Srijon Chowdhury (b. 1987 Dhaka, Bangladesh) lives and works in Portland, OR, and Los Angeles, CA. He holds a BFA from the University of Minnesota Twin Cities, Minneapolis and Saint Paul, MN, and an MFA from the Otis College of Art and Design, Los Angeles, CA. Chowdhury’s works recast themes from across the history of representational painting, from early Renaissance vanitas to German Expressionism. He gives unanticipated twists to traditional genres, including ancient myths, biblical stories, and family portraiture: contemporary life is historicized, gender expectations are upended, and familiar symbols and settings are reconfigured. In her Artforum review of Chowdhury’s 2020 exhibition at Foxy Productions, Reilly Davidson wrote that Chowdhury’s “paintings capture a sense of the natural world as corrupted, forbidding. . . [He] renders a pervasive alienation—between us and our enfeebled earth, between people in this troubling life—with alarming skill.” Chowdhury has presented solo exhibitions at Frye Art Museum, Seattle, WA; Foxy Productions, New York, NY; Anat Ebgi, Los Angeles, CA; SE Cooper Contemporary, Portland, Oregon; and Ciaccia Levi, Paris, France, among others. Chowdhury has participated in group exhibitions at Fraçois Ghebaly, Los Angeles, CA; Chapter, New York, NY; Deli Gallery, New York, NY; and Franz Kaka, Toronto, Canada, among others.

Dana DeGiulio (b. 1978) is a painter who works at home in Brooklyn. Her work in video, drawing, installation, painting, writing, and teaching is about edges and touch and attention. DeGiulio earned a BFA in 2001 and MFA in 2007 from The School of the Art Institute of Chicago. In 2022, DeGiulio presented Live or Die, a one-person exhibition at the Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT. She has presented solo and two-person exhibitions at the California Museum of Photography, Riverside, CA; Carrie Secrist Gallery, Chicago, IL; Iceberg Projects, Chicago, IL; Lyles and King, New York, NY; take care, Los Angeles, CA; and The Suburban, Oak Park, IL. DeGiulio has been included in group exhibitions at Cooper Cole, Toronto, Canada; ERMES ERMES, Rome, Italy; Marli Matsumoto, São Paolo, Brazil; Frederic Snitzer Gallery, Miami, FL; Goldfinch, Chicago, IL; ICA at Maine College of Art, Portland, ME; Socrates Sculpture Park, New York, NY; The University of Tennessee, Knoxville, TN; and produced a series of animations for SFMoMA's Open Space program at the invitation of grupa o.k.. DeGiulio is an Adjunct Professor of Visual Arts at New York University, New York, NY; Columbia University, New York, NY; and the School of the Art Institute of Chicago, Chicago, IL. She is the co-founder (with Molly Zuckerman-Hartung, Colby Shaft, Diego Leclery, and Hans-Peter Sundquist) of the artist-run gallery Julius Caesar in Chicago, IL. DeGiulio presented Opening, her first exhibition with the gallery, in spring 2023.

Sosa Joseph (b. 1971) is known for atmospheric, dreamlike compositions that draw from the history and visual iconography of her surroundings in Kerala, India. Rendered in a unique style of expressionist figuration, her most recent paintings focus on the stories of individuals from Kerala that were subjected to the Indian Ocean slave trade. Simultaneously unearthing and archiving these histories, Joseph captures moments of daily life from the most brutal to the incidental in her psychologically charged paintings. Joseph studied at the Raja Ravi Varma College of Fine Arts, Kerala, and the Maharaja Sayajirao University of Baroda. She has presented solo exhibitions at Galerie Mirchandani + Steinruecke, Mumbai, India; Stevenson Gallery, Cape Town, South Africa; and the Setouchi Triennale, Setouchi, Japan. Joseph has also been included in group exhibitions such as Woman Is as Woman Does, Jehangir Nicholson Art Foundation, Mumbai, India; Art of India, Clarinda Carnegie Art Museum, Clarinda, Iowa; Superposition: Equilibrium & Engagement, the 21st Biennale of Sydney, Sydney Australia; Mémoires des Futurs / Modernités Indiennes, Centre Pompidou, Paris, France; Kamarado, Stedelijk Museum, Amsterdam, Netherlands; and the first Kochi-Muziris Biennale, Kerala, India. Her work is in the permanent collections of The Metropolitan Museum of Art, New York, and the Kiran Nadar Museum of Art, India.

Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. The resulting works simultaneously celebrate the female form and breathe life into the storied histories of domestic objects. Keith-Roach received a BA in Art History from University of Bristol, Bristol, UK. She has exhibited at Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; The Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; Wellcome Collection, London, UK; and Kasmin, New York, NY; among others. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach presented Knots, a two-person exhibition with Christopher Page, at P·P·O·W in June 2022. Keith-Roach’s work is featured on the cover of Art in America’s September 2022 issue illustrating Glenn Adamson’s article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear. In fall 2023, Keith-Roach presented another two-person exhibition with Page at Ben Hunter Gallery titled Earth Sky Body Ruins. Her second solo exhibition with the gallery will open in October 2024. 

Rooted in the California Bay Area counterculture of the 60s and 70s, Judith Linhares (b. 1940) composes folkloric, figurative paintings from confident, abstract brushwork, utilizing broad strokes and brilliant fields of color to gradually develop her subjects. Harnessing portentous yet quotidian symbols, her uniquely irradiant paintings celebrate the female body and communal experience. Fueled by the permissive, psychedelic atmosphere of the 1960s, Linhares continues to investigate the relationship between the conscious and unconscious – her dreams often providing her work with their mythic narratives, characters, and kaleidoscopic compositions that pulsate with color. Linhares earned her BFA and MFA degrees from California College of Arts and Crafts in Oakland, CA. Her work is in the permanent collections of the Whitney Museum of American Art, New York, NY; the Smithsonian American Art Museum, Washington, DC; San Francisco Museum of Modern Art, San Francisco, CA; Yale University Art Gallery, New Haven, CT; the de Young Museum, San Francisco, CA; and the Pennsylvania Academy of Fine Art, Philadelphia, PA, among others. Judith Linhares: The Artist as Curator, an exhibition featuring five decades of work, was presented at the Sarasota Art Museum, FL, in winter 2022. The exhibition included a curated presentation of works by Bill Adams, Ellen Berkenblit, Karin Davie, Dona Nelson, and Mary Jo Vath, highlighting the longstanding influence of dialogue between artists. Linhares’ second solo exhibition at P·P·O·W, Banshee Sunrise, opened in April 2022. Linhares presented Honey in the Rock, her first solo exhibition at Massimo de Carlo, London, UK, in spring 2023. In November 2023, Linhares presented a collection of rarely seen works from the 1970s in Love Letters from San Jose, her first exhibition at Parker Gallery, Los Angeles, CA.