Artists raising money for the Black Trans Community.

One complete set of Artist Proofs from Round 2 by Ketuta Alexi-Meskhishvili, Leda Bourgogne, Cudelice Brazelton IV, Sol Calero, Eli Cortiñas, Calla Henkel and Max Pitegoff, Vincent Johnson, Tony Just, Matthew Lutz-Kinoy, Rebecca Morris, Cassi Namoda, Raymond Pettibon, Emma Rosenzweig, Mira Schor, Tobias Spichtig, Emily Sundblad, Ambera Wellmann and Monsieur Zohore is available for purchase.

Please inquire at [email protected]

Ketuta Alexi-Meskhishvili (b. 1979, Tbilisi, Georgia) grew up in New York and currently lives in Berlin. She is interested in “the sensation of losing boundaries,” which she relates to her experience as an adolescent immigrant as well as to “the sensation of being a new mother.” As a photographer, she attempts to reach a post-verbal state in her work by destabilizing the boundaries between medium and motif. This print is an example of the way in which she transforms analog negatives into vibrant digitally manipulated archival prints with hand-incised scratch marks. These multilayered interventions convey an intuitive and experimental choreography of surfaces where she tests the conditions of flatness and depth in photographic representation. Alexi-Meskhishvili received a BFA in photography from Bard College in 2003, where she honed methods of analog color photography studying with Stephen Shore. Her recent shows include solo exhibitions at the Kölnischer Kunstverein, Cologne; Andrea Rosen Gallery, New York; Micky Schubert, Berlin; and Galerie Frank Elbaz, Paris; as well as group exhibitions at the Musée d’Art Moderne de la Ville de Paris; the Sprengel Museum, Hannover; the Kunstverein Hannover; and the New Museum Triennial (2015), New York. This work is offered as an extension of her upcoming exhibition Boiled Language at LC Quiesser Gallery, Tbilisi.

Leda Bourgogne (b. 1989, Vienna, Austria) is a Berlin-based artist whose practice is informed by strategies of painting as well as an ongoing preoccupation with the body, feminist theory and psychoanalysis. Attuned to the aesthetics of tactility, Bourgogne’s skin-like surfaces, often made from found fabrics and latex, are subject to cuts, stitches and other markings. Drawing is also a significant part of her practice, as her dense compositions emerge from a near meditative state. To make her print Tausend Tränen tief (“A Thousand Tears Deep,”) a title she borrows from the German pop band Blumfeld, she scanned and printed a recent drawing, then worked over the image with a mixture of tea and acrylic. Each print is unique. Bourgogne studied Fine Art at the Städelschule, Frankfurt, and German Philology and Film Studies in Frankfurt and Zürich. Selected solo exhibitions include Braunsfelder, Cologne; Jiri Svestka Gallery, Prague; BQ, Berlin; and the Kunstverein Braunschweig. Her work has also been included in current and forthcoming group exhibitions at the Kunstverein Bielefeld, Berghain and BQ, Berlin. This work is offered as an extension of her participation in the upcoming group exhibition nature/art/animals/bodies/machines/humans/feelings/ at Helmhaus Zürich.

Cudelice Brazelton IV (b. 1991, Dallas, Texas) is a Frankfurt-based artist studying at the Städelschule. His work incorporates collage, fabric, and industrial and domestic products, producing textural works that record the distress involved in both artmaking and living in a Black body. Exploring themes of violence and the necessity of resistance, Brazelton views his work as a “bridge” between his personal reality and the shared reality of the Black community. His print Dark City, offered in conjunction with his exhibition Heavy Circuit at Ola Bunker, Frankfurt, incorporates an image of an overturned police bus that Brazelton originally posted on Instagram. Recontextualized within this collage, the image operates both as a comment on this cultural moment and on the distortions of media itself. Brazelton has exhibited widely at Galeria Wschód, Warsaw; Lodos Gallery, Mexico City; Jeffrey Stark, New York; DOC!, Paris; the Museum of Contemporary Photography, Chicago; and SculptureCenter, New York.

Sol Calero (b. 1982, Caracas, Venezuela) is  Berlin-based artist who turns to painting to investigate non-canonical, traditional and popular art forms excluded from western art history. She looks at how Latin American cultures are perceived and exported, her work faces the spectator with the processes of exoticism inherent to the imagery and narratives of the cultural other. Under a festive and luminous appearance, Calero questions the production of standards and clichéd iconography with a singular and consistent presentation of abstracted tropicalism. Her patterns, floral and fruit shapes are mixed with elements of vernacular architecture, claiming self-construction as a medium of social action. In 2017 she was nominated for the Preis der Nationalgalerie and won the Audience Award. Recent exhibitions include Villa Arson, Nice; MO.CO, Montpellier; Extra City, Antwerp; Museum van Boijmans Beunigen, Rotterdam; Galerie Crèvecoeur, Paris; Düsseldorf Kunstverein; Barbara Gross Gallery, Munich; Kunsthalle Lisbon, Lisbon; Folkestone Triennial. This work is offered as an extension of her upcoming solo exhibition at Copenhagen Contemporary. 

Eli Cortiñas (b. 1976, Las Palmas de Gran Canaria, Spain) is a Berlin-based filmmaker and multimedia artist of Cuban descent. Her practice revolves around the idea of challenging cinematic memory by analyzing and re-editing appropriated footage and her own material. By disrupting and restructuring narratives, she positions editing as a form of writing that shifts meaning. An ongoing series of video and collage Destined to be forever a work in progress borrows its title from Alain Resnais’ 1956 film Toute la mémoire du monde, which depicts the National Library in Paris as an emblem of the western neo-colonial enterprise as it contains, collects and catalogues knowledge. Cortiñas’ work undermines this domesticating and dominating project. Cortiñas studied at the Academy of Media Arts, Cologne and at the European Film College, Ebeltoft, Denmark. Her work has been exhibited at Museum Ludwig, Cologne; Martin-Gropius-Bau, Berlin; Berlinische Galerie, Berlin; Centre Georges Pompidou, Paris; MUSAC, León; Műcsarnok Kunsthalle, Budapest and numerous film festivals. This work is offered as an extension of They Say Crisis. We Say Revolution, a group show at Waldburger Wouters that takes Paul B. Preciado’s An Apartment on Uranus as a starting point.

Vincent Johnson (b. 1956, Cleveland, Ohio) is a writer and artist based in Los Angeles, which provides landscape and inspiration for much of his work. Turning his camera often toward architectural artifacts, Johnson documents the transformation and decay of North American cities. He brings to his work immense research and knowledge of cinema, architecture, and art history, effortlessly alluding to phenomena like urban decay in the absence of human subjects. He likens his textured, rich photographs to staring through the window on a Los Angeles drive — a duality between the “temporary encounter” of an object and the “enduring intimacy” that memory savors. He received his MFA from Art Center College of Design, Pasadena, CA, and has exhibited widely at MoMA PS1, New York; the SK Stiftung, Cologne; Santa Monica Museum of Art; the Studio Museum in Harlem; and LAXART, Los Angeles. This work is offered as an extension of his participation in Drive by Art LA.

Tony Just (b. 1969, USA) is a Berlin-based artist who paints in books, on paper, canvas and walls. He draws upon Reiki and I Ching practices, methods he used for his own healing before bringing them to his work. His practice is informed by the question of how to make an image sacred. This image comes from a drawing of a flattened inner section of a matchbox that Just found on the street in Berlin. Attracted to its color and interested in its cross-like shape, Just transforms the image by creating it again with his own hands. As a queer man who has experienced the traumatic effects of organized religion, such a transformation is at once art-making, healing and his own form of prayer. Just received his MFA in Painting at Hunter College, New York, and BFA in Painting at the School of the Art Institute of Chicago. His work has been exhibited in New York at MoMA PS1, Gavin Brown’s Enterprise, White Columns and Karma, and in Berlin at Arratia Beer and PSM. This work is offered as an extension of his recent exhibition Our Inchoate Love at Efremidis, Berlin.

Matthew Lutz-Kinoy (1984, New York) is a Paris-based artist working across sculpture, printmaking, ceramics, painting and performance. The breadth and simultaneity of his practice allows a collaborative synthesis of ideas, pulling references equally from 18th century painting or the history of queer performance. Recent exhibitions include Geneva Biennale (2020); Mendes Wood DM; Vleeshal, Middelburg (2018); Le Centre d’édition Contemporaine, Geneva and Le Consortium, Dijon (2018). His work can be found in the collections of the FRAC Aquitaine, S.M.A.K. Gent, the ADN Collection, Bolzano, Aïshti Foundation, Beirut and the Syz Collection, Geneva. This work is offered as an extension of his recent show Scalable Skeletal Escalator, with Isabel Lewis, Kunsthalle Zurich.

Emma Rosenzweig (b. 1990, Copenhagen, Denmark) works between Copenhagen and Frankfurt, where she is studying at the Städelschule. A true multi-hyphenate, Rosenzweig works with film, photography and performance. Her work exists at the intersection of art and commerce and incorporates elements and inspiration from high fashion, analogue film and her own lived experience. As a young woman, working as a model and actress, Rosenzweig’s work circles around themes such as objectification of the female body,  jealousy, sexwork and loneliness. Rosenzweig’s dreamlike photographs and films recall the melancholy and wonder of girlhood, often capturing vaguely humanoid dolls in the throes of domestic languor. Rosenzweig is currently also at work on her first feature film. This print is offered as an extension of its inclusion in Dansk Magazine, in collaboration with Chart Art Fair.

Mira Schor (b. 1950, New York) is a New York-based artist operating in the nexus of language, feminist theory, and painting, Schor has continually imbued formalism with political urgency. Since participating in the Feminist Art Program at CalArts from 1971-72 and the Womanhouse exhibition in 1972, Schor’s practice stands as an expansive and evolving understanding of how the personal is political and the political is personal. She describes her aim to “literally embed the gap between verbal and visual languages with each other’s materiality and meaning.” Flowering History Book is part of a recent series that imagines flowers growing out of unexpected spaces, such as the last pages of history books. Her work has been exhibited at Hammer Museum, Los Angeles; MoMA PS1, New York; the Jewish Museum, New York; Kestner Gesellschaft, Hannover and Lyles and King, New York, among others. She is the author of the acclaimed Wet: On Painting, Feminism, and Art Culture (1997.) This work is offered as an extension of her current solo exhibition at Fabian Lang, Zurich.

Tobias Spichtig (b. 1982, Luzern, Switzerland) is an artist living in Berlin. In his Gheist sculptures, which have drawn the admiration of the art and fashion worlds alike, Spichtig applies resin to disembodied outfits, creating ghostly spindles that recall Giacometti and thrift-store glamour at once. His paintings, which often peak from behind encroaching domestic objects (refrigerators, tables) at exhibitions, embrace a similar duality. By printing photographs onto canvas and then painting over them, Spichtig continues to evade. In this work in acrylic on digital print (all works are unique) Spichtig’s recurrent sunglasses motif is positioned as a tool of evasion, an icon of fashion and cool.  Spichtig’s recent solo exhibitions include Jan Kaps, Cologne; la synagogue de Delme, Delme; LambdaLambdaLambda, Pristina; Michael Thibault Gallery, Los Angeles; Galerie Bernhard, Zürich; Ursula Blickle Stiftung, Kraichtal. This work is offered as an extension of his current solo exhibition at Contemporary Fine Arts, Berlin. 

Emily Sundblad (b. 1977, Stockholm) is a New York-based artist and co-founder/co-director of Reena Spaulings, a collective project in the medium of an artist persona and a gallery. Her work revolves around performing identities, whether in an ongoing series of auto-erotic fantasies in gouache on hotel stationary or as Reena Spaulings, fictional “it-girl” and director of the (real) gallery. In addition to launching the careers of many influential artists, Reena Spaulings has been the subject of numerous exhibitions including at Museum Ludwig, Cologne; Kunsthalle Zurich and the Museum of Modern Art, New York. Sundblad recently published a leporello book of drawings, The Jungly Book (Hacienda Books, 2020), and exhibited series of her paintings at Campoli Presti, Paris; Galerie Neu, Berlin and House of Gaga, CDMX. This work is offered as an extension of Sundblad’s recent participation in the group exhibition Watercolours, Chapter 1 at Weiss Falk, Basel.

Ambera Wellmann (b. 1982, Lunenburg, Nova Scotia) is a Mexico City and Berlin-based figurative painter. Boundaries and binaries between humans, animals and objects frequently morph or dissolve in her paintings, re-imagining the possibilities of the body and the space extending from it. Often working in pastels and a porcelain-like sheen, Wellmann teases out the tension of deconstructing desire as something both corporeal and abstract. The apple, like the fruit and leaves that appear in Seeding, is also a recurrent motif in Wellmann’s work: a form that is juicy and steeped in tantalizing lore. Wellmann’s work was featured in the 16th Istanbul Biennale as well as in recent and forthcoming solo exhibitions at MoCO Montpellier; Lulu, Mexico City; Projet Pangée, Montreal; MAC Belfast and Company Gallery, New York. This work is offered as an extension of her solo exhibition at K-T-Z, Berlin.

Monsieur Zohore (b. 1993, Potomac, Maryland) is an Ivorian-American artist based in New York and Baltimore. His practice is invested in the consumption and digestion of culture through the conflation of domestic, quotidian labor and art production. Through performance, installation, and sculpture, his practices explore queer history alongside his Ivorian-American heritage. Zohore received his BFA from the Cooper Union in 2015 and his MFA from the Maryland Institute College of Art in 2020. His work has been exhibited in numerous venues including Palo Gallery, New York; Terrault Gallery, Baltimore; New Release Gallery, New York; 56 Henry, New York; Canada Gallery, New York; 315 Gallery, New York and the 2020 Material Art Fair, Coyoacán, Mexico City. This piece, a still from his performance MZ.11 (Comédien Ivoirien), straddles comedy and critique as Zohore literally confronts the political, comedic and art historical relationship between the Black body and the bananas (or in this case plantains) being thrown at him. The print is offered as an extension of the video performance’s online exhibition at the Baltimore Museum of Art.

Rounds 1 and 2 raised $53,000 for The Okra Project, a collective offering food, support and resources to Black Trans people worldwide. Any prints purchased after December 2020, including remaining works from previous rounds, will benefit R3 and R4 recepient organization, The Frances Thompson Education Foundation.