Joel Shapiro (born September 27, 1941, New York City, New York) is an American sculptor renowned for his dynamic work composed of simple rectangular shapes.  While serving his Peace Corp time in India, Shapiro saw many Indian art works, and has said that “India gave me the sense of … the possibility of being an artist.” In India “Art was pervasive and integral to the society”, and he has said that "the struggle in my work to find a structure that reflects real psychological states may well use Indian sculpture as a model."
 He lives and works in New York City.

Feast for the Eyes is an exploration of how food has always inspired artists. The exhibition opened at Nassau County Museum of Art in Roslyn Harbor, New York on July 30, 2016, and remains on view through November 6, 2016. Feast for the Eyes, a sweeping two-floor exhibition focused on food and dining in art, features works by a wide range of artists, including Audrey Flack, Red Grooms, George Grosz, Henri Matisse, Claes Oldenberg, Cindy Sherman and Andy Warhol, among many others.

According to guest curator Franklin Hill Perrell “Food has always been celebrated in art.” He pointed out that food has been a inspiration from man’s earliest times, from cavemen depicting the hunt, to Greek and Romans depictions of food and feasting.” Perrell said that Feast for the Eyes brings art related to food and dining into the present day with 20th century movements such as realism and photorealism. Perrell said that A Feast for the Eyes would include work reflecting these movements but “we’re going to concentrate mostly on the 20th century,” to show modern sensibilities.

Drawn from a wide variety of media, the exhibition offers viewers eclectic portrayals of feasts, eateries, restaurants, cafés, groceries, and table settings. Included are luscious depictions of edible delights by artists such as Ben Schonzeit, Gina Beavers, Luigi Benedicenti and Wayne Thiebaud. Berenice Abbott contributes iconic 1930s photographs of the Automat and other dining destinations of New York City. The designer Judith Leiber makes fabulous jeweled evening bags modeled after sensuous fruits and vegetables. Perrell said that the exhibition includes quite a number of works by women artists. “They weren’t chosen because they were women,” said Perrell, “but because they were the highest-quality works.”

Inka Essenhigh’s paintings and prints evoke allegorical traditions in which nature and humanity are magically entwined. Her images are inspired by archetypes, representations that symbolize spiritual truths shared by people across the ages. Fantastic beings—from both the mythical past and the dream world of today—float through scenes of metamorphosis, in which rocks, water, trees, and buildings pulse with inner energy. Essenhigh’s animistic world triggers memories of a time in our lives, and in the history of our cultures, when the imagination stirred the inner world without reason or explanation.

Born in 1969, Inka Essenhigh earned her BFA from Columbus College of Art and Design in Ohio, and her MFA from the School of Visual Arts in New York. Her paintings have been exhibited at the Museum of Contemporary Art in Miami, the Museum of Modern Art in New York, and the Royal Academy of Arts in London. Her works are in the collections of the Albright-Knox Art Gallery, the Denver Art Museum, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Seattle Art Museum, Tate Modern, the Virginia Museum of Fine Arts, and the Whitney Museum of American Art.

KwangHo Shin (b. 1983, Seoul, South Korea). The exhibition marks his third solo show of his work with UNIX Gallery.
This latest series of work features new oil paintings that challenge the notion of identity and interactivity between people. Painting in the new environment of New York City, Shin features new tones and color combinations that directly reflect the artist’s experience with his new surroundings. The result of this is a seductive enigma, an amalgamation of specificity and obscurity, anxiety and humor; all with Shin’s expressive strokes that articulate the eponymous notion of “제목이 없는 존재,” the devoid identity, the ‘untitled being’.

Evoking themes of Abstract Expressionism, Shin employs intense and vibrant colors to depict the individualistic expression of emotion and a sense of self. He applies charcoal and oils in thick brushstrokes to distort and exaggerate the subject’s facial features. His technique confronts the viewer with an emotional impact, effecting our understanding of the human form. Channeling a more figurative mode with Untitled 16NY09, the artist melds layers of pinks and purples with white to create an explosion of ephemeral flesh. The use of softer pastels leaves a more gentle effect offset by rich siennas and flesh tones.