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@ the Watrous Gallery

Romano Johnson. Stevie Wonder. 2025. Acrylic and glitter on canvas. 48x60 inches.

With their flat forms, vibrating patterns, and explosions of color, Romano (“Mano”) Johnson’s large-scale works fill the room with energy and power. 

Tom Antell. The Ownership of a Plank. 2022. Acrylic and watercolor pencil on paper. 30 x 22 inches.

Tom Antell’s paintings delve into cartoon imagery and dark humor, playing out absurd, colorful allegories to present an alternative view of American history and the traditional symbols of exceptionalism and bounty.

Lillian Luft. Imago. 2025. Steel, Silver, Mother of pearl. 4x2x0.75 inches.

Lillian Luft’s exhibition Deliberate Acts is inspired by river ecology and the environmental consequences of the 19th-century pearl button industry.

Marna Brauner. Not So Much Sin as Folly. 2025. Dyed antique textile and buttons, digital photograph, cast wax, doll hair, antique doll glove, celluloid teeth, notions. 1 inch H x 17 inches W x 14 inches.

Milwaukee artists Marna Brauner and Hai Chi Jihn collaborated to create “a cabinet of curiosities” in an exhibition called Curio. 

Warren King, The Wu Dan Answers the Call, 2019. Cardboard and ink, 49” h.

Family histories, myth, and memories not only survive migration and cultural transplantation; they persist at the foundations of identity.

In Living Hair: Setting 001 [detail shot] 2024, Water, 2 lace-front wigs, kanekalon hair, tank with light – 12” x 6” x 8”

What does healing through joy look like for Black and Brown communities? Añamarié Edwards seeks to create welcoming, joyful spaces through her artwork, inviting opinions, conversation, celebration, and open-ended expression.

Liz Bachhuber and Jill Sebastian, Eat My Words, 2021, aluminum, worm-box (wood, worms, paper, table scraps), snow peas planted in worm-made compost, clay pots, growlights, plywood, shredded paper, handmade pea papercups.

Liz Bachhuber and Jill Sebastian first met in art school in the 1970s and reconnected during the pandemic, when they embarked on a transatlantic collaboration.

Crop of Jon Horvath, Untitled (from Wide-Eyed), 2020, archival Inkjet print.

Begun when he was a graduate student, the “Wide-Eyed” series has held Horvath’s attention for more than two decades. Horvath describes it as “a response to my surroundings, grounded in a sense of wonder and awe.

Crop of Jerry Butler, Descendants of the Disenfranchised. Acrylic stained canvas on canvas.

Butler’s exhibition at the Watrous Gallery is his response to Martin Luther King Jr.’s famous assertion that the moral arc of the universe bends toward justice.

Crop of Nina Ghanbarzadeh, People of Qajar era in my studio III, 2024, line drawing, gouache, and collage on paper mounted on wood panel

Nina Ghanbarzadeh’s art practice is rooted in the desire to share the culture and history of Iran, where she was born.

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Wisconsin Academy Offices 
1922 University Avenue
Madison, Wisconsin 53726
Phone: 608.733.6633

 

James Watrous Gallery 
3rd Floor, Overture Center for the Arts
201 State Street
Madison, WI 53703
Phone: 608.733.6633 x25