Image courtesy of Kimberly M. Beacoat
Kimberly M. Becoat
Kimberly M. Becoat is a contemporary mixed media artist whose work is a stylistic abstraction with a conceptual investigation of new materials and visual experiences with social commentary.
She uses a variety of art materials including acrylic paint, sumi ink, and watercolor as well as less conventional items like sand, tar paper, foil, candy wrappers and other detritus. Her most recent abstract & conceptual work is an investigation of urban environments meant to create “urban displacement”, such as in public housing - aimed to surgically remove “massive amounts of Blacks and Latinos” into designated forgotten pockets of city landscapes.
Kimberly has been featured in a number of exhibits including her current solo exhibition; URBANIA, at MoCADA Museum in New York, Welcome to Urbania, at RUSH Arts Gallery NY (solo exhibit), New Abstractions, at Essie Green Galleries (solo exhibit), Capital One Bank in NY, BAM -art at the Brooklyn Academy of Music, 1-54 Contemporary African Art Fair, and Deutsche Bank as well as the television shows, Insecure on HBO, Netflix Original Series Luke Cage and the FX series, The Americans.
A few other exhibitions include: Last Supper, Latchkey Gallery, NY; Creative Climate Award Art Nominee, Human Impacts Institute, NY; Prizm Fair, Miami, FL; In Plain Sight/Site, ArtSpace, New Haven, CT; Pressure Points, Art on the Vine, Martha's Vineyard; Dadaesque, 701 CCA Gallery, Columbia, SC; Respond, SMACK Mellon Gallery, Brooklyn, NY; Honoring Romare Bearden, The Corridor Gallery, Brooklyn; and Dirty Sensibilities: A 21st Century Exploration of the New American Black South, Caribbean Cultural Center African Diaspora Institute, New York, NY.
Kimberly is a native New Yorker, born in Harlem NY - and presently resides and works as an artist in Brooklyn, NY.
Image courtsey of Hong Hong
Hong Hong
Each summer and fall, Hong Hong (b. 1989, Hefei, Anhui, China) travels to faraway and distinct locations to make paper. The environmental, site-specific investigations map interstitial relationships between landscape, time, and the body through cartographic, symbolic, and material languages. During the winter and spring, she forms paintings directly on the floor of her studio. These schematics combine intergenerational story-telling, collaborative texts, and image-making to document states of interiority and subjectivity.
Hong is the recipient of the Chiaro Award from Headlands Center for the Arts (2025), a Tulsa Artist Fellowship (2024-2026), the Margie E. West Prize at University of Georgia (2024), a United States Artists Fellowship in Craft (2023), a Pollock-Krasner Foundation Grant in Painting (2023), a Carnegie Foundation Fellowship at MacDowell (2020), a Helen Frankenthaler Foundation Fellowship at Vermont Studio Center (2019), an Artistic Excellence Fellowship from the Connecticut Office of Arts (2019), and a Creation of New Work Grant from the Edward C. And Ann T. Roberts Foundation (2018 - 2019). She has also participated in residencies at McColl Center for Art + Innovation (2022), Houston Center for Contemporary Craft (2020-2021), Yaddo (2019), and I-Park (2018).
Hong’s projects have been presented in exhibitions at Real Art Ways (Hartford, CT), Crystal Bridges Museum of American Art (Bentonville, AR), Fitchburg Art Museum (Fitchburg, MA), Below Grand (New York, NY), Georgia Museum of Art (Athens, GA), Center for Maine Contemporary Art (Rockland, ME), NXTHVN (New Haven, CT), Ortega Y Gasset Projects (New York, NY), Oklahoma Contemporary (Oklahoma City, OK), San Francisco Center for Book Arts (San Francisco, CA), Tiger Strikes Asteroid (Los Angeles, CA), Akron Art Museum (Akron, OH), Texas Asia Society (Houston, TX), and University of Texas at Dallas (Dallas, TX), among others. Her practice received press in publications such as Art21, Art New England, Boston Art Review, Southwest Contemporary, Hyperallergic, Public Parking, Two Coats of Paint, and Glasstire.
Hong Hong currently lives and works in Oklahoma.