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ARTIST RESUME


EDUCATION:
Yale University School of Art, M.F.A. Painting (2001)
Milwaukee Institute of Art and Design, B.F.A., Fine Arts, Drawing (1998)

SOLO and GROUP EXHIBITIONS:
‘Emblazoned Ciphers’, University of Nebraska/Lincoln, NE (2011)
‘Grant Miller, Ricky Allman, Linnea Spransy’, Byron C. Cohen Gallery, Kansas City, MO (2009)
‘Art and Theology’, Princeton University, Princeton, NJ (2007)
‘Collect All Four’, Byron C. Cohen Gallery, Kansas City, MO (2006)
‘Unambiguous’, Art World Digest, Brooklyn, NY
‘The God Show’, NewSpace Gallery, Manchester, CT (2004)
Wisconsin Triennial, Madison Cultural Council, Madison WI (2002)
Yale Thesis Group Show, New Haven, CT (2001)
Yale First Year Group Show, New Haven, CT (2000)
International Festival of the Arts, Kunming, China (1998)

SOLO EXHIBITIONS:
‘Conundrum’, Boger Gallery, U of Co, MO (2011)
‘Linnea Spransy’, Byron C. Cohen Gallery, Kansas City, MO (2010)
‘All Systems Go’, White Flag Projects, St. Louis, MO (2008)
‘Near Recognition-Chaos and Other Theories’, Christine Wang Gallery,
Brooklyn, NY (2004)
Nordica Gallery, Kunming, China, (2002)
The Auxiliary Space, MIAD, Milwaukee, WI (2001)
Michael Wilson Gallery, Cincinnati, OH (2000)

ART FAIRS:
‘Verge/Basel Miami’, w/Cara & Cabasas Gallery, 2009
‘Scope New York’, Hotel Gansevoort, New York, 2004

COLLECTIONS:
Ahmanson Collection
Hallmark Corporation
Wisconsin Arts Board Collection

AWARDS:
Art thru Architecture (2009) / Wisconsin Triennial Grant (2002) / Yale Grant: Carol Schosburg Memorial Prize (2001)/ Yale Grant: Harper Residency at Vermont Studio Center (2001) / Elizabeth Greenshields Grant (1998) / MIAD Full-tuition Scholarship (1994)


          

          

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ARTWORK AVAILABILITY & TERMS

Please contact the gallery via email at byroncohengallery@gmail.com or 816-421-5665 for pricing and availability.

**Please note that prices are quoted in U.S. Dollars and are not inclusive of shipping costs.

SELECTED PRESS

I am interested in limits, specifically, in their ability to generate surprise, even freedom. These limits need not be elaborate, or even obviously visible; in fact, it is often the most humble and self-evident limits, which, over time, build bizarre chandeliers of glimmering crystal, guide the catacomb construction of ant colonies, or shape the swoop of flocks and tidal currants with eerie similarity. Awareness of these limits does not guarantee predictive power, or the ennui of omniscience.

This is good, and fascinating.

And it is through this means that I make my work: every piece is the manifestation of a predetermined scheme – a system of small limits, with clear a beginning and end. These scripted pieces of visual choreography are allowed to accrue to show me their beauties and surprises, allowing discovery in the midst of certainty. Which, in the end, is a satisfying contradiction – a tension of philosophical forces hospitable to directed freedom and consistent astonishment.

ARTIST STATEMENT