Benjamin Butler was born in Westmoreland, Kansas, USA in 1975. He received an MFA in painting from the School of the Art Institute of Chicago in 2000 and currently lives and works in Vienna, Austria.
Butler continues to exhibit in solo shows in cities around the world, such as New York, Los Angeles, London, Vienna, Basel, Beijing, and Berlin. Significant solo exhibitions in recent years include “Two-Tones, Monochromes, and Other Landscapes”（Tomio Koyama Gallery, Tokyo, 2020）, “Silver/Landscapes” (Klaus von Nichtssagend Gallery, New York, 2019), “Recent Trees and Monochromes” (Galerie Martin Janda, Vienna, 2018) and “Trees Alone” (Tomio Koyama Gallery, Tokyo, 2016). He has also participated in various group exhibitions, internationally, including “sotto voce” (curated by Robert Bordo, Bortolami Gallery, New York, 2019), “Verzweigt” (Museum Sinclair-Haus, Bad Homburg, Germany, 2014), and PS1/MOMA’s Greater New York in 2005, and “Globe as a Palette; Contemporary Art from The Taguchi Art Collection” Hokkaido Obihiro Museum of Art/Kushiro Art Museum/Hakodate Museum of Art/Sapporo Art Museum, Hokkaido, Japan.
Butler creates landscape paintings that are structured around the motifs of mountains, trees and nature. The simplified forms of branches and tree trunks expressed through vertical lines, diagonals, triangular forms and curves are rhythmically reiterated and occupy the entirety of his margin-less canvases in a manner reminiscent of a geometric pattern. Such are complemented through his use of vivid contrasting colors, creating a unique painterly expression that appears to explore the borderline between representation and abstraction.
His works, while harboring various elements in terms of composition, at the same time permeate with a simple and poetic tenderness, as well as an air of contemporary cool. As though appealing to individual memories, they confer upon viewers a time for calm contemplation.
Ryan McGinley was born in Ramsey, USA in 1977. Lives and works in New York. He graduated from B.F.A. in Graphic Design, Parsons School of Design, New York. He has shown his works in a vast number of exhibitions in the world. His major solo exhibitions include “The Kids Are Alright”（The Whitney Museum of American Art, New York, 2003), “New Photographs”（MOMA PS1, New York, 2004), “Laboratorio 987: Entre Nosotros”（Museo de Arte Contemporá neo de Castilla y León, Spain, 2005), “Project Space”（Kunsthalle Vienna, Austria, 2006), “Magic Magnifier: Photographs 1998 to 2013”（Daelim Museum, Seoul, 2013), “Ryan McGinley: BODY LOUD!”（Tokyo Opera City Art Gallery, Tokyo, 2016) and “The Four Seasons”（Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy, 2016). Tomio Koyama Gallery and 8/ ART GALLERY/ Tomio Koyama Gallery concurrently held his solo exhibitions in 2012, his first in Japan. His works are included in numerous public collections including Solomon R. Guggenheim Museum (New York, USA), San Francisco Museum of Modern Art (USA), Museum of Fine Arts, Houston (USA), Smithsonian National Portrait Gallery (Washington D.C., USA) .
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Born in 1970 in Tokyo. He completed his B.A. at Tama Art University in 1996, and currently lives and works in Tokyo.
From drawing, painting, sculpture, to “cut-outs” of characters drawn on cardboard or wood, live drawings created while wearing originally-designed costumes, as well as performance, and video, Miyake freely incorporates and combines a wide variety of expressions to create a unique artistic world that is permeated by a rich sense of wit. The diverse and pleasantly humorous nature of his oeuvre has continued to fascinate and attract the attention of viewers internationally. Miyake has held solo exhibitions in numerous locations throughout the world including Italy, Austria, Berlin, and Taiwan
His works are housed in the public collections of Astrup Fearnley Museum of Modern Art (Norway), Kistefos Museet (Norway), Haus der Künstler in Gugging (Austria), The JAPIGOZZI Collection, Rubell Family Collection (USA), and the Takahashi Collection (Japan).
Miyake’s major solo exhibitions include “I Found Myself in the Traveling Carnival” (Tomio Koyama Gallery, Tokyo, 2019), “VIKING AGE” (Gerhardsen Gerner, Berlin, 2013), “CALM CLAM” (GALERIE GABRIEL ROLT, Amsterdam, 2011), “There are TWO TRUTHS!” (Gerhardsen Gerner, Berlin, 2009), “Innocy’s House” (Museum Gugging, Art/ Brut Center Gugging, Klosterneuburg, Austria, 2007), “HATCHOBORI” (Galerie Krinzinger, Vienna, 2007), “Beaver no Seikatsu” (Sandra and David Bakalar Gallery, Massachusetts College of Art, Boston, MA, 2006), “Minotauro contro Mostro Marino”(Galleria Suzy Shammah, Milan, 2004), “Innocy’s House” (Krinzinger Projekte, Vienna, 2004), “The Fourth Planet Hour” (℅ Atle Gerhardsen, Berlin, 2004) and “SWEET SUMMER” (Tomio Koyama Gallery, Tokyo, 2003).
Major group exhibitions include “ROKKO MEETS ART 2014” (Rokko Internatonal Musical Box Museum, Hyogo, Japan, 2014), “neoteny japan: Contemporary Artists after 1990s from Takahashi Collection” (KIRISHIMA OPEN-AIR MUSEUM, Kagoshima, Japan [traveled to Sapporo Art Park, Hokkaido, 2008-09/ The Niigata Prefectural Museum of Modern Art, 2009/ Akita Museum of Modern Art, 2009/ Yonago City Museum of Art, Tottori, 2009-10/ The Museum of Art Ehime, Japan, 2010]), “Berlin-Tokyo/ Tokyo-Berlin” (Neue Nationalgalerie, Berlin, 2006), “NAOSHIMA STANDARD” (Former Barber, Naoshima, Kagawa, Japan, 2006), “Officina Asia” (Galleria d’Arte Moderna di Bologna, Italy [traveled to Galleria Comunale d’Arte, Cesena/ Palazzo del Ridotto e Galleria d’Arte Ex-Pescheria, Cesena/ Palazzo dell’Arengo, Rimini, Italy]), “The Japanese Experience -Inevitable” (Ursula Blickle Stiftung, Kraichtal, Germany [traveled to Museum der Moderne Salzburg, Austria, 2003], “Emotional Site” (Saga-cho Shokuryo Building, Tokyo, 2002).
In Tomoko Nagai’s artworks, various animals, children, colorful trees and mushrooms are depicted in a theatrical arrangement against the backdrop of forests and domestic rooms. Loaded with a multitude of motifs, each of Nagai’s paintings embraces a unique sense of spatiality, wherein a dynamism that encapsulates the worlds of fictional narratives intricately overlaps with layers of images. The colorful matière and brushstrokes form a fantastical rhythm as the artist exercises an expression akin to composing a musical piece. The viewer perceives this melody while standing face-to-face with each painting. This evokes a sense of being inside the painting, as the viewer’s own memories and experiences – nostalgic sensations, recollections and dreams from childhood – connect with the worldview represented in each artwork.
Tomoko Nagai was born in Aichi Prefecture in 1982. She graduated from Aichi Prefectural University of Fine Arts and Music in 2006, majoring in Oil Painting. Nagai currently lives and works in Tokyo. Nagai held a solo exhibition at Project N, Tokyo Opera City in 2008, followed by a number of solo presentations in Kyoto, Kagoshima, Hong Kong and Singapore. She exhibited at “VOCA 2010” (the Ueno Royal Museum, Tokyo, 2010) and “Future Pass – From Asia to the World”, part of the 54th Venice Biennale (Palazzo Mangilli-Valmarana, Venice, 2011), and has participated in international group exhibitions in Seoul (Gana Art Center, 2011), Grenoble (Le Magasin – Centre National d’Art Contemporain) and Berlin (me Collectors Room Berlin, 2010). She has also taken a part in a project funded by the Singapore Red Cross, in which she painted an entire swimming pool at Toyama nursery school, located in the tsunami-stricken area of Shichigahama town, Miyagi (designed by Takahashi Ippei Office, completed in 2013). Nagai has engaged with broad audiences outside of museums and art galleries, providing title designs and artworks for television programmes on NHK Educational, as well as creating book covers for a range of publications. In 2017, she published her first monograph “Thousands of Finches”. Nagai’s artworks have been included in public collections both in Japan and internationally, notably the Takahashi Collection (Japan), the Olbricht Collection (Germany), the Zabludowicz Collection (UK) and The JAPIGOZZI Collection (US / Switzerland).
Midori Sato was born in 1984 in Aichi Prefecture. She graduated from Oil Painting Course, School of Art, Nagoya University of Arts in 2008, and studied at Ecole nationale des beaux arts de Dijion, France as an exchange student. She received M.F.A from Graduate School of Tokyo Zokei University in 2010. She studied in Paris as a recipient of the POLA Art Foundation award for overseas research in 2017.
A closet packed full of colorful dresses, an array of high-heeled shoes on shelves, vividly colored flowers: Midori Sato shows us things that every one yearns to see. Yet if we turn our attention to the details of her work, bold brushstrokes and an intentionally uneven paint coating tinge her subject matter with the contours of abstraction. This abstraction demonstrates the force of the power that draws the viewer into the picture plane.
Her major solo exhibitions include “Floating Drapery” (Tomio Koyama Gallery, Tokyo, 2022), “Diaphanous petals” (The Pola Art Museum, Atrium Gallery, Kanagawa, 2019), “Bouquet” (8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo, 2019), “Orange Glow” (Green Art Flowers Gallery, Paris, France, 2018) and “Reflections” (Roppongi Hills A/D Gallery, Tokyo, 2017). She participated in group exhibitions such as “Aichi Triennale 2016 rainbow caravan” (Aichi, 2016) and “Embracing for Painting” (Shiseido Gallery, Tokyo, 2015). In 2013, she received the Ohara Museum of Art Prize at “VOCA 2013″(The Ueno Royal Museum, Tokyo) and the artwork was housed in the Museum.
Born in Malaysia in 1973, Shooshie Sulaiman is currently recognized as one of the most important contemporary artists of Southeast Asia. Of both Malay and Chinese origin, the history of Southeast Asia, the culture of her homeland of Malaysia, as well as her personal memories and her own identity, serve as significant themes within her work. An almost mystical air permeates Sulaiman’s oeuvre, with works produced through diverse approaches such as drawings, collages, installations, and performances that at times appropriate natural elements from trees, soil, to water that are native to the land. Through them, the works inform viewers of the complex and inextricably connected relationship between human beings, nature, and art.
She has presented in many important international exhibitions including Documenta 12 (2007), Asia-Pacific Triennial (2009- 10), Singapore Biennale (2011), and Gwangju Biennale (2014). Following the Art Unlimited section at Art Basel in 2014, she has presented a large scale installation at the Encounter section at Art Basel Honk Kong curated by Alexie Glass-Kantor in 2015. The recent solo exhibitions include “Malay Mawar” at Kadist Art Foundation, Paris in 2016 and “Shooshie Sulaiman Drawings” at 8/ ART GALLERY/ Tomio Koyama Gallery, Tokyo in 2018. Her work is collected by Kadist Foundation, Paris, Singapore Art Museum and the National Museum of Modern Art, Tokyo.
Richard Tuttle was born in Rahway, New Jersey, USA, in 1941. He currently lives and works in New York City, and New Mexico. In 1963 he completed his BA in philosophy and literature at Trinity College, Hartford, USA. He held his first solo exhibition at Betty Parsons Gallery, New York, in 1965 when he was 24 years old, and an exhibition at the Whitney Museum of American Art in 1975 when he was 34 years old. Such exhibitions attracted significant attention, and had given rise to various topics of public discussion. Tuttle has further participated in international exhibitions such as La Biennale di Venezia (1976, 1997, 2001), Documenta (1972, 1977, 1987), “Skulptur Projekte in Münster” (1987), and the Whitney Biennial (1977, 1987, 2000). Richard Tuttle is thus not only a leading figure in post minimalism, but can also be described as an artist who has constantly stimulated the art scene while transcending conventions of categorization, historical contexts, and genres.
His recent exhibitions include The Art of Richard Tuttle, a large-scale retrospective that was held at the San Francisco Museum of Modern Art and the Whitney Museum of American Art, and then traveled across various venues within the USA from 2005 to 2007. In 2014, Tuttle held a major exhibition I Don’t Know, Or The Weave of Textile Language at the Tate Modern and Whitechapel Gallery, garnering much interest for his monumental winged sculpture with textiles that was installed in the Turbine Hall. Tuttle’s works are housed in the collections of numerous museums throughout the world including the Museum of Modern Art, New York and the Metropolitan Museum among other prestigious museums in the USA, as well as the Tate Modern, Centre Pompidou, and Museum Ludwig. In Japan, his work is a part of the collection of the National Museum of Art, Osaka.
Nana Funo was born in 1983 in Shizuoka Prefecture. She graduated from Osaka University of Arts, Japan (BFA) in 2006 and completed the Graduate Kyoto City University of Arts, Kyoto, Japan (MFA) in 2008. She currently lives and works in Shizuoka. Her major solo exhibitions include “Nana Funo” (Roppongi Hills A/D GALLERY, Tokyo, Japan, 2010), “howl of green” (Itamuro Onsen Daikokuya, Nasushiobara, Tochigi, Japan, 2012). She has held 8 solo exhibitions with Tomio Koyama Gallery.
Her major group exhibitions include “VOCA 2009 The Vision of Contemporary Art” (The Ueno Royal Museum, Tokyo, Japan, 2009) and “The Way of Painting” (Tokyo Opera City Art Gallery, Tokyo, Japan, 2014). Funo’s works are housed in the collections of Aman Tokyo, The JAPIGOZZI Collection, MONTBLANC and GBU Japan, Takahashi Collection and Takamatsu City Museum of Art.
Paulo Monteiro was born in Sao Paulo, Brazil in 1961. He graduated from the Department of Visual Art, College of Fine Arts in Sao Paulo, where he currently lives and works. He started working as an artist in 1977, publishing in magazines drawings influenced by Robert Crumb amongst others. Monteiro started painting after being impressed by the work of Philip Guston in 1981, and became one of the founding members of “Casa 7” that aimed for a renaissance of Brazilian painting. In 1985 he took part in the Sao Paulo Biennial, by which time the group’s Neo-Expressionism was becoming mainstream within the art scene in Brazil. In 1986 he started creating sculptures using pipes and wood. He participated in the Sao Paulo Biennial with the lead pieces in 1994, and received the Bolsa Vitae de Artes Visuais Award in 1999. In 2000 he started painting again, and held a large survey show at the Pinacoteca do Estado de Sao Paolo in 2008. In 2014 MoMA acquired 20 works by Monteiro.
He has shown extensively in Brazil and internationally. His work is included in numerous public collections including those of MoMa, the Museu de Arte Moderna de Sao Paulo, the Pinacoteca do Estado de Sao Paulo, and the Museu de Arte Comtemporania da Universidade de Sao Paulo.