-2023 Daegu Art Fair (Daegu) 2012-2017 Busan Art Fair (Busan) 2011 Miami Art Fair (Miami) +a number of others PRIVATE EXHIBITIONS 2024 e.Jung Gallery (Seoul) 2023 Brown Gallery(Seoul) 2023 e.Jung Gallery (Seoul) 2022 IFC hall (Seoul) 2020 DGB gallery (Daegu) 2017 Geon Gallery (Daegu) 2013 Mokam Museum (Guenggi) 2012 Mokam Museum (Guenggi) 2009 e.jung Gallery (Seoul) 2008 Duroo Gallery(Seoul) 2007 Mokam Museum (Guenggi) 2004 Gowon Museum (Suwon Univ.) 2003 Masan MBC (Masan) 2000 Gallery In(Seoul) 1999 Lee Jung-hee Gallery(Seoul) 1997 Artnet Gallery(Suwon) 1996 Park Young-deok Art Gallery(Seoul) 1994 Park Young-deok Art Gallery(Seoul) 1993 Le Rond-Point Gallery (French Ministry of Culture, Invited by World Arts Center, Le Rond-Point, Paris) 1992 Culture and Arts Promotion Institute Art Hall(Seoul) 1988 Culture and Arts Promotion Institute Art Hall(Seoul) 1987 Batanggol Art Museum(Seoul) +a number of others GROUP EXHIBITION 1987-95 Ecold de Seoul(Kwanhun Art Museum, Seoul) 1987-99 Korean Association of Contemporary Sculpture Exhibition(Art Hall, Seoul) 1985 Korea Sculptor Association Exhibition(Art Hall, Seoul) 1983-93 Seoul Festival of Contemporary Art(Art Hall, Seoul) 1981 Hongik Sculpture Association Exhibition(Art Hall, Seoul) 1980 Yehong Exhibition(Kwanhun Art Museum, Seoul) INVITATION EXHIBITIONS 2019 Cross-section of Korean Contemporary Sculpture (Seosomseongji History Museum) 2014 Baum Sculpture Forum (Baum Gallery) 2011 lead to Suwon Maehall (Suwon) 2000 Marine Art Festival(Sejong Culture Assembly Hall, Seoul) / Groping for New Formality(Anyang Culture and Arts Assembly Hall, Anyang) 1998 Korea Association of Contemporary Sculpture Exhibition (Wonseo Gallery, Seoul)/ May Art Festival(In Art Gallery, Seoul) KOREAN CONTEMPORARY ART(Cerrillos Cultural Center, USA) 1996 Contemporary Art Communication Exhibition (Park Young-deok Art Gallery, Seoul)/ Korean Contemporary Sculpture Association Exhibition (Korean Culture and Arts Promotion Institute Art Hall, Seoul) 1993 Commemorative Exhibition celebration opening of Seoul Art Center Exhibition Hall(Seoul Art Center, Seoul)/A phase of Korean Contemporary Art(Pyo Art Gallery, Seoul) 1991 Bronze Fish(To Art Space, Seoul)/Works for Children's Playing Space Exhibition(Space Art Museum, Seoul) 1989 Small Sculpture Exhibition(Gallery Seomi, Seoul)/ and other exhibitions +a number of others PRIZE 2011 Artist of the Year Award (Korean Art Association) 1993 Kim Se-Jung Young Man's Sculpture Prize/ 1992 Total Art Museum Prize/ 1986 The 5th Korean Art Competition(the former National Competition) Grand Prix 1985-1984 The 3, 4th Korean Art Competition(the former National Competition) SPECIALLY SELECTED Work Collection National Museum of Contemporary Art (Kwachun) / Institute for Culture and Arts Promotion(Seoul) Pungsaeng High School (Sungnam) Seoul Art Center (Seoul) Chejudo Sculpture Park (Cheju) Total Art Museum (Changheung) Daewon High School (Seoul) Daejon Expo Future Theme Park (Daejon) Daewon Women's High School (Seoul) / Industrial Lease Building (Seoul) Mokpo Sculpture Park (Mokpo) +a number of others WORKS Load More

Water Moon Mirror Flower Something Sweet Gallery Cafe X Gallery Chang Kim Nam Joo Aug 1 - Sep 30, 2024 Water Moon Mirror Flower Something Sweet Gallery Cafe and Gallery Chang is thrilled to announce Kim Nam Joo exhibition, “Water Moon Mirror Flower” an evocative exploration into the nature of self-reflection and time. This innovative collection invites viewers into a mesmerizing interplay of mirrors, light, and emotion, engaging with profound themes of identity and perception. “Mirrorscape” delves into deep-seated questions of who we are and how we perceive ourselves through reflections. Each piece in this collection uses mirrors as a canvas to create a dynamic and immersive experience, where past and present reflections converge. This approach not only echoes the myth of Narcissus but also challenges viewers to confront and engage with their own reflections in a novel way

Korea Artist Biography Works Media Next Suh Tae Kyung Korea BIOGRAPHY EDUCATION 2024 MFA; Columbia University, New York, NY 2018 BFA; the School of Art Institute of Chicago, Chicago, IL SOLO EXHIBITIONS 2022 Bad Paintings Forever, CICA Museum, Gimpo, South Korea 2021 Boogie Nights, Gallery LVS, Seoul, South Korea 2019 Eye Kill You, Korean Cultural Center of Chicago Art Gallery, Wheeling, IL 2017 Vertigo Through the Night, Gallery No One, Chicago, IL GROUP EXHIBITIONS 2024 Visual Arts MFA Thesis, Wallach Gallery, New York, NY 2023 Departure, Thierry Goldberg Gallery, New York, NY In Medias Res, The Blanc, New York, NY Trading Cards, Field of Play Gallery, Brooklyn, NY First Year Show, Wallach Gallery, New York, NY 2019 Fire Alert, R. Mona Gallery, Chicago, IL Nineteenth Annual Benefit, Heaven Gallery, Chicago, IL Got It For Cheap(GIFC), Western Exhibition, Chicago, IL 2018 FLESHCUT: Figure Salon with Nicole Chaput, Z-1 Gallery, Chicago, IL Tk Suh, The Winchester, Chicago, IL July Drawing Exhibition, Korean Cultural Center of Chicago Art Gallery, Wheeling, IL Smile Behind the Mask, Heaven Gallery, Chicago, IL Delicate Cycle, the World’s Largest Laundromat, Berwyn, IL May Exhibition, Korean Cultural Center of Chicago Art Gallery, Wheeling, IL 2017 Crosscurrents (Juried Exhibition), Annenberg Gallery, Philadelphia, PA Fall 2017 BFA Show, Sullivan Gallery, Chicago, IL WORKS MEDIA

United States Artist Biography Works Next Alison Van Pelt United States BIOGRAPHY Alison Van Pelt is an acclaimed contemporary painter known for her evocative, dreamlike portraits that blend elements of abstraction and realism. Born and raised in Los Angeles, Van Pelt studied at prestigious institutions including UCLA, Art Center College of Design, Otis College of Art and Design, and the Florence Academy of Art. Her diverse education and fascination with the human form and art history have shaped her distinctive approach to painting. Van Pelt’s work is characterized by its ethereal quality, achieved through a meticulous process of layering paint and then blurring or obscuring the image. Faces and figures emerge and dissolve across the surface, evoking the passage of time and the ephemeral nature of memory. Her portraits, often referencing iconic figures or personal subjects, invite viewers into a meditative exploration of identity, perception, and transformation. Drawing inspiration from a wide range of artistic traditions, including Renaissance portraiture and contemporary abstraction, Van Pelt’s paintings transcend specific styles or movements. The delicate balance of structure and ambiguity in her work creates a powerful visual and emotional impact, leaving a lasting impression on viewers. Van Pelt has exhibited her work widely in galleries and museums, including the Santa Monica Museum of Art, the Pasadena Museum of California Art, and the Laguna Art Museum. Her paintings are part of esteemed private and public collections, earning her a reputation as a masterful artist whose work resonates deeply with audiences around the world. Living and working in Los Angeles, Van Pelt continues to explore the boundaries of portraiture, creating works that are as much about what is hidden as what is revealed. SOLO EXHIBITIONS Ferrari, Casterline/Goodman Gallery, Art Expo,Chicago, 2024 Women and My Wall, Casterline/Goodman Gallery, Art Basel, Miami, 2023 The Wild, Casterline/Goodman Gallery, Aspen,Colorado, 2022 Alison Van Pelt, The Claudia Taylor Project, Malibu, California, 2020 The Hummingbird, Van Pelt Studios, 2019 The Tree, Van Pelt Studios, 2018 The Elephant, Van Pelt Studios, 2017 Africa, Van Pelt Studios, 2016 All American, Van Pelt Studios, 2015 S’aints, Van Pelt Studios, 2014 The Horse, Ochi Gallery, Sun Valley, ID, 2013 If I Were Ed Ruscha..., Ventura College, Ventura, CA, 2011 All American, Ochi Gallery, Ketchum, ID, December 2010 January 2011 Alison Van Pelt: The Women, The Fresno Art Museum, Fresno, CA June 5-September 15 2006 LA Art House, Alison Van Pelt, 2009 The Women, The Dayton Art Institute, Dayton, OH, January 2004 - June 2004 America: The News, Chac Mool Gallery, Los Angeles, CA 2004 Paintings on Paper, Chac Mool Gallery, Los Angeles, CA 2002 Green , Spike Gallery, New York, NY, 2002 Fight, Ochi, Los Angeles, CA 2000 Flight and the Figure, Ochi, Ketchum, ID 1999 Figures, Gallery 813, Los Angeles, CA 1999 Blue, Gallerie Lauter, Manheim, Germany 1998 Eros, Robert Berman Gallery, Bergamot Station, Santa Monica, CA 1998 Motion, Robert Berman Gallery, Bergamot Station, Santa Monica, CA 1997 Les Animaux Nouveaux, Gallerie Vedovi, Brussels, Belgium 1997 Blue, Robert Berman Gallery, Bergamot Station, Santa Monica, CA 1995 New Paintings, Gallerie Lauter, Manheim, Germany 1995 New Works, Aschenbach Galerie, Amsterdam, Netherlands 1994 Recent Works, Robert Berman Gallery, Bergamot Station, Santa Monica, CA New Paintings, Roger Smith Gallery, New York, NY 1994 New Work, Gallerie Paul Sties, Kronberg, Germany 1993 New Paintings, Robert Berman Gallery, Bergamot Station, Santa Monica, CA 1992 Nouvelles Oeuvres, Ulla Lutz Studio, Basel, Switzerland 1992 La French Collection, Les Andelys, France 1992 Tableaux Nouveaux, Ader Tajan, Paris, France 1992 New Works, B-1 Gallery, Santa Monica, CA 1991 Aschenbach Galerie, Amsterdam, Netherlands, 1990 B1 Gallery, Faces, 1989 Paris Underground, Los Angeles, CA, 1988 EmHouse, Hollywood, 1988 Paris Review, Los Angeles, CA, 1987 The Loft, Downtown Los Angeles, 1986 Color, Spring Street Gallery, Downtown Los Angeles, CA, 1985 GROUP EXHIBITIONS Colombe de la Paix, Keren Hayessod, Paris, France, 2024 The Elephant, Artma, Morgan Adams Foundation, Space Gallery, Denver, Colorado, 2023 Art Crush, Aspen Art Museum, 2022 The Hummingbird, Lotusland, 2022 Alison Van Pelt at Casterline Goodman Gallery, Art Fair Aspen, 2022 The Circle of Truth, Susquehanna Art Museum, Harrisburg, PA, 2021 Hummingbird, The Shay, Culver City, 2021 The Circle of Truth, Orange County Center for Contemporary Art, OCCCA, Orange County, CA, 2020 The Circle of Truth, Winslow Arizona Art Museum, Winslow, Arizona, 2020 The Circle of Truth, Museum of Art and History, MOAH, Lancaster, CA, 2019 The Circle of Truth, NUMU, The New Museum, Los Gatos, California, 2019 Pop Culture, Frederick R. Weisman Art Foundation, Donald H Silverman Gallery Fine Arts Gallery, Cal State LA, CA, 2019 POP! 50 Years of Art & Popular Culture from The Frederick R. Weisman Museum of Art at Pepperdine University, Malibu, CA, 2018 Art for Art’s Sake, The Carnegie Art Museum, Oxnard, CA, 2017 Light in the Dark, Sears Peyton Gallery, New York, NY, 2017 Made in California, Selections from the Frederick R. Weisman Art Foundation, Mana Contemporary, Jersey City, NJ, 2014 Art for Art’s Sake, Selections from the Frederick R. Weisman Art Foundation, Marjorie Barrick Museum, University of Nevada, Las Vegas, NV, 2014 New Work, Sears Peyton Gallery, New York, NY, 2014 Pop Culture, Boca Museum of Art, Boca Raton, FL, 2014 Under The Influence Finance - Fashion, Carnegie Art Museum, Oxnard, CA, 2013 Art for Art’s Sake, The Frederick R. Weisman Museum of Art, Pepperdine University, Malibu,CA, 2013 California Art, Selections from the Frederick R. Weisman Art Foundation, Carnegie Art Museum, Oxnard, CA, 2012 Creating the New Century, Contemporary Art from the Dicke Collection, Fort Collins Museum, Fort Collins, CO, 2011 Fuck Pretty, Robert Berman Gallery, Bergamot Station, Santa Monica, CA, 2011 Creating the New Century, Contemporary Art from the Dicke Collection, The Dayton Art Institute, Dayton, OH, 2011 Elements of Nature: Selections from the Frederick R. Weisman Art Foundation Contemporary Art Center, New Orleans - 2010 Under the Influence of Fashion and Finance, Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA - 2010 Sears-Peyton Gallery, New York, NY, 2010 Art and Illusion, Selections from the Frederick R. Weismann Art Foundation, Susquehana Art Museum, Harrisburg, PA, 2009 Homage to the Artists, Ochi Gallery, Ketchum, ID - 2009 Incognito, Santa Monica Museum of Art, Santa Monica, CA - 2008 LA Art House, Beverly Hills, CA- 2009 California Art, Platt/Bornstein Museum, Los Angeles, CA, 2008 Selections from the Frederick R. Weisman Art Foundation, American Jewish Museum, Bel Air, CA, 2007 Beverly Hills Municipal Gallery, Beverly Hills, CA - 2006 Small Wonders II, Pharmaka Gallery, Los Angeles, CA - 2006 Portraits, curated by Shane Guffogg, Pharmaka Gallery, Los Angeles, CA 2005 Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA - 2005 The Dayton Art Institute, Dayton, OH - 2005 Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA - 2004 New Orleans Museum of Art, New Orleans, LA - 2004 Spike Gallery, New York, NY - 2004 California State University at Bakersfield, Bakersfield, CA - 2003 Spike Gallery, New York, NY - 2003 Las Vegas Art Museum, Las Vegas, NV - 2002 Ah Allen, New York, NY - 1998 Track 16, Santa Monica, CA - 1996 Ports of Entry, William Burroughs, A Retrospective, Los Angeles County Museum of Art, Los Angeles, CA, 1996 New American Paintings, Emerging Artists, Open Studios, Needham, Mass, 1996 Robert Berman Gallery, Santa Monica, CA - 1994 Ader Tajan, Paris, France - May 1992 Robert Berman Gallery, Santa Monica, CA - 1992 Ader Tajan, Paris France, 1989 New Work, Brentwood Art Center, 1988 PUBLICATIONS Colombe de la Paix, cover art , etc. Keren Hayessod, Ville Lumière, Paris, France, 2024 Alison Van Pelt Paintings, Favorite Things, Bal Harbour Magazine, 2024 Aspen Times, Alison Van Pelt’s Paintings Inspire, 2022 Portia DeRossi and Alison Van Pelt, The Ellen Show, 2022 Shoutout LA, Met Alison Van Pelt, April 2022 Conversations with Alison Van Pelt, Voyage Magazine, 2022 Behind The Design, Studio Collective on The Shay, SHLTR Magazine, 2022 Hotel FigueroaArt Program Honors its Feminist Roots, LA Weekly, 2022 What to See During Art Crush at Aspen Art Museum, Cultured Magazine, 2022 Architectural Digest, Inside the Home of Mark Hoppus, November 2021 Architectural Digest, A Malibu Home Far From the Coast, September 2021 The Argonaut, Finding The Light, The Paintings of Alison Van Pelt, March, 2021 Alison Van Pelt in Her Studio, Behind the Scenes, General Public, Source Book, 2021 Venice Vibes, Modern Luxury Interiors, 2021 Greatness Adjacent, Alison Van Pelt: The Magic Blur, 2020 LA Magazine, Inside the New Hotel Figueroa, LA Culture Comes to Life, 2020 Women Painters of The West, Where Women Made History, The National Trust for Historic Preservation, 2020 Haute Living, The Historic Female Centric Hotel Figueroa, 2020 Women’s Day, Remarkable Women in History, 2020 Gio Journal, Ladies First, 2020 Van Pelt’s Signature Dreamy Blurred Brushstrokes, The New Face of The Hotel Figueroa, Design LA, LA Times, 2018 Artful Amphora, Women Around Town, 2019 Digs, Hotel Figueroa gets a Renaissance in DTLA, 2019 Hotels That Tell Women’s Stories, Worth Magazine, 2019 Entrepreneur Magazine, Built and Financed by Women, 100 Year Old Hotel Stays Relevant, 2019 The DailyBeast, Inside DTLA’s Iconic Feminist Hotel Makeover, 2019 Alison Van Pelt, Portraits Come to Life, 2019 Mr & Mrs Smith, Hotel Figueroa Revitalized Heritage Beauty, 2019 LA List, Hotel Figueroa , Hipster Hangout, 2019 Hemisphere Magazine, This Hotel is a Canvas for Feminist Art, 2018 We Like LA, LA Hotel Undergoes Incredible Restorations, 2018 Live fast Magazine, Time Travel: The Badass Feminist History of DTLA’s Hotel Figueroa, 2018 Beyond Beverly Hills, Houston City Books, 2018 Steffie Nelson, The New Face of the Hotel Figuergoa, 2018 LA Times, Subtle Hotel Figueroa’s Redesign a Tribute to Women, 2018 Dwell, Hotel Figueroa Reconnects with its Feminist Roots via Vibrant Art Filled Renovation, 2018 Sunset Magazine, LA’s Hottest Hotel Makeover, 2018 Inside the new Hotel Figueroa, LA Culture Comes to Life, LA Magazine, 2018 Hotel Figueroa Honors Women as Legacy of its Past, LA Times, 301 C Magazine, Style and Culture, The Outnet Lunch at Chateau Marmont, 2017 Hotel News, Hotel Figueroa Reopens, 2016, 90265, Malibu Life and Style, issue 8, Alison Van Pelt: Body of Work, Cover and 11 full page color reproductions, 2014 Alison Van Pelt, The Jealous Curator, 2014 Heart Like a Hammer, Michael Xavier, Confluence Press, 2014 Interior Design, Let There Be Light, 3 full page color reproductions, 2014 Alison Van Pelt, The Insider, L A Times, 2013 AVP Paints, 944 Magazine, 2013 Magazine, 2013 Architectural Digest, 5 full page color reproductions, October, 2012 C Magazine, October, 2012 Creating the New Century, Contemporary Art from the Dicke Collection, The Dayton Art Institute, Dayton, OH, 2011 W Magazine, At Home with Brad Pitt, 2 full page color reproductions, 2011 Veranda Magazine, full page color reproduction, 2011 All American, The Paintings of Alison Van Pelt, Van Pelt Studios, 2010 USC Press, Alison Van Pelt Paints, 2010 Circle of Truth, Pharmaka Press, 2009 NY Times, T Magazine, The Insider, Alison Van Pelt, 2008 House and Garden, 2 full page color reproductions, 2007 Mariel Hemingway, Healthy Living from the Inside Out, Create Your Sacred Space, full page color reproduction, 2007 Paul Ruscha’s FULL MOON, Steidl Publishers, Göttingen, 2006 Elle Decoration, Juillet, 2006 Art Museum Preview Magazine, Cover and 3 full page color reproductions, 2006 The Eclectic Eye; Selections from the Frederick R Weisman Art Foundation, Published by the Frederick R. Weisman Philanthropic Foundation, Los Angeles, CA, copyright 2004. Full page, four color reproduction, page 177, with text page 176. 2005 Los Angeles Contemporary Exhibitions, 26th Annual Exhibition, 2005, full color illustration page 12. 2005 Komanecky, Michael & Van Pelt, Alison. Alison Van Pelt The Women The DaytonArt Institute, Dayton, Ohio 2004 Yalkut, Jud. A Tribute to Some of the Greatest Female Artists of the 20th Century, A & C Visuals Dayton City Paper Weekly News & Culture, Cover and 4 full pages, 2004 Alison Van Pelt, Painting the Women Who Paint, Resource Magazine, 2004 Dayton Daily News, About Face, Arts and Entertainment, March 14, 2004 Contemporary Art in New York, Art Critical, David Cohen, editor. 2004 Lassell, Michael. Sand Box, Metropolitan Home, March/April 2003 Art in America, Mar, 2003 Flash Art. Vol XXXIV, 223, 2002 Reginato, James. W at Home House of Brad, W, October 2001 Sobieszek, Robert, A. Fight. Rusconi Publishing, Los Angeles, California 2000 Stunning Painting, Art Scene, January 2000 Paintings, Arts and Entertainment, January 2000 Ochi Exhibition, Wood River Journal, January 2000 The Universal Language, dART INTERNATIONAL, Winter 1999 Artist Profile, Cosmopolitan, August 1999 Wiener, Nicole. The Gadget Versus the Soul, Exhibition of the Human Form, FORM, June 1999 The Argonaut, What’s On, Collins, Linda, May 1999 Art Connoisseur, 6 full page reproductions, 1999 d’Art International, Winter, 1999 Flight and the Figure: the Paintings of Alison Van Pelt, Rusconi Publishing, Los Angeles, 1999 Scheer, Robert. Los Angeles Times, November 15, 1998 Scheer, Robert. Los Angeles Times, August 14, 1998 Campbell, Clayton. Alison Van Pelt, Ouverture, July 1998 Neusch, Walter. Geheimnisvoll, ArtHaus, June 1998 Star Artist, Los Angeles Magazine, May 1998 Pop, Catalogue, Museum of Contemporary Art Los Angeles 1998 Condo, Anna and Jerryl Oristaglio. Ah Allen, A Tribute to Allen Ginsberg, Grenfell Press, New York 1998 Blue Paintings, ArtCONNOISSEUR, Volume 1, Number 1 1998 Plattner, Anuschka. Ausstellung, Deutsche Word, February 1998 Man Ray in Hollywood, dART INTERNATIONAL, January 1998 Melrod, George. Femme Noir, World Art, No. 12 1997 Zappa, Moon. Earth to Moon, RAYGUN, November 1997 Ports of Entry, Exhibition Catalogue Cover, Los Angeles County Museum of Los Angeles County Museum of Art reproduction and text, pp. 154–158. 1996 Art in America, November, 1996 Joselit, David. Burroughs Virology, Art in America, November. 1996 Garnier, Philippe. Burroughs, La Liberation, August 26, 1996 Art Auction, Catalogue, Museum of Contemporary Art Los Angeles. 1996 Scheer, Robert. Los Angeles Times, January 10. 1996 New American Paintings, Number VI, Open Studios Press, 1996 Melrod, George. Openings, Art & Antiques, September 14, 1995 Finch, Liz. Whats on Art, The Argonaut, September 14, 1995 Scheer, Robert. Los Angeles Times, March, 1995 Marx, Heike. Das Blaue, Stop, July 1995 Madigan, Nick. Illusion or Reality? Santa Monica Outlook, August 19, 1994. Reviews, ArtScene, October 1992 Ader Tajan, Art Contemporain, 1992 PUBLICATIONS Colombe de la Paix, cover art , etc. Keren Hayessod, Ville Lumière, Paris, France, 2024 Alison Van Pelt Paintings, Favorite Things, Bal Harbour Magazine, 2024 Aspen Times, Alison Van Pelt’s Paintings Inspire, 2022 Portia DeRossi and Alison Van Pelt, The Ellen Show, 2022 Shoutout LA, Met Alison Van Pelt, April 2022 Conversations with Alison Van Pelt, Voyage Magazine, 2022 Behind The Design, Studio Collective on The Shay, SHLTR Magazine, 2022 Hotel FigueroaArt Program Honors its Feminist Roots, LA Weekly, 2022 What to See During Art Crush at Aspen Art Museum, Cultured Magazine, 2022 Architectural Digest, Inside the Home of Mark Hoppus, November 2021 Architectural Digest, A Malibu Home Far From the Coast, September 2021 The Argonaut, Finding The Light, The Paintings of Alison Van Pelt, March, 2021 Alison Van Pelt in Her Studio, Behind the Scenes, General Public, Source Book, 2021 Venice Vibes, Modern Luxury Interiors, 2021 Greatness Adjacent, Alison Van Pelt: The Magic Blur, 2020 LA Magazine, Inside the New Hotel Figueroa, LA Culture Comes to Life, 2020 Women Painters of The West, Where Women Made History, The National Trust for Historic Preservation, 2020 Haute Living, The Historic Female Centric Hotel Figueroa, 2020 Women’s Day, Remarkable Women in History, 2020 Gio Journal, Ladies First, 2020 Van Pelt’s Signature Dreamy Blurred Brushstrokes, The New Face of The Hotel Figueroa, Design LA, LA Times, 2018 Artful Amphora, Women Around Town, 2019 Digs, Hotel Figueroa gets a Renaissance in DTLA, 2019 Hotels That Tell Women’s Stories, Worth Magazine, 2019 Entrepreneur Magazine, Built and Financed by Women, 100 Year Old Hotel Stays Relevant, 2019 The DailyBeast, Inside DTLA’s Iconic Feminist Hotel Makeover, 2019 Alison Van Pelt, Portraits Come to Life, 2019 Mr & Mrs Smith, Hotel Figueroa Revitalized Heritage Beauty, 2019 LA List, Hotel Figueroa , Hipster Hangout, 2019 Hemisphere Magazine, This Hotel is a Canvas for Feminist Art, 2018 We Like LA, LA Hotel Undergoes Incredible Restorations, 2018 Live fast Magazine, Time Travel: The Badass Feminist History of DTLA’s Hotel Figueroa, 2018 Beyond Beverly Hills, Houston City Books, 2018 Steffie Nelson, The New Face of the Hotel Figuergoa, 2018 LA Times, Subtle Hotel Figueroa’s Redesign a Tribute to Women, 2018 Dwell, Hotel Figueroa Reconnects with its Feminist Roots via Vibrant Art Filled Renovation, 2018 Sunset Magazine, LA’s Hottest Hotel Makeover, 2018 Inside the new Hotel Figueroa, LA Culture Comes to Life, LA Magazine, 2018 Hotel Figueroa Honors Women as Legacy of its Past, LA Times, 301 C Magazine, Style and Culture, The Outnet Lunch at Chateau Marmont, 2017 Hotel News, Hotel Figueroa Reopens, 2016, 90265, Malibu Life and Style, issue 8, Alison Van Pelt: Body of Work, Cover and 11 full page color reproductions, 2014 Alison Van Pelt, The Jealous Curator, 2014 Heart Like a Hammer, Michael Xavier, Confluence Press, 2014 Interior Design, Let There Be Light, 3 full page color reproductions, 2014 Alison Van Pelt, The Insider, L A Times, 2013 AVP Paints, 944 Magazine, 2013 Jeff Gordon, Ingrid Vandebosch, works by Alison Van Pelt and Matisse, Chicago Tribune, 2013 At Home With Jeff Gordon: The Superstar Driver Is (Finally) Shifting Gears, Forbes Magazine, 2013 Architectural Digest, 5 full page color reproductions, October, 2012 C Magazine, October, 2012 Creating the New Century, Contemporary Art from the Dicke Collection, The Dayton Art Institute, Dayton, OH, 2011 W Magazine, At Home with Brad Pitt, 2 full page color reproductions, 2011 Veranda Magazine, full page color reproduction, 2011 All American, The Paintings of Alison Van Pelt, Van Pelt Studios, 2010 USC Press, Alison Van Pelt Paints, 2010 Circle of Truth, Pharmaka Press, 2009 NY Times, T Magazine, The Insider, Alison Van Pelt, 2008 House and Garden, 2 full page color reproductions, 2007 Mariel Hemingway, Healthy Living from the Inside Out, Create Your Sacred Space, full page color reproduction, 2007 Paul Ruscha’s FULL MOON, Steidl Publishers, Göttingen, 2006 Elle Decoration, Juillet, 2006 Art Museum Preview Magazine, Cover and 3 full page color reproductions, 2006 The Eclectic Eye; Selections from the Frederick R Weisman Art Foundation, Published by the Frederick R. Weisman Philanthropic Foundation, Los Angeles, CA, copyright 2004. Full page, four color reproduction, page 177, with text page 176. 2005 Los Angeles Contemporary Exhibitions, 26th Annual Exhibition, 2005, full color illustration page 12. 2005 Komanecky, Michael & Van Pelt, Alison. Alison Van Pelt The Women The DaytonArt Institute, Dayton, Ohio 2004 Yalkut, Jud. A Tribute to Some of the Greatest Female Artists of the 20th Century, A & C Visuals Dayton City Paper Weekly News & Culture, Cover and 4 full pages, 2004 Alison Van Pelt, Painting the Women Who Paint, Resource Magazine, 2004 Dayton Daily News, About Face, Arts and Entertainment, March 14, 2004 Contemporary Art in New York, Art Critical, David Cohen, editor. 2004 Lassell, Michael. Sand Box, Metropolitan Home, March/April 2003 Art in America, Mar, 2003 Flash Art. Vol XXXIV, 223, 2002 Reginato, James. W at Home House of Brad, W, October 2001 Sobieszek, Robert, A. Fight. Rusconi Publishing, Los Angeles, California 2000 Stunning Painting, Art Scene, January 2000 Paintings, Arts and Entertainment, January 2000 Ochi Exhibition, Wood River Journal, January 2000 The Universal Language, dART INTERNATIONAL, Winter 1999 Artist Profile, Cosmopolitan, August 1999 Wiener, Nicole. The Gadget Versus the Soul, Exhibition of the Human Form, FORM, June 1999 The Argonaut, What’s On, Collins, Linda, May 1999 Art Connoisseur, 6 full page reproductions, 1999 d’Art International, Winter, 1999 Flight and the Figure: the Paintings of Alison Van Pelt, Rusconi Publishing, Los Angeles, 1999 Scheer, Robert. Los Angeles Times, November 15, 1998 Scheer, Robert. Los Angeles Times, August 14, 1998 Campbell, Clayton. Alison Van Pelt, Ouverture, July 1998 Neusch, Walter. Geheimnisvoll, ArtHaus, June 1998 Star Artist, Los Angeles Magazine, May 1998 Pop, Catalogue, Museum of Contemporary Art Los Angeles 1998 Condo, Anna and Jerryl Oristaglio. Ah Allen, A Tribute to Allen Ginsberg, Grenfell Press, New York 1998 Blue Paintings, ArtCONNOISSEUR, Volume 1, Number 1 1998 Plattner, Anuschka. Ausstellung, Deutsche Word, February 1998 Man Ray in Hollywood, dART INTERNATIONAL, January 1998 Melrod, George. Femme Noir, World Art, No. 12 1997 Zappa, Moon. Earth to Moon, RAYGUN, November 1997 Ports of Entry, Exhibition Catalogue Cover, Los Angeles County Museum of Los Angeles County Museum of Art reproduction and text, pp. 154–158. 1996 Art in America, November, 1996 Joselit, David. Burroughs Virology, Art in America, November. 1996 Garnier, Philippe. Burroughs, La Liberation, August 26, 1996 Art Auction, Catalogue, Museum of Contemporary Art Los Angeles. 1996 Scheer, Robert. Los Angeles Times, January 10. 1996 New American Paintings, Number VI, Open Studios Press, 1996 Melrod, George. Openings, Art & Antiques, September 14, 1995 Finch, Liz. Whats on Art, The Argonaut, September 14, 1995 Scheer, Robert. Los Angeles Times, March, 1995 Marx, Heike. Das Blaue, Stop, July 1995 Madigan, Nick. Illusion or Reality? Santa Monica Outlook, August 19, 1994. Reviews, ArtScene, October 1992 Ader Tajan, Art Contemporain, 1992 WORKS Load More