Designed by Eric Wrenn Office New York
128 pages / 52 color plates

Marlon Mullen has had solo exhibitions at Atlanta Contemporary, Atlanta, GA (2015) and White Columns, New York, NY (2012). His work has been included in group exhibitions such as the 2019 SECA Art Award exhibition, SFMOMA, San Francisco, CA (2019); Whitney Biennial, Whitney Museum of American Art, New York, NY (2019); Way Bay 2, U.C. Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley, CA (2018); Affinity, Museum of Northern California Art, Chico, CA (2017); Under Another Name, Studio Museum in Harlem, New York, NY (2014–15); and Create, BAMPFA (2011). Mullen received the 2014 Wynn Newhouse Award. His work is in the collections of the Museum of Modern Art; the Studio Museum; SFMOMA; RISD Museum; High Museum; Whitney Museum of American Art; BAMPFA; Institute of Contemporary Art, Miami; and Portland Art Museum, Oregon. He has worked at NIAD (Nurturing Independence through Artistic Development) Art Center, Richmond, since 1985, and lives in Rodeo, California.

Matthew Higgs is director and chief curator of White Columns, an alternative art space in New York. Prior to his work in New York, Higgs served as curator of the Wattis Institute for Contemporary Arts at the California College of the Arts, and later the co-chair of the College’s MFA program, and continues to collaborate with the nonprofit organization Creative Growth, which supports developmentally disabled artists.

Sable Elyse Smith is an interdisciplinary artist, writer, and educator based in New York. Using video, sculpture, photography, and text, she points to the carceral, the personal, the political, and the quotidian to speak about a violence that is largely unseen, and potentially imperceptible. She is currently Assistant Professor of Visual Arts at Columbia University.

Kamrooz Aram’s work is rooted in the history and practice of painting, which he expands to include collage, photography, sculptural works and exhibition design. His work engages the complicated relationship between Modernism and ornament, often with reference to non-western ornamental art, which he sees as a parallel to painting. Aram’s work sets out to renegotiate the art historical hierarchy that places these ornamental artforms in a category of value beneath fine art.

Mullen’s first monograph is available for purchase for $20 at the gallery or by emailing: mail@jttnyc.com