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Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Elri Friedman (University of Oregon) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Elri Friedman works in an expanded painting practice that moves between painting, drawing, and wall-based assemblage. Rooted in a background in Philosophy of Biology, their work approaches abstraction as a site of morphological change, where differentiation and entanglement unfold simultaneously. Friedman recombines paintings, tape, tarps, and other plastics into abstract compositions rooted in the wound and the lived body, where mending and mark-making become indistinguishable.

To learn more about Friedman’s practice, visit the link in our bio!

@uoartmfa

Image 1: Elri Friedman headshot
Image 2: “certain birthdays,” 2026, acrylic, vinyl, crayon, marker, tape, and plastic sheeting, 6 x 4 ft.
Image 3: “Put On By It,” 2026, acrylic, vinyl, paper, tape, roof sealant, GAC, and stickers, 8 x 5.5 ft.
Image 4: “Showing Along the Line,” 2026, acrylic, vinyl, paper, tape, clay, canvas, and lamination sheets, 9 x 4.5 ft.
Image 5-6: “Both-Ways Sentence,” 2025, acrylic, vinyl, tape, clay, marker, paper, crayon, roof sealant, cardboard, and vinyl printed stickers, 8 x 12 ft.
Image 7: “Bad Groom,” 2025, acrylic, plastic tarp, tape, paper, roof sealant, vinyl stickers, and marker, 6.5 x 10 ft.
Image 8: “Great Bride,” 2025, acrylic, roof sealant, tape, trash bag, vinyl, paper, and marker, 6 x 8 ft.
Image 9: “Clover Type,” 2025, acrylic, vinyl, cardboard tape, paper, and oil stick, 3.5 ft x 4.5 ft.
Image 10: “Dancefloor Energetic Mechanics,” 2025, acrylic, vinyl, tape, rubber band, canvas, marker, crayon, roof sealant, and paper, 7.5 x 4.5 ft.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Marissa Cote (Cornell University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Through weaving, quilting, clay, and assemblage, Marissa Cote materializes visions of queer utopia. By engaging sites of labor such as construction and the loom, she sculpts architectures of longing and belonging. Informed by the creation of inner and collective utopias, her sculptural visions of queer futurity mimic dwellings, built environments, and vanishing points. Cote’s practice materially and conceptually embodies her work and visions towards queerness.

To learn more about Cote’s practice, visit the link in our bio!

@marissaella @cornellmfa_art @cornellaap

Image 1: Marissa Cote headshot
Image 2: “The foundation on which my body knows yours,” 2025, ceramic and cotton, 24 x 24 x 29 in.
Image 3: “Surrender to a long held gaze,” 2025, ceramic, handwoven cotton, polyester, and steel hardware 22 x 22 x 15.5 in.
Image 4-5: “New Typology,” 2025, cotton and ceramic, dimensions variable
Image 6: “Moons and Light Beams,” 2025, cotton and ceramic, 16 x 18 in.
Image 7: “split/seam,” 2022, cotton, steel hook, and steel chain, 49.75 x 30 in.
Image 8: “two immovable objects, imperceptibly inching towards each other,” 2023, cotton, steel hooks, and steel chain, 68 x 38 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

Yeroham Ashagre (Michigan State University) is the recipient of a 2026 Master of Fine Arts Fellowship in Painting & Sculpture.

Yeroham Ashagre is a visual artist originally from Ethiopia and currently working in the United States. His practice spans the mediums of drawing, sculpture, and ceramics, exploring themes such as religion, myths, sexuality, and violence. In his clay sculptures, Ashagre explores a material transformation of the human figure through primal elements, evoking creation myths across cultures while engaging a formal tension between human and machine that enters the work into a contemporary dialogue.

To learn more about Ashagre’s practice, visit the link in our bio!

@yeroham.dawit @msu_aahd

Image 1: Yeroham Ashagre headshot
Image 2: “Untitled Head,” 2025, high-fired terracotta, 17 x 10 x 8 in.
Image 3: “Head as the Sudarium,” 2025, high-fired terracotta, 9 x 11 x 6 in.
Image 4: “Untitled Figure 1,” 2025, glazed terracotta, 18 x 4 x 8 in.
Image 5: “Untitled Figure 2,” 2025, high-fired terracotta, 16 x 7 x 4 in.
Image 6-7: “Ode to Solitude (Group 1),” 2024, glazed stoneware and terracotta, dimensions variable
Image 8: “Ode to Solitude (Group 2),” 2024, glazed stoneware and terracotta, dimensions variable
Image 9: “Womb or Tomb,” 2026, glazed terracotta and steel, 12 x 5 x 2 ft.
Image 10: “Womb or Tomb (drawing),” 2025, ink on paper, 8 x 18 in.

The Dedalus Foundation Dissertation Fellowship for 2026 – 2027 has been awarded to Ebonie Pollock, a PhD Candidate in the History of Art & Architecture Department at Harvard University, for her dissertation “‘Gold Would Not Be Too Precious a Medium’: Material and Memory in Black American Women’s Modern Figurative Sculpture.” The award carries a stipend of $25,000.

Pollock’s dissertation probes the intersection of Black women sculptors’ material conditions, strategies, and absences, with a view towards developing new frameworks to discuss the alternative, unrealized, and non-extant material of Black women’s figurative sculpture of the late nineteenth through early twentieth centuries. To learn more about this project, visit the link in our bio.

Image 1: Ebonie Pollock headshot
Image 2: Andrew Herman, Augusta Savage with her sculpture “Realization,” ca. 1938, Photographic print, Archives of American Art

@harvardhaa

The Dedalus Foundation Dissertation Fellowship for 2026 – 2027 has been awarded to Ebonie Pollock, a PhD Candidate in the History of Art & Architecture Department at Harvard University, for her dissertation “‘Gold Would Not Be Too Precious a Medium’: Material and Memory in Black American Women’s Modern Figurative Sculpture.” The award carries a stipend of $25,000.

Pollock’s dissertation probes the intersection of Black women sculptors’ material conditions, strategies, and absences, with a view towards developing new frameworks to discuss the alternative, unrealized, and non-extant material of Black women’s figurative sculpture of the late nineteenth through early twentieth centuries. To learn more about this project, visit the link in our bio.

Image 1: Ebonie Pollock headshot
Image 2: Andrew Herman, Augusta Savage with her sculpture “Realization,” ca. 1938, Photographic print, Archives of American Art

@harvardhaa

The Dedalus Foundation is delighted to share the exhibition “Made in Tension,” on view at the Soloviev Foundation Gallery in New York until December 2026. Curated by Angela Brown (2023 Dissertation Fellow), the exhibition unites historic and contemporary works by a group of international artists with a focus on textiles and fiber art.

“Made in Tension” includes works by Olga de Amaral; Patricia Ayres; Kevin Beasley; Diedrick Brackens; weavers from the South American coast, including Chimú weavers; Ximena Garrido-Lecca; Porfirio Gutiérrez; Elana Herzog; Ade Kassim; fiber artists of the Kuba Kingdom; Henri Matisse; Henry Moore; Senga Nengudi; Raúl de Nieves; Nengi Omuku; Elle Pérez; Cristina Flores Pescorán; Pablo Picasso; Ancient Roman marble carvers; Analia Saban; Sarah Sze; Lenore Tawney; Yoruba beadworkers and woodcarvers.

The Soloviev Foundation Gallery, located at 9 West 57th Street, is open by appointment. Click the link in our bio to learn more and plan your visit.

@__angela_brown_ @solovievfoundation @solovievfoundationgallery

We are thrilled to announce that Alina Tenser (2012 MFA Fellow) has been selected as a 2026 Guggenheim Fellow in Fine Arts.

Alina Tenser (@alina_tenser) is a Ukrainian-born artist and educator whose work across sculpture, video, and performance explores the dialogue between play, constraint, and language, often through forms that invite tactile or imagined interaction. To learn more about Tenser’s practice and explore her recent exhibitions, visit the link in our bio.

Photograph by Willy Somma @willysomma

This is the final week to see “Robert Motherwell: Surface/Subject,” which closes Saturday, March 28th, at @olneygleason. The exhibition includes a selection of paintings that explore Motherwell’s distinctive approach to developing his compositions and his relationship to the color black. 

To learn more and plan your visit to see “Surface/Subject,” visit the link in our bio.

Image: View of Robert Motherwell: Surface/Subject, at Olney Gleason, New York, 2026.

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Public Program 📆 On Robert Motherwell: Matthew Holman, Megan Kincaid, and Tony Lewis

Join us for a two-part public program hosted by art critic and writer Matthew Holman (@matthewjholman). In the first half of the conversation, art historian and curator Megan Kincaid offers a close reading of Motherwell’s practice, drawing on her research into modernist abstraction and the transnational currents that shaped mid-century American art.

In the second half, artist Tony Lewis (@_tony_lewis_) joins Holman to discuss his own work in relation to Motherwell’s, which similarly engages questions of gesture and surface through processes of mark-making and concealment. Lewis’ first solo exhibition opens at Olney Gleason in May 2026.

Saturday, March 14, 2026 – 12–2pm
297 Tenth Avenue, New York

Free admission
rsvp@olneygleason.com
Hosted in collaboration with The Dedalus Foundation (@dedalusfoundation)

#robertmotherwell #dedalusfoundation #surfacesubject #newyorkevents #americanpainting

Adrian Sudhalter (2012 Senior Fellow) is the editor of “Carl Grossberg: New Forms in the World of Technology,” a new book from the University of Chicago Press on Carl Grossberg, whose paintings of industrial settings and objects have been long associated with the German New Objectivity Movement of the 1920s. Rich with illustrations, this book focuses on the reception of Grossberg’s work during his lifetime, relying on historical photographs, documents, and publications to situate his practice within a developing German landscape in the period between the wars. Visit the link in our bio to learn more.

@adriansudhalter @uchicagopress

TONIGHT: Join us at Olney Gleason (@olneygleason) from 6-8 PM for the opening of Robert Motherwell: Surface/Subject. The exhibition highlights Motherwell’s distinctive approach to developing his compositions through a combination of bold gestures, varied surface textures, and overlapping planes of color. Visit the link in our bio to learn more.

Robert Motherwell: Surface/Subject
Opening Thursday, February 19, 6-8pm
February 19 – March 28, 2026
297 Tenth Avenue, New York

Image: Untitled (Elegy), 1975, acrylic and charcoal on canvas mounted on Masonite, 36 x 71 3/4 in. (91.4 x 182.2 cm)

We are excited to share the list of Dedalus Foundation Fellows and Awardees participating in the CAA 114th Annual Conference, which takes place this week at the Hilton Chicago. Swipe through or visit the conference schedule at the link in our bio for more details.

We are excited to share the list of Dedalus Foundation Fellows and Awardees participating in the CAA 114th Annual Conference, which takes place this week at the Hilton Chicago. Swipe through or visit the conference schedule at the link in our bio for more details.

We are excited to share the list of Dedalus Foundation Fellows and Awardees participating in the CAA 114th Annual Conference, which takes place this week at the Hilton Chicago. Swipe through or visit the conference schedule at the link in our bio for more details.

Nikki Moore has been awarded The Dedalus Foundation’s 2026 Senior Fellowship for her forthcoming book “Experts in the Fields: Art, Architecture, and Aesthetics at the Mexican Origins of the Global Green Revolution, 1924-1972.”

Interrogating art and architecture’s role in the soft war policies of the United States in Mexico (1924-1972), Moore’s project argues that the same aesthetic lens that fostered the International Style of modern architecture reshaped the ancestral seeds and agricultural landscapes at the Mexican origins of the global Green Revolution. To learn more about Moore and her forthcoming book, visit the link in our bio.

Image 1: Nikki Moore headshot
Image 2: Perkins + Will, Model for Plan Chapingo, 1963. Source: Rockefeller Archive Center, FA003 100-1000 Photographs, box 96, Folder 1888.

Nikki Moore has been awarded The Dedalus Foundation’s 2026 Senior Fellowship for her forthcoming book “Experts in the Fields: Art, Architecture, and Aesthetics at the Mexican Origins of the Global Green Revolution, 1924-1972.”

Interrogating art and architecture’s role in the soft war policies of the United States in Mexico (1924-1972), Moore’s project argues that the same aesthetic lens that fostered the International Style of modern architecture reshaped the ancestral seeds and agricultural landscapes at the Mexican origins of the global Green Revolution. To learn more about Moore and her forthcoming book, visit the link in our bio.

Image 1: Nikki Moore headshot
Image 2: Perkins + Will, Model for Plan Chapingo, 1963. Source: Rockefeller Archive Center, FA003 100-1000 Photographs, box 96, Folder 1888.