Kevin McNamee-Tweed lives in the Blue Ridge Mountains of Virginia. Recent solo exhibitions include Tatjana Pieters (Ghent, Belgium), The Institute of Contemporary Art in Chattanooga, Tennessee, The Greenville County Museum of Art, Greenville, SC, Steve Turner (Los Angeles), Cob Gallery (London), L21 Gallery (Mallorca), and Dutton (New York). He has participated in group shows in Germany, France, Italy, Spain, Iceland, Greece, the UK, and Australia. Reviews of his work have appeared in Artforum, Art in America, The New York Times, The Los Angeles Times, The Los Angeles Review of Books, Artnet, Glasstire, Le Monde, and Hyperallgeric, among others. He is the recipient of numerous awards and residencies including the Ella Fountain Pratt Award, the Mildred Pelzer Grant, the Willhelm and Jane Bodine Fellowship, The Iowa Arts Fellowship, and the Montello Foundation Fellowship. His work is held in numerous permanent collections nationally and internationally. McNamee-Tweed has published extensively, including monographs, collaborative projects, and artist books.

Orphaned at a young age, Greenman was severely hearing impaired and lived her life in Boston and Newton, MA. Greenman married a pharmacist and had one daughter, Betty, and was a home-maker until her husband died suddenly in 1956. To make ends meet, she became a clerk at the Mass. Division of Banking and Insurance until her retirement in 1970. Seemingly out of nowhere, Greenman began drawing at age 72, the same time she began struggling with Alzheimer’s disease. Over a period of the next seven years, Greenman drew obsessively, making work with increasing intensity as a struggle with Alzheimer’s disease progressed.

Spending most hours alone, Greenman used pencils, pens, crayons, and markers on scavenged scraps of paper saved from family members to interpret her world virtuosically – creating demure, mesmerizing, constrained drawings — alongside others that capture a tongue-in-cheek wit — of her home, garden, and family life in Boston as well as transformative and invented scenes from her imagination. Greenman’s drawings embody a mark-making which is woven as tightly and expressively as it possesses an all-encompassing reverence of observation and boundlessness. Her inquiry into memory and deep sense of imagined, anchored and often times idealized home, place, family, an observer in oneself, is charged with longing and wonder.

Greenman never acknowledged the making or reflected on her work though she silently tucked away carefully stacked bundles of drawings deep in her closet and under her bedskirt. When asked about her work she would dismissively respond, “What? Those are just my doodles.” Sixteen years after Greenman’s death in 1983, Frank and Betty Avruch discovered a trove of Greenman’s drawings in their attic and together set about creating an archive of Greenman’s works. Greenman’s daughter Betty, now 92 years old and herself an artist has since made it her life’s work to preserve her mother’s legacy. This effort began after Betty saw a revelatory museum exhibition of James Castle’s work for the first time and recognized striking parallels with her mother’s work.

Robert Rapson was a self-taught artist who begun making ceramics in his 40s after working as a baker. Densely patterned ships are imprinted with his fingers leaving choppy, impasto imprints in the sculptures which become one and the same with swirling seas the ships cut across. Rapson’s fascination with passenger ships came from an early age as he watched the fanfare and bands that accompanied their arrival and departures from Wellington harbor and visited his father who worked on the wharf. As a teenager he sailed to Europe on the Italian liner “Angelina Lauro”. Storied vessels of cultural and historical significance and the romantic idea of the long voyage become charged monuments which, as Rapson explained bears “witness to history and change.” Rapson's ships come from the Collection of Donald Baechler, and a private collection in California.

Fowler received his BFA from the Maryland Institute College of Art, Baltimore, in 2001. Fowler’s work has been exhibited in galleries and institutions throughout the US including the Museum of Arts and Design, NYC, Daum Museum of Contemporary Art, Sedalia, MO, the Weatherspoon Art Museum, Greensboro, NC, The Contemporary Museum, Honolulu, HI, Currier Art Museum, Manchester, NH, and at The Drawing Center, NYC among others. Fowler has been the recipient of numerous awards and grants including the New York Foundation for the Arts, Fellowship in Drawing; The Pollock-Krasner Foundation Grant, New York, NY; and the Young Artist Program Grant, DC Commission on the Arts and Humanities, Washington, DC. His work can be found in numerous private and corporate collections throughout the U.S. , and lives and works in New York.

Constable makes singular sculptures of cameras, telescopes, projectors, and binoculars imbued with a heightened tactility and inner life. Legally blind, deaf, and non-verbal, Constable began constructing replicas of cameras from cereal cartons and glue at the age of eight which lead to a life-long fascination with photographic, film and astronomy devices. Constable has been working at the Arts Project Australia, an artist-supported studio since 1991. Selected solo exhibitions include Alan Constable, Darren Knight Gallery, Sydney; National Portrait Gallery, Canberra; Brick vase clay cup jug, (curated by Glenn Barkley), Art Gallery of New South Wales, Sydney; Who Are You: Australian Portraiture, National Gallery of Victoria, Melbourne, and National Portrait Gallery Canberra, Australia; Eyes that see: the collection of Norman Rosenblatt, Bayside Gallery, Melbourne; Alan Constable (Ten Cameras), South Willard (curated by Ricky Swallow), Los Angeles. Participation in group exhibitions is extensive and includes The Museum of Everything, Museum of Old and New Art (MONA), Tasmania, 2017; Spring1883, Sydney, 2017; Let’s dance (curated by Charlotte Day), Arts Project Australia Gallery, Melbourne, 2017; ACTION, CAMERA!, The Gallery of Everything, London, 2017; 'Semiotic Terrain: Art from Australia and New Zealand at Salon 94 with Dutton, Outsider Art Fair; and NADA New York, Dutton. Constable's work is held in collections such as the the Art Gallery of New South Wales, Sydney, National Gallery of Victoria, Melbourne, The Museum of Everything, London, Queensland Art Gallery /GOMA, Brisbane, Deakin University, Melbourne, Orange Regional Gallery; The Arsenal, Montreal, as well as private collections internationally.