Some Follow-Up Questions

June 9–July 1, 2022
Westbeth Gallery
Open Wednesday/Sunday, 1–6pm.

download PDF checklist

→ Steph Zimmerman
→ Misra Walker
→ Bruno Smith
→ Anoushé Shojae-Chaghorvand
→ Gabriel Sacco
→ Katerina Pansera
→ Ella Kandel
→ Perri Hofmann
→ Kyle B. Co.
→ Shamia Gaither
→ Miranda Friedman
→ Peggy Chiang
→ Stephanie Boyer

[Exterior of white brick building with large, floor-to-ceiling glass windows on the ground floor and smaller paned windows on the second floor. There is a large paved courtyard area in front of the windows with a concrete C-shaped bench that is about 2 feet high and 3 feet wide.]

Westbeth Gallery

[Exterior of white brick building with large, floor-to-ceiling glass windows on the ground floor and smaller paned windows on the second floor. There is a large paved courtyard area in front of the windows with a concrete C-shaped bench that is about 2 feet high and 3 feet wide.]

[Exterior view of floor-to-ceiling gallery windows from courtyard. Through the window you can see a sculptural installation. On the floor there are around twenty colorful, handmade ceramic planters with various types of cacti. Hanging from two parallel silver chains above them is a flat, circular piece of wood with triangular configurations of small solar panels on the face of it.]

Bruno Smith
SOL, shine your way, 2022
Cedar, plexiglass, hardware, solar cells, electrical wiring
28 x 28 x 4.5 inches.

Bruno Smith
Las Luces: Goya 1, Goya 2, 2021
Aluminum can, lamp wiring, light bulbs
Variable dimensions.

[Exterior view of floor-to-ceiling gallery windows from courtyard. Through the window you can see a sculptural installation. On the floor there are around twenty colorful, handmade ceramic planters with various types of cacti. Hanging from two parallel silver chains above them is a flat, circular piece of wood with triangular configurations of small solar panels on the face of it.]

[A large open gallery with wooden flooring supported by two white concrete columns. Stationed near the two columns, almost midway between them, is a tall column-like wooden sculpture that nearly reaches the ceiling. The gallery’s lighting track is primarily turned off except for lights illuminating a large unframed color photograph hanging on a wall opposite the column-like wooden sculpture. Receding in space on the same side of the gallery as the photograph is a single speaker monitor mounted high on a white wall, two open doorways illuminated by warm light, and color video projections either side of the illuminated doorways.]

Installation view main gallery

[A large open gallery with wooden flooring supported by two white concrete columns. Stationed near the two columns, almost midway between them, is a tall column-like wooden sculpture that nearly reaches the ceiling. The gallery’s lighting track is primarily turned off except for lights illuminating a large unframed color photograph hanging on a wall opposite the column-like wooden sculpture. Receding in space on the same side of the gallery as the photograph is a single speaker monitor mounted high on a white wall, two open doorways illuminated by warm light, and color video projections either side of the illuminated doorways.]

[Another view of the large open gallery facing more directly the large wall-hung unframed color photograph. To the right of the photograph is a sculpture made of sheets of diaphanous fabrics of various opacities. Turning the corner from the fabric sculpture, a faintly-seen moving image is projected onto a white wall.]

Installation view main gallery

[Another view of the large open gallery facing more directly the large wall-hung unframed color photograph. To the right of the photograph is a sculpture made of sheets of diaphanous fabrics of various opacities. Turning the corner from the fabric sculpture, a faintly-seen moving image is projected onto a white wall.]

[An unframed color photograph depicting two people carrying a large artwork down a steep, narrow staircase. The artwork being carried is a large framed photograph of two studio portraits. All of the figures depicted, both the people carrying the photograph and the portraits of the people photographed appear to be white and the two people carrying the framed photograph appear to be much older than the two people in the portrait.]

Perri Cohl Hofmann
Moving, 2021
Inkjet print
67 x 47 inches.

[An unframed color photograph depicting two people carrying a large artwork down a steep, narrow staircase. The artwork being carried is a large framed photograph of two studio portraits. All of the figures depicted, both the people carrying the photograph and the portraits of the people photographed appear to be white and the two people carrying the framed photograph appear to be much older than the two people in the portrait.]

[A small color photograph showing a view of a white-appearing person back-bending naked on a bed holding two cameras. The camera in the person’s right hand is held at their crotch. The camera’s extra-large telescoping lense stands at attention. The camera in the figure’s left hand is held to one of their eyes. Their other eye squints as happens when taking a photograph. The entire tableau is captured in the reflection of a large, seamless mirror–the edge of which we can see at the bottom of the photograph.]

Perri Cohl Hofmann
Menice, for Janice and Meryl, 2022
Inkjet print
8 x 6 1/2 inches.

[A small color photograph showing a view of a white-appearing person back-bending naked on a bed holding two cameras. The camera in the person’s right hand is held at their crotch. The camera’s extra-large telescoping lense stands at attention. The camera in the figure’s left hand is held to one of their eyes. Their other eye squints as happens when taking a photograph. The entire tableau is captured in the reflection of a large, seamless mirror–the edge of which we can see at the bottom of the photograph.]

[A dimly lit color video projected onto a dimly lit wall. The video shows a standing figure with light skin and brown hair obscured by an opaque contoured figure of heads, shoulders and torso. The opaque figure is the same opacity and color of the wall upon which the video is projected.]

Perri Cohl Hofmann
Shooting 2, 2022
Digital video
00:21:09

[A dimly lit color video projected onto a dimly lit wall. The video shows a standing figure with light skin and brown hair obscured by an opaque contoured figure of heads, shoulders and torso. The opaque figure is the same opacity and color of the wall upon which the video is projected.]

[In an alcove of the gallery, orderly sheets of silk are held in an evenly spaced stack like slices of bread. An X-ray image of clothing or fashion accessories is printed in a dark rectangle at the center of each sheet. One of the sheets folds open and reveals an x-ray of a handbag. The metal fixtures on the bag stand out as bright white zippers and chains as the fibrous material of the bag blends with the black background of the image.]

Ella Kandel
Unmade #2, 2021
Digital print on Chinese dupion, silk chiffon, 100% Belgian linen, cotton broadcloth, nylon flag, poster fabric, polyester banner, and polyester satin, wire
71 x 20 3/4 inches
Made in collaboration with Rutgers Clinical Laboratory and Medical Imaging Sciences Rutgers University Hospital Radiology Department, Newark, New Jersey

[In an alcove of the gallery, orderly sheets of silk are held in an evenly spaced stack like slices of bread. An X-ray image of clothing or fashion accessories is printed in a dark rectangle at the center of each sheet. One of the sheets folds open and reveals an x-ray of a handbag. The metal fixtures on the bag stand out as bright white zippers and chains as the fibrous material of the bag blends with the black background of the image.]

[In this close-up of Unmade # 2 common boots, shirts, jeans and a handbag become monochrome scatters of metal fasteners and ghostly outlines of wrinkled fabric. Some elements resemble the white, bone, spine of a fish or a snake. The collection of X-rays as a whole recalls a radiology lab of the 20th century.]

Ella Kandel
Unmade #2, 2021
Digital print on Chinese dupion, silk chiffon, 100% Belgian linen, cotton broadcloth, nylon flag, poster fabric, polyester banner, and polyester satin, wire
71 x 20 3/4 inches
Made in collaboration with Rutgers Clinical Laboratory and Medical Imaging Sciences Rutgers University Hospital Radiology Department, Newark, New Jersey

[In this close-up of Unmade # 2 common boots, shirts, jeans and a handbag become monochrome scatters of metal fasteners and ghostly outlines of wrinkled fabric. Some elements resemble the white, bone, spine of a fish or a snake. The collection of X-rays as a whole recalls a radiology lab of the 20th century.] [In this close-up of Unmade # 2 common boots, shirts, jeans and a handbag become monochrome scatters of metal fasteners and ghostly outlines of wrinkled fabric. Some elements resemble the white, bone, spine of a fish or a snake. The collection of X-rays as a whole recalls a radiology lab of the 20th century.]

[The x-ray prints are visible through the silk backing material, and it is apparent that the stack is arranged face-to-face, back-to-back. The faint outline of a dress with a ribbon faces a collection of stark white dots belonging to a garment it is difficult to identify by x-ray alone.]

[Another view of the large open gallery facing the rear of the gallery space. The center of this view shows two white plinths, each supporting a projector, cabling, and headphones. Between the plinths are two benches stationed perpendicular to one another. Farthest from the plinths and benches is a large, dimly lit alcove featuring sculptures on the floor and wall, a drawing, and a lit TV monitor. To the right of this alcove is a video projected onto a short wall connected to one of the illuminated doorways. Turning the corner is another white wall abutting another illuminated open doorway.]

Installation view main gallery

[Another view of the large open gallery facing the rear of the gallery space. The center of this view shows two white plinths, each supporting a projector, cabling, and headphones. Between the plinths are two benches stationed perpendicular to one another. Farthest from the plinths and benches is a large, dimly lit alcove featuring sculptures on the floor and wall, a drawing, and a lit TV monitor. To the right of this alcove is a video projected onto a short wall connected to one of the illuminated doorways. Turning the corner is another white wall abutting another illuminated open doorway.]

[A view of the main gallery showing in greater detail one of the color video projections of a person in bed. Receding in space are two illuminated open doorways, another color projection nearby, and two white plinths supporting projects on either side of two benches.]

Installation view main gallery

[A view of the main gallery showing in greater detail one of the color video projections of a person in bed. Receding in space are two illuminated open doorways, another color projection nearby, and two white plinths supporting projects on either side of two benches.]

[A video projection. Both the projected image and the projector machine, media player, and cabling, all sit on a white plinth. The projected image shows a small image of the interior of a doll house with blurry hands in the foreground. To the left of the image, yellow text reads, quote: “Why would I want to watch other families?”]

Miranda J. Friedman
your personality’s ok, 1995–1998, 2020
Digital video, audio
00:07:56

[A video projection. Both the projected image and the projector machine, media player, and cabling, all sit on a white plinth. The projected image shows a small image of the interior of a doll house with blurry hands in the foreground. To the left of the image, yellow text reads, quote: “Why would I want to watch other families?” ]

[Another view of the same projection at a different point in the video showing both the projected image and the projector machine, media player, and cabling–all sitting on a white plinth. The projected image shows song lyrics in white text with a portion highlighted in yellow, as is true of karaoke videos. It reads, quote: “Now I’m the worst to you / ‘Cuz I told you… / ‘Cuz I gotchoo… / … / ‘Cuz I gave you… ]

Miranda J. Friedman
your personality’s ok, 1995–1998, 2020
Digital video, audio
00:07:56

[Another view of the same projection at a different point in the video showing both the projected image and the projector machine, media player, and cabling–all sitting on a white plinth. The projected image shows song lyrics in white text with a portion highlighted in yellow, as is true of karaoke videos. It reads, quote: “Now I’m the worst to you / ‘Cuz I told you… / ‘Cuz I gotchoo… / … / ‘Cuz I gave you… ]

[A view of a color video projected at large-scale. The projected image, which shows a white hand holding a photo album open to a photo of a young person, who also appears to be white, wearing a blue sweater. On either side of the projected image are doorways leading to additional galleries.]

Gabriel Sacco
Where did the Little Boy go?, 2021
Digital video, audio
00:22:57

[A view of a color video projected at large-scale. The projected image, which shows a white hand holding a photo album open to a photo of a young person, who also appears to be white, wearing a blue sweater. On either side of the projected image are doorways leading to additional galleries.]

[Another view of the same projection at a different point in the video showing a person, who appears to be white, wearing a blue sweater and sitting at the edge of an unmade bed in a dim lit room, gazing outside of the frame. On either side of the projected image are doorways leading to additional galleries.]

Gabriel Sacco
Where did the Little Boy go?, 2021
Digital video, audio
00:22:57

[Another view of the same projection at a different point in the video showing a person, who appears to be white, wearing a blue sweater and sitting at the edge of an unmade bed in a dim lit room, gazing outside of the frame. On either side of the projected image are doorways leading to additional galleries.]

[A view of the main gallery’s dimly lit three-walled alcove showing sculptures on the wall and floor as well as small and large framed artworks on the walls.]

Installation view main gallery

[A view of the main gallery’s dimly lit three-walled alcove showing sculptures on the wall and floor as well as small and large framed artworks on the walls.]

[An angled view of two adjoining walls forming a corner in the gallery. The wall to the left is covered in dried tobacco leaves and has a rectangular TV monitor hung in the center of it. The words “Living dead” in white capital letters read across the monitor’s screen on top of what looks like video footage of loose soil and roots. The wall to the right is painted white and has a rectangular lightbox hanging vertically in the center of it. The lightbox has a blueish, grainy photographic image on it with the number “1492” overlaid in red font. On the gallery’s wooden floor, a sculpture made of 8 black milk crates, four on top of four provides a place to sit while experiencing the artworks.]

Misra Walker
Leatherface, 2021-2022
Tobacco leaves, milk crates
Dimensions variable; site specific

Misra Walker
Living-Dead Anthology: Spectre and In The Belly of the Beast, 2021-2022
Digital video, audio
00:20:57

Misra Walker
In The Belly of the Beast Movie Poster
Digital print, lightbox
25 3/4 x 17 5/8 inches

[An angled view of two adjoining walls forming a corner in the gallery. The wall to the left is covered in dried tobacco leaves and has a rectangular TV monitor hung in the center of it. The words “Living dead” in white capital letters read across the monitor’s screen on top of what looks like video footage of loose soil and roots. The wall to the right is painted white and has a rectangular lightbox hanging vertically in the center of it. The lightbox has a blueish, grainy photographic image on it with the number “1492” overlaid in red font. On the gallery’s wooden floor, a sculpture made of 8 black milk crates, four on top of four provides a place to sit while experiencing the artworks.]

[A rectangular, flatscreen TV monitor hangs on top of a wall covered in dried, collaged tobacco leaves. The screen is predominantly blue. It depicts a desktop of a Mac computer screen. There are six blue folder icons stacked vertically on the right hand side of the screen. The center of the screen shows one larger internet browser window open to a “live view” on GoogleMaps and a smaller window to its right showing a black and white photograph of what looks like five people sitting and standing on a large rock formation. The photo looks decades older than the image from GoogleMaps.]

Misra Walker
Living-Dead Anthology: Spectre and In The Belly of the Beast, 2021-2022
Digital video, audio
00:20:57

[A rectangular, flatscreen TV monitor hangs on top of a wall covered in dried, collaged tobacco leaves. The screen is predominantly blue. It depicts a desktop of a Mac computer screen. There are six blue folder icons stacked vertically on the right hand side of the screen. The center of the screen shows one larger internet browser window open to a “live view” on GoogleMaps and a smaller window to its right showing a black and white photograph of what looks like five people sitting and standing on a large rock formation. The photo looks decades older than the image from GoogleMaps.]

[A full bleed image of an expanse of dried tobacco leaves layered on top of one another. The leaves are multiple shades of brown from light tan to a dark brown color. They look fragile.]

Misra Walker
Leatherface, 2021-2022
Tobacco leaves, milk crates
Dimensions variable; site specific

[A full bleed image of an expanse of dried tobacco leaves layered on top of one another. The leaves are multiple shades of brown from light tan to a dark brown color. They look fragile.]

[Square x-rays of a pair of shoes repeats across the bottom of a large white print. They are standard and exact like a roll of film. The pairs on the left and right ends have been cut-off by the large black frame that contains the full-bleed print. Because the repeated image is an x-ray, the soles of the shoes are equally as visible as what sits on top of them and the laces seem to grow out of the rubber soles like mushrooms. The repetition of the image appears almost like a military parade of boots on the ground.]

Ella Kandel
Borders, 2021
Digital print on gator board
88 x 43 inches (framed)
Made in collaboration with Rutgers Clinical Laboratory and Medical Imaging Sciences
Rutgers University Hospital Radiology Department, Newark, New Jersey

[Square x-rays of a pair of shoes repeats across the bottom of a large white print. They are standard and exact like a roll of film. The pairs on the left and right ends have been cut-off by the large black frame that contains the full-bleed print. Because the repeated image is an x-ray, the soles of the shoes are equally as visible as what sits on top of them and the laces seem to grow out of the rubber soles like mushrooms. The repetition of the image appears almost like a military parade of boots on the ground.]

[Thin, silver metal frame hanging on a white wall. The drawing within the frame is of a crystal chandelier. It is rendered in black and white. It looks luminous. The composition is central on the page and there is a lot of empty space on paper surrounding the image.]

Katerina Pansera
Full Tilt, 2020
Gouache on paper
8 1/4 x 11 3/4 inches (unframed) 10 x 13 3/8 inches (framed)

[Thin, silver metal frame hanging on a white wall. The drawing within the frame is of a crystal chandelier. It is rendered in black and white. It looks luminous. The composition is central on the page and there is a lot of empty space on paper surrounding the image.]

[Two large paintings of cars are hung on adjacent walls. In the corner between them is a white stack of dishes with a cloth draped over them.]

Installation view gallery 1

[Two large paintings of cars are hung on adjacent walls. In the corner between them is a white stack of dishes with a cloth draped over them.]

[A cream-colored sculpture sitting directly on the floor. The sculpture appears to be a stack of dishes with a cloth draped over them. Plates, bowls and platters. On closer inspection the cloth has the shape of a person's back, bending over as though picking something up off the floor. On even closer inspection, the back-shaped-cloth turns out to be a solid material closer in makeup to the dishes it covers than to textile or flesh.]

Peggy Chiang
Untitled (dog), 2021
Plaster and ceramic
13 x 21 x 16 inches

[A cream-colored sculpture sitting directly on the floor. The sculpture appears to be a stack of dishes with a cloth draped over them. Plates, bowls and platters. On closer inspection the cloth has the shape of a person's back, bending over as though picking something up off the floor. On even closer inspection, the back-shaped-cloth turns out to be a solid material closer in makeup to the dishes it covers than to textile or flesh.]

[A large drawing hangs directly on a white wall, unframed. The spatially complex pictureplane feels like a series of interconnected rooms made up of discrete yet related domestic features: wall paneling, bathroom tiling, a fireplace, windows, outdoor scenery, curtains, and shades. Centered within the picture is a contour line drawing of a car, door open, stalled out or stationed inside a dream-space.]

Shamia Gaither
Cadi, 2021
Chalk pastel on butcher paper
47 x 84 inches

[A large drawing hangs directly on a white wall, unframed. The spatially complex pictureplane feels like a series of interconnected rooms made up of discrete yet related domestic features: wall paneling, bathroom tiling, a fireplace, windows, outdoor scenery, curtains, and shades. Centered within the picture is a contour line drawing of a car, door open, stalled out or stationed inside a dream-space.]

[A painting of a car submerged in dark swampy water. Rich hughes of moss, soot and ivory show a white car submerged in turbulent green water. Night has fallen. The hood of the car is white and the windows are pitch black. On close inspection slivers of red and amber indicate that the car is still on, its head and tail lights transmitting a faint glow through the murky river.]

Stephanie Boyer
Water Bug, 2022
Oil on canvas
60 x 72 inches

[A painting of a car submerged in dark swampy water. Rich hughes of moss, soot and ivory show a white car submerged in turbulent green water. Night has fallen. The hood of the car is white and the windows are pitch black. On close inspection slivers of red and amber indicate that the car is still on, its head and tail lights transmitting a faint glow through the murky river.]

[Colorful paintings hung on opposite walls. Between them, two large windows. On the left is a large painting of a car, half-submerged in swampy turbulent water the color of seaweed, ivory and soot. On the right are two smaller paintings. One shows the corner of a dance floor bathed in yellow light and shadows, the other shows a cool moody bathroom sink with a hand submerged in its still, quiet water.]

Installation view gallery 1

[Colorful paintings hung on opposite walls. Between them, two large windows. On the left is a large painting of a car, half-submerged in swampy turbulent water the color of seaweed, ivory and soot. On the right are two smaller paintings. One shows the corner of a dance floor bathed in yellow light and shadows, the other shows a cool moody bathroom sink with a hand submerged in its still, quiet water.]

[A colorful painting of an extravagant interior at Paisley Park. The room— from background to foreground— contains a stained glass window, a checkered floor, spotlights, an ionic column, a wall with Prince’s Cloud Guitar and platinum record, a control panel with chairs, and a three-pole rope stanchion.]

Katerina Pansera
Soundcheck at Paisley Park, 2021
Oil on canvas
48 x 60 inches

[A colorful painting of an extravagant interior at Paisley Park. The room— from background to foreground— contains a stained glass window, a checkered floor, spotlights, an ionic column, a wall with Prince’s Cloud Guitar and platinum record, a control panel with chairs, and a three-pole rope stanchion.]

[A painting of a distant corner of a dance floor shimmering with reflected light and dark recesses. Any dancing taking place does so outside of the pictureplane. A diagonal line running through the lower half of the pictureplane shows where a paneled mirror meets floorboards.]

Katerina Pansera
Rhythm of the Night, 2021
Oil on canvas
20 x 24 inches

[A painting of a distant corner of a dance floor shimmering with reflected light and dark recesses. Any dancing taking place does so outside of the pictureplane. A diagonal line running through the lower half of the pictureplane shows where a paneled mirror meets floorboards.]

[Two paintings hanging on a white wall hear a window. The painting on the left, rendered in yellows, acid greens, and blacks, is slightly larger than the painting on the right, which is rendered in blues and grays.]

Katerina Pansera
Rhythm of the Night, 2021
Oil on canvas
20 x 24 inches

Stephanie Boyer
Dissolve, 2022
Oil on canvas
8 x 10 inches

[Two paintings hanging on a white wall hear a window. The painting on the left, rendered in yellows, acid greens, and blacks, is slightly larger than the painting on the right, which is rendered in blues and grays.]

[A small painting showing a hand pressing its palm down into the basin of a bathroom sink. The sink’s drain also looks like a belly button or a bodily orifice and the hand, arm, and sink are rendered in the same blue-gray manner.]

Stephanie Boyer
Dissolve, 2022
Oil on canvas
8 x 10 inches

[A small painting showing a hand pressing its palm down into the basin of a bathroom sink. The sink’s drain also looks like a belly button or a bodily orifice and the hand, arm, and sink are rendered in the same blue-gray manner.]

[A view of three artworks in a gallery with two windows. On the left is a small dark painting alone on a white wall and in the gallery’s center, in front of two windows, are two golden-color sculptures, each sitting on a tall black plinth.]

Installation view gallery 3

[A view of three artworks in a gallery with two windows. On the left is a small dark painting alone on a white wall and in the gallery’s center, in front of two windows, are two golden-color sculptures, each sitting on a tall black plinth.]

[A gallery view of two sculptures each on a black plinth topped with a mirror positioned in front of two windows looking out onto the street.]

A close-up of two bronze crowns buffed to a warm golden patina. Where most crowns look vaguely architectural, these crowns are more organically shaped. They appear closer to coral reef life, loc'd hair, thin tubers, and bouquets of cheetos, all attached to a circular base. Each sculpture sits on a mirror atop a black plinth. The mirrors reflect an image of the golden crowns downward through the tops of the plinths.
Sneezed on the beat and blessed herself (for/from Morgan Parker), 2021
Cast bronze
8 5/8 x 8 3/8 x 5 inches

Kyle b. co.
Flamin’ “Godspeed” (for/from Frank Ocean), 2021
Cast bronze
10 x 12 x 4 1/2 inches

[A gallery view of two sculptures each on a black plinth topped with a mirror positioned in front of two windows looking out onto the street.]

Kyle b. co.
Sneezed on the beat and blessed herself (for/from Morgan Parker), 2021
Cast bronze
8 5/8 x 8 3/8 x 5 inches

Kyle b. co.
Flamin’ “Godspeed” (for/from Frank Ocean), 2021
Cast bronze
10 x 12 x 4 1/2 inches

[A close-up of two bronze crowns buffed to a warm golden patina. Where most crowns look vaguely architectural, these crowns are more organically shaped. They appear closer to coral reef life, loc'd hair, thin tubers, and bouquets of cheetos, all attached to a circular base. Each sculpture sits on a mirror atop a black plinth. The mirrors reflect an image of the golden crowns downward through the tops of the plinths..]

[An artwork rendered in yellows, ocres, browns, and grays framed within a black frame. The artwork’s imagery feels rapturous–human figures move through all parts of the pictureplane’s textural atmosphere, landscape, and underground areas. The people, whether spirits or figures, barely touch yet are very aware of each other’s presences.]

Kyle b. co.
(Untitled) A Jean Genet rewrite, 2014
graphite, acrylic, varnish, ink and white-out on Somerset
21 1/4 x 30 inches (unframed) 23 5/8 x 32 1/2 x (framed)

[An artwork rendered in yellows, ocres, browns, and grays framed within a black frame. The artwork’s imagery feels rapturous–human figures move through all parts of the pictureplane’s textural atmosphere, landscape, and underground areas. The people, whether spirits or figures, barely touch yet are very aware of each other’s presences.]

[A small painting of a car’s door and side window rendered in blacks, deep blues, and cool silver highlights surrounded by darkness.]

Stephanie Boyer
Half There, 2022
Oil on canvas
8 x 10 inches

[A small painting of a car’s door and side window rendered in blacks, deep blues, and cool silver highlights surrounded by darkness.]

[A very colorful painting of an interior featuring pink walls, orange floors, two couches, a chair, a table, and a harp. The room’s wall seems to be sun-bleached—dark pink rectangles imply spaces where pictures or paintings may have once hung. There also appears to be a large window looking out onto an abstract purple landscape.]

Katerina Pansera
Vita Brevis (Songstress Mountain Hideaway), 2022
Oil on canvas
48 x 60 inches

[A very colorful painting of an interior featuring pink walls, orange floors, two couches, a chair, a table, and a harp. The room’s wall seems to be sun-bleached—dark pink rectangles imply spaces where pictures or paintings may have once hung. There also appears to be a large window looking out onto an abstract purple landscape.]

[A white display case featuring several colorful drawings and collages. The display case sits in front a white, brick wall and two windows.]

Shamia Gaither
Untitled collages and zines, 2021-2022
Magazine, board, oil pastel
Various dimensions

[A white display case featuring several colorful drawings and collages. The display case sits in front a white, brick wall and two windows.]

[A closeup image of the display, featuring oil pastel drawings–one primarily pink, one multi-colored, and one of a molar tooth surrounded by pink gums–as well as a series of collages of black and orange tabby cats presented on cardboard.]

Shamia Gaither
Untitled collages and zines, 2021-2022
Magazine, board, oil pastel
Various dimensions

[A closeup image of the display, featuring oil pastel drawings–one primarily pink, one multi-colored, and one of a molar tooth surrounded by pink gums–as well as a series of collages of black and orange tabby cats presented on cardboard.]

[Two wall-mounted speakers connected to a red mini-amp sitting on a small white stand.]

Steph Zimmerman
The Patti Page Quartet Act 1.5 (Patti tries to sing a love song), 2022
2-channel audio, vocals: Steph Zimmerman, Robbie Acklen, Gabriel Sacco
00:07:40 (plays every quarter hour)

[Two wall-mounted speakers connected to a red mini-amp sitting on a small white stand.]

[Two orbs containing blond wigs cast in semi-transparent resin, reminiscent of fortune teller’s crystal balls. Each orb is placed on its own low table made of large white vent registers. The orbs have bases made of thick, blue, black, and peach felt.]

Steph Zimmerman
Platinum platinum blade. COMPPRrrrrrreeeeeeeeessssssssssss... and return, 2022
Wig, felt, resin, painted steel, air return filter grille
16 x 30 x 30 inches

[Two orbs containing blond wigs cast in semi-transparent resin, reminiscent of fortune teller’s crystal balls. Each orb is placed on its own low table made of large white vent registers. The orbs have bases made of thick, blue, black, and peach felt.]

[A tall, totem-like sculpture is illuminated with pink and purple lights from within. The work is made of CNC’d and laser etched plywood planks. Cuts in the wood allow areas of light to leak out of the sculpture.]

Bruno Smith
Serpientes, 2022
Composite plywood, steel rod, grow lights, electrical hardware, clay, succulents, cacti, dirt, rocks, water
96 x 18 x 16 inches

[A tall, totem-like sculpture is illuminated with pink and purple lights from within. The work is made of CNC’d and laser etched plywood planks. Cuts in the wood allow areas of light to leak out of the sculpture.]

[A closeup photograph reveals that the fluorescent pink grow-lights placed inside of repurposed Goya cans are also actually sustaining several cacti and succulents. One cacti appears to be crawling out of the sculpture.]

Bruno Smith
Serpientes, 2022
Composite plywood, steel rod, grow lights, electrical hardware, clay, succulents, cacti, dirt, rocks, water
96 x 18 x 16 inches

[A closeup photograph reveals that the fluorescent pink grow-lights placed inside of repurposed Goya cans are also actually sustaining several cacti and succulents. One cacti appears to be crawling out of the sculpture.]

[A view of the main gallery showing several illuminated sculptures. The view looks out onto the exterior courtyard through the gallery’s three main expansive windows. In the foreground there is a bench.]

Installation view main gallery

[A view of the main gallery showing several illuminated sculptures. The view looks out onto the exterior courtyard through the gallery’s three main expansive windows. In the foreground there is a bench.]

[A small photograph of a person dressed in black clothing crouching in front of a cartoonish haunted house backdrop wearing the mask of Ghostface from the Scream horror movies. The person’s hands, with red fingernails and light brown complexion, are positioned on either side of the mask’s cheeks–gesture reminiscent of Edvard Munch’s The Scream paintings.]

Misra Walker
Untitled, 2021
Photo studio portrait
2 1/2 x 3 1/2 inches

[A small photograph of a person dressed in black clothing crouching in front of a cartoonish haunted house backdrop wearing the mask of Ghostface from the Scream horror movies. The person’s hands, with red fingernails and light brown complexion, are positioned on either side of the mask’s cheeks–gesture reminiscent of Edvard Munch’s The Scream paintings.]

[A closeup of a cartoon parrot made of aluminum hanging on the wall. The parrot has its wing raised, is in mid-trot, and has red paint marks across its body.]

Anoushé Shojae-Chaghorvand
Poppy, 2021
Aluminum, enamel
3 1/2 x 15 x 1/2 inches

[A closeup of a cartoon parrot made of aluminum hanging on the wall. The parrot has its wing raised, is in mid-trot, and has red paint marks across its body.]

[A minimal, 11 by 17 inch poster resting on a bench in front of a window. The poster contains centered, black, sans-serif text against a white background and reads, 6.9.22 — 7.1.22, Some Follow-Up Questions, Rutgers in New York. Westbeth Gallery 55 Bethune St. NY, NY. Tel: +1 929-618-4831.]

Installation view main gallery

[A minimal, 11 by 17 inch poster resting on a bench in front of a window. The poster contains centered, black, sans-serif text against a white background and reads, 6.9.22 — 7.1.22, Some Follow-Up Questions, Rutgers in New York. Westbeth Gallery 55 Bethune St. NY, NY. Tel: +1 929-618-4831.]

Acknowledgments: Robbie Acklen, Atif Akin, Rhys Bambrick, Gerry Beegan, Johanna Bernstein, Natalie Bookchin, Clio Bravo, Marlene A. Brant, Evan Brownstein, Tiltan Caon, Debra Cartwright, Damian Catera, Eric Chen, Eliza Doyle, Thomas J. Emge, Rotem Fishler, Donald Garamella, Lena Greene, Donna Gustafson, Lena Hamman, Marc Handelman, Heather Hart, Grace Haynes, Randy Hemminghaus, Nate Henricks, Drew, Ruedi Hofmann, Amanda Horowitz, Daonne Huff, Steffani Jemison, Laurie Jung, Arnon Kandel, Bomi Kim, Shaul Franco Kormosh, Kristina, Krystal, Julie Langsam, Hongzhe Liang, Miranda Lichtenstein, Barbara Madsen, Anthony Masso, Carol Monroe, Gladys Montane, Desiree Morales, Sahra Motalebi, Jean Nicolaro, Jeanine Oleson, Cassandra Oliveras-Moreno, Nadia Orenstein, Maayan Perez, Sondra Perry, Amee Pollack, Adam Putnam, Nathen Rabideaux, Khairullah Rahim, Hanneline Røgeberg, Patricia, Joseph, and Amy Sacco, Carrie Marie Schneider, Mindy Seu, Poppy, Constance, and Anoushirvan Shojae-Chaghorvand, Richard Siggillino, Mark Steigelman, Ann Stratton, Patrick Strzelec, Rosemarie Te Nyenhuis, Testers group, Jacqueline Thaw, Erez Tom High, Myung S. Tta, Yaniv Turgeman, Sacha Vega, Anh Vo, Stephen Westfall, Shane Whilden, Didier William, John Yao, Gina, Greg, and Tim Zimmerman

Special thanks to Mourrice Papi and Christina Maile of Westbeth Gallery

Editors: Jason Hirata, Park McArthur, Nora Normile, Jen Shear

Photo: Carter Seddon

Pamphlet/Poster design: Jen Shear

Website design: Sophie Auger