Afterburner is a fearless tour de force and an absolute must see. With nothing like it in the San Diego area, TECHNE stands out as a lush oasis in a very barren landscape. With TECHNE's boldest exhibition to date, curator Chuck Thomas embarks on an ambitious extravaganza that should be both heralded and acknowledged. The abundant supply of color and texture in this show is spectacular.

Growing up in a very small and isolated hamlet in the middle of forest drenched western Pa., was by no means a hotbed of creativity and social discourse, let alone skateboarding which I always longed to do. The amount of hills, valleys, and dirt roads was enough to discourage any activities without a motor. As an only child with a plethora of pets ranging from one horse to seventy ducks and pretty much all other genus mixed in between was from what I recall idyllic but there was a sense of foreboding uneasiness. As I developed more formidable thoughts and awareness these creatures lacking intellect became less interesting over the years.

I grew up in northern Italy, in a city called Udine, about one and a half hour north of Venice. No one in my family had any interest in art, but for some reason I always did. As a teenager, every other year, a friend of mine and I took the train to the Venice Biennale. Back then, I did not have the intellectual tools to understand what I was looking at, but I was curious and interested. Some of the people from my small city would look at the art and say "my five your old son could do that". I kept looking, fighting these prejudices, trying to stay open-minded.

The Royal in partnership with TECHNE in Oceanside, California is pleased to present Boundaries Edge, a group exhibition featuring artists Judith Braun, Mike Cockrill, Riccarda de Eccher, Amelia Biewald, Jean-Marc Superville Sovak, Jeph Gurecka, Greg Hopkins, Mark Lewis, Kevin O’hara, Trish Tillman, Kathleen Vance, Rebecca Webb, Jay Bell, Melanie Taylor, Catherine Ruane, Adriene Hughs, Adam Belt, and Jennifer Anne Bennett.

It's a Wrap! SPRING/BREAK LA 2023 is officially over and what an experience. The theme "NAKED LUNCH" inspired by William S. Burroughs didn't disappoint. Check out a few artists as they manned their booths throughout the show.

Celestial Light is a conceptual exploration about pushing the limits of traditional color. With the recent clarity and unprecedented discoveries of the James Webb Space Telescope, we now know the sky is even more radiant and colorful than ever before. Like a psychedelic manifestation of William S. Burrows “Naked Lunch,” color is an exploration into the unknown. The works submitted for the fair have a common visual language, but highlight three very different approaches to color.

I grew in bike riding distance of two great local museums in New Haven, the Yale University Art Gallery and later The British Art Museum. I went often as they have amazing collections, which formulated my young self. Additionally, I grew up in a neighborhood under development surrounding by beautiful woods. I fell in love with nature and then had to witness its demise. This loss of life and my love for the natural world seeped into my work.

The Royal @ RSOAA in partnership with TECHNE in Oceanside, California is pleased to present Color Continuum, a group exhibition featuring artists Chuck Thomas, Nancy Baker, Gabe Brown, Jon Elliott, Jason Clay Lewis, Geoffrey Owen Miller, Elizabeth Riley, Jason Rohlf, Linda Kamille Schmidt, Suzan Shutan

Jason Clay Lewis is an artist and the Director of The Royal @ The Royal Society of American Art in Brooklyn, New York. His responsibilities include curating and promotion of all gallery exhibitions as well as the day to day running of the studios. His newly launched platform The Royal List allows artists to create FREE Artist Profiles and apply for Open Call exhibitions at The Royal.

From a very young age, I loved art and knew I would be an artist. My dad drew weird cartoons for me to fill in — and he would complement how well I stayed in the lines (so good craftsmanship was emphasized to me from the very beginning). He also made sculptures from found objects; he was always making, always building something. This had a huge impact on me and I followed suit.

The grid is a pattern originally used for mapping and for other rational, graphic displays of information. It is a metaphor for rationality, and I believe that is why the grid played such a big role in some threads of modernist art. The feeling was that rationality was the antithesis of superstition and religion, and cast aside the kind of murky romanticism found in so much art.

I was born in Washington DC in 1953 and grew up in McLean,Va. during the Cold War era. My mother was an Army brat and graduated from Georgetown University where she met my father, a DC native and World War II vet who began his career at the Pentagon when I was young.

I’m from the Lower Hudson Valley, in upstate New York—Tomkins Cove, Stony Point, just south of Bear Mountain along the Hudson River. It was a small town, the kind where as a kid you play baseball all day in the summer, and then ride your bike afterward to the grocery store to get a cold bottle of Coke to cool off.

I grew up in Sea Gate, Brooklyn which was very close to Coney Island. My mother was an Ab Ex painter, and my father was a photographer, so the conversations about art were ongoing, and prolific.

My undergraduate and graduate degrees are in Art Education. My exposure to and education in visual art and art history were in service to becoming an art educator. My creative practice was put aside for about 15 years while teaching art full-time, working towards a Masters degree in Art Education and raising a family.

I was born in Czechoslovakia. My family left and became political refugees in the early 80's. After spending a few months in a refugee camp in Austria we moved to New York. Have been here ever since working in art, film and advertising.

I never thought to become an artist in my life. In my first profession I was a pastry chef. Later on, I was serving for many years as a police officer as well as being a commander in the Austrian Anti-Terrorist-Unit COBRA. But in 2001 during my time at this unit I had a deep urge to work creatively.

With an intense passion for drawing and wanting to see the world, recognition at Oklahoma State University led to a scholarship and apprenticeship with Master Printer Bill Goldston at Universal Limited Art Editions in New York. On my very first day in New York, I met Jasper Johns who had come to work on a new print edition.