Rachel Uffner Gallery is proud to announce the addition of five artists to our roster. 
In solo exhibitions at the gallery over the past year and a half, these artists have solidified a fresh, strong, and individualized perspective--one that compliments the unique outlook demonstrated by the eleven artists Uffner currently represents. The newest additions, and their most recent exhibitions at Rachel Uffner Gallery, are as follows:

Maryam Hoseini (b. 1988, Tehran, Iran) 
Of Strangers and Parrots, November 5 - December 23, 2017

Arcmanoro Niles (b. 1989, Washington, D.C.) 
Revisiting the Area, January 5 - February 25, 2018

Curtis Santiago (b. 1979, Toronto, Canada) 
Drawings and Miniatures, November 13 - January 8, 2016 
upcoming solo exhibition opening April 28, 2018

Sally Saul (b. 1946, New York, NY) 
Knit of Identity, September 10 - October 29, 2017

Molly Zuckerman-Hartung (b. 1975, Los Gatos, CA) 
Learning Artist, November 5 - December 23, 2017

Maryam Hoseini,  Women Hate All Liars, 2017, acrylic, ink, and pencil on wood panel, latex paint on wall, 24 x 18 inches (60.96 x 45.7 cm), overall dimensions variable

Maryam Hoseini was born and raised in Tehran, Iran and, in 2016, earned concurrent MFA degrees from the School of the Art Institute of Chicago and Bard College.
Hoseini's  paintings depict reflections of her experiences in Iran, from the country's iconic architecture to its homosocial atmosphere, rethinking and restaging these scenes. Additionally, Hoseini's small-scale works of ink, acrylic, and pencil on panel extend into the exhibition space through site-specific wall paintings. These bodily and architectural interventions serve as a metaphorical support system, elevating the fractured narratives with weighted columns of opaque color.

Hoseini's most recent exhibition at Uffner, Of Strangers and Parrots (2017), was described as "a tantalizing debut" by New York Magazine's Jerry Saltz and was also featured in Artforum and Cultured Magazine. She recently co-curated the exhibition Other Hours at 601Artspace (New York, NY), which closes on Sunday, February 18th.

Arcmanoro Niles, One day i'll feel it too (Seeking shelter), 2017, oil, acrylic, and glitter on canvas, 54 x 34 inches (137.2 x 86.4 cm)

In his strikingly saturated tableaus,  Arcmanoro Niles depicts the neighborhoods and communities that he occupied for the majority of his life. Of particular interest to the artist lies the power dynamics within interpersonal relationships that play out in these settings-who is the protector versus the protected? How are genuine connections being forged or purposefully avoided? Each work is flooded with a rich orange hue, rendering his subjects with a noble glow that is further enhanced by the figures' glittered hair and beards. 

Niles' current exhibition at the gallery, Revisiting the Area, closes February 25th and has been profiled in Artnet NewsArtspaceThe New Yorker, and The New York Times. His work is also included in the exhibitions Portraits of Who We Are at The David C. Driskell Center at the University of Maryland (College  Park, MD) and Problem Solving: Highlights from the Experimental Printmaking Institute at the University of Delaware (Newark, DE), which both close in early May.
Curtis Talwst Santiago, Prison Industrial Complex, 2016, mixed media diorama in reclaimed jewelry box, 1 1/4 x 1 1/2 x 2 inches (3.175 x 3.8 x 5 cm)

Heavily influenced by his experience of growing up in a Trinidadian household in Edmonton, Canada,  Curtis Santiago 's practice explores issues of transculturalism, memory, and ancestry in the contemporary Diasporic experience. Combined with an interest in storytelling, in particular narratives from African and Caribbean culture, Santiago's works aim to animate and reinsert often ignored or silenced accounts into contemporary art and history. The artist's infinity series of miniature dioramas in reclaimed ring-boxes consider the absence of these narratives in dominant culture and question the production of historical understanding. 

Santiago's last exhibition at the gallery, Drawings and Miniatures (2016), was featured in the Brooklyn RailForbes, and i-D. His work was recently included in Trigger: Gender as a Tool and a Weapon at the New Museum (New York, NY) and in Through The People We Are Looking at Ourselves, a two-person exhibition with Tau Lewis at Cooper Cole (Toronto, Canada). Currently, Santiago's work can be seen in the group exhibitions Legacy of the Cool: A Tribute to Barkley L. Hendricks at the Massachusetts College of Art and Design (Boston, MA) and Through That Which Is Seen at the Palo Alto Art Center (Palo Alto, CA). On Saturday, February 17th, Curtis Santiago: Minimized Histories II opens at the Eli and Edythe Broad Art Museum at Michigan State University (East Lansing, MI). Santiago's next solo exhibition at Rachel Uffner opens Saturday, April 28th; the gallery will also be presenting his work at this year's Frieze New York, alongside Strauss Bourque-LaFrance and Shara Hughes.

Sally Saul,  Sage Hen, 2017, clay and glaze, 11 x 8 1/2 x 8 1/2 inches, (27.9 x 21.6 x 21.6 cm)

A practicing sculptor for over thirty years,
Sally Saul crafts her ceramics with a playful attitude and unmistakable wit. These lighthearted depictions are oftentimes musings on mythology, mortality, and, most of all, on humans' relationship to the natural world. The sculptures, Saul states, are informed by "memory, or an editing of memory," and that they act as "an homage to the life around us."

From the gallery's 2016 group show 3 Sculptors to 2017's solo exhibition Knit of Identity--her first in New York--Saul has seen a resurgence in her career. Will Heinrich, writing for the New York Times, called the gallery's solo presentation last year "long overdue," noting that Saul's works "create a kind of afterimage of spiritual serenity." Adrienne Rubenstein, speaking to Artsy, chose Knit of Identity as her favorite exhibition of 2017. Saul's work will be included in Objects Like Us, part of the exhibition series The Domestic Plane: Tabletop Objects from Art and Craft, opening May 20th at the Aldrich Contemporary Art Museum (Ridgefield, CT). 
Molly Zuckerman-Hartung, Walking in Sweet Freedom, 2017, drop cloth, silk, tee shirt, nylon, dye. Sewn., 88 x 60 inches (223.5 x 152.4 cm)

Molly Zuckerman-Hartung's work erodes the boundaries between figuration and abstraction, painting and sculpture, and the provisional and the permanent . Her unorthodox approach to mark-making, and to the construction of the picture plane, reflects on her preoccupations with the nature of artmaking itself. "I'm still trying to understand the formal," Zuckerman-Hartung says, adding that "I get tangled between Formalism, Formality, and the Formless." Clayton Press, writing for Forbes Magazine, called Zuckerman-Hartung "a fearless colorist and collagist," also stating that she "offers unapologetic adventures in art." 

Molly Zuckerman-Hartung was first included in Pipe Dream (2016), a group exhibition in New York co-presented by Rachel Uffner Gallery and Los Angeles' Night Gallery. The artist's inaugural solo exhibition at the gallery, Learning Artist (2017), was highlighted in Artspace, Delicious Line, and Forbes. Zuckerman-Hartung has shown extensively stateside and internationally, including her recent solo exhibition Jennifer Jason Leigh at Corbett vs. Dempsey (Chicago, IL); the Whitney Biennial 2014 (New York, NY); Painter, Painter at the Walker Arts Center (Minneapolis, MN); The Program at ReMap4 (Athens, Greece); and Michelle Grabner: I Work From Home at MOCA Cleveland (Cleveland, OH). In addition to her role as a painter, Zuckerman-Hartung is a teacher and author of "The 95 Theses on Painting." In 2015, she was appointed a Critic in Painting and Printmaking at Yale University, where she remains today.  Zuckerman-Hartung is also represented by 
Corbett vs. Dempsey (Chicago, IL). 

Please call (212) 274-0064 or email info@racheluffnergallery.com for more information.