Exhibition: Dallas Invitational 2025

Erica Baum contributes pieces from two of her well-known photographic series, Dog Ear and Patterns. Baum has made a career capturing the found language, textures and materiality from printed sources. Her piece, Embrace from the Dog Ear series proclaims “I adore language” in a recursive gesture with her subject matter. Grain is part of Baum's series Patterns which capture the tissue, contours and words from twentieth century sewing patterns. Baum has been showing with Bureau since its foundation in 2010, and was the inaugural exhibition in the gallery’s new Tribeca location in 2024. In November 2025, Baum will have a solo exhibition at the George Eastman Museum in Rochester, New York.

Vivienne Griffin shows early India ink works on paper which mimic the mechanical look of printed phrases on office paper. The words themselves are abstracted by their arrangement and enhanced by the subtle touch of Griffin’s brushwork. The text works employ deadpan word-play and fractured meaning by using atypical line-breaks and layouts. The humorous repetition of Griffin’s words is at once confident and declarative but also willfully exasperated, “WHY OH WHY OH WHY OH WHY.” In the end, there is a call to hope and community with these short syllables: “I AS IN US," a declaration of interconnection, and a refusal of the one in favor of the many.

Ian Miyamura shifts between styles with stealth to stunning effect. The varying techniques derive from Miyamura’s close study of Western painting and theory, focusing on the histories of miniature, still life, geometric abstraction, and illusionism in painting, asking questions about how style, technique and scale are valued. For Dallas we present his text paintings, which reconfigure the letters of the word "taste." The first taste paintings mimicked high Ab-Ex gestural abstraction, borrowing the look of the impeccable black and white canvases of Franz Kline. More recent works recall condensed, interlocked graffiti lettering while others echo the hazy gunpowder drawings of Ed Ruscha.  Julia Rommel is known for her distinctive abstract paintings which embrace both elegance and roughness. While appearing minimal and understated at first glance, her vibrant color-scapes reveal subtle traces of their creation. Rommel's paintings involve a laborious process of stretching and un-stretching, folds, layers, and stapling. The paintings reveal hints of their making in the surfaces, corners, and edges—an imperfect record of their construction. Rommel's work will be featured in an upcoming exhibition, Space Making at the Astrup Fearnley Museum in Oslo this spring. Kate Spencer Stewart maintains a practice rooted in abstraction and repetitive mark-making, where washes of pigment create a foundation for buzzing, atmospheric movement across the picture plane. Each square canvas—evading the traditional formats of portrait or landscape—embodies Stewart's endeavor to depict "nothingness, or the void." For Dallas, a mossy green propagates and blooms across a swath from dark to light, complimented by one of her signature "flower" paintings. Stewart will have a solo exhibition at Bureau in Fall of 2025.

Thiang Uk currently has his first solo exhibition on view at Bureau. Uk’s paintings are luminous and tumultuous, evoking mythical expanses of sea, sky, and land. His painterly technique approaches gestural abstraction with vibrant palettes and rhythmic mark-making, yet he retains illusionistic space in his otherworldly vistas. For Dallas, Uk presents two new small-format works, boldly vibrant with color, that shimmer with precipitation and the haze of memory.

Erica Baum (b. 1961, New York; lives and works in New York) received her MFA from Yale University (1994) and her BA from Barnard College in New York (1984). Solo exhibitions include Off The Cuff, Bureau, New York, NY (2024); Off the Hook, Klemm’s, Berlin, Germany (2024); the bite in the ribbon, Galerie Crevecoeur, Paris, France (2022); A Method of a Cloak, Square is the Chatter, Galerie Markus Lüttgen, Düsseldorf, Germany (2020); A Method of a Cloak, Klemm’s, Berlin, Germany (2020); A Long Dress, Bureau, New York, NY (2019); The Following Information, Bureau, New York, NY (2016). Group exhibitions include New Directions: Recent Acquisitions, George Eastman Museum, Rochester, NY (2024); Pictures & After, MAMCO Genève, Geneva, Switzerland (2023); True Pictures?, Museum für Photographie Braunschweig, Braunschweig, Germany (2021); Pictures, Revisited, The Metropolitan Museum of Art, New York, NY (2020); Making Knowing: Craft in Art, 1950–2019, Whitney Museum of American Art, New York (2019); Anna Atkins Refracted: Contemporary Works, The New York Public Library, New York (2018); The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum, New York (2017); Photo-Poetics: An Anthology, Solomon R. Guggenheim Museum (2015); Reconstructions: Recent Photographs and Video from the Met Collection, The Metropolitan Museum of Art, New York (2015); and the 30th Bienal de São Paulo: The Imminence of Poetics, São Paulo (2012). Her work is held in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; The Metropolitan Museum of Art, New York; MIT List Visual Arts Center, Cambridge; San Francisco Museum of Modern Art, San Francisco; MAMCO, Geneva; Albright‐Knox Art Gallery, Buffalo, New York; CNAP, Paris; FRAC Île de France, Paris; and Yale University Art Gallery, among others.

Vivienne Griffin (b. 1975, Dublin; lives and works in London) received a PhD from the Sonic Arts Research Centre at Queen’s University Belfast, Belfast, Ireland (2025), an MFA from Hunter College, New York, NY, supported by a Fulbright grant (2009), and received their BFA at Crawford College, Cork, Ireland (2004). Recent solo and two-person exhibitions include Open Tabs, Vivienne Griffin & Cian McConn, Centrum, Berlin, Germany (2024); The Song of Lies, Bureau, New York, NY (2024) I should be doing something else right now, Grand Army Collective, Brooklyn, NY (2017); I As In Us, Vivienne Griffin & Cian McConn, The National Museum of Contemporary Art, Bucharest, Romania (2017); She Said, Bureau, NY (2015); Like Nature But Not, Four to Seven, Riga, Latvia (2014); The Nostalgia of an Object and the Pain of Glass, Vilnius, Lithuania (2014). Recent group exhibitions include I Should Be Doing Something Else Right Now, Somerset House, London; AGM, Somerset House, London (2020); Artists’ Voices, Centre d’édition contemporaine, Geneva (2015); Pangrammar, P!, New York (2015); DAY MOON, Halsey Mckay Gallery, East Hampton, New York (2015). Their work is in the collection of the Crawford Municipal Art Gallery in Cork, Ireland.

Ian Miyamura (b. 1991 Kailua, HI; lives and works in New York) received his BFA from The School of the Art Institute of Chicago (2013), and an MFA from Maryland Institute College of Art (2019). Solo exhibitions include They Learned to Look Up and Down, Bureau, New York, NY (2025); Chaos Spawn, François Ghebaly, Los Angeles, CA (2024); Bureau at the Paris Internationale, Paris, France (2023); OCTOBER 31, 4th Ward Project Space, Chicago, IL (2022). Group exhibitions include My Condolences, M+B Gallery, Los Angeles, CA, (2023); A Tournament of Lies, The Wassaic Project, Wassiac, NY, (2022). In 2021, Miyamura attended MASS MoCA’s artist residency program as a fellowship recipient. In 2022 he was awarded a FST Studio Projects Fund grant. He is a recipient of the Luminarts Cultural Foundation of Chicago Fellowship (2013), as well as the LeRoy E. Hoffberger Foundation Fellowship (2019).

Julia Rommel (b. 1980 Salisbury MD; lives and works in New York) received her MFA from American University in Washington D.C. (2005). Recent solo and two-person exhibitions include MASSIMODECARLO Pièce Unique, Paris, France (2024); Staples, Bureau, New York, NY (2024); Just a Splash, Standard (Oslo), Oslo, Norway (2022); Uncle, Bureau, New York, NY (2022); Long Leash, Overduin & Co., Los Angeles, CA (2020); Fall Guy, Standard (Oslo), Oslo, Norway (2019); Candy Jail, Bureau, New York, NY (2019); Twin Bed, Bureau at Tanya Leighton, Berlin, Germany (2018); Stay-at-Home Dad with Mathew Cerletty, Standard (Oslo), Oslo, Norway (2017); Man Alive, Bureau, New York, NY (2016); A Cheesecake With Your Name On It, Overduin & Co., Los Angeles, CA (2016); Two Italians, Six Lifeguards, The Aldrich Contemporary Art Museum, Ridgefield, CT (2015). Her work is in the collection of the Astrup Fearnley Museet, Oslo, Norway; Buffalo AKG Art Museum, Buffalo, NY; Hammer Museum, Los Angeles, CA; KADIST, Paris, France and San Francisco, CA; Kistefos Museum, Jevnaker, Norway; Museum of Modern Art, New York, NY; San Francisco Museum of Modern Art, San Francisco, CA; The Metropolitan Museum of Art, New York, NY; Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York, NY.

Kate Spencer Stewart (b. 1984 Phoenix, AZ; lives and works in Los Angeles) received a BFA from Otis College of Art and Design, Los Angeles, CA (2016), and an MFA from University of California, Los Angeles, CA (2017). Solo and two-person exhibitions include AIR FORCE, Paul Soto, Los Angeles, CA (2025); Disintegration Suite, Paul Soto, New York, NY (2023); Diurne, Emalin, London, England (2023); Youth, Kate Spencer Stewart & Chadwick Rantanen, Hakuna Matata, Los Angeles, CA (2023); Convention, Bureau, New York, NY (2022); Nature, La Maison de Rendez-Vous, Brussels, Belgium (2022); Park View / Paul Soto, Los Angeles, CA (2020). Selected group exhibitions include Revival, Francesca Minini, Milan, Italy (2025); In flames, Paul Soto, New York, NY (2024); ABERTO/02, Domschke House, Alto da Boa Vista, São Paulo, Brazil (2023); Hand to your ear, Part 2 (noise/silence), Emalin, London (2022); Autohaus St. Marx, Neuer Kunstverein Wien, Vienna, Austria (2021); Here’s why patterns, Here’s why patterns, Here’s why patterns, Misako & Rosen, Tokyo, Japan (2019).

Thiang Uk (b. 1993, Hakha, Myanmar; lives and works in Baltimore, MD) received his AA from Daytona State College, Daytona, FL (2014); BFA from Hunter College, New York, NY (2017); MFA from Maryland Institute College of Art, Baltimore, MD (2021); and attended the Skowhegan School of Painting and Sculpture, Skowhegan, ME (2023). Recent group exhibitions include New Voices: Julia Callis, Jen P. Harris, Claudia Pena Salinas, Thiang Uk, Abattoir Gallery, Cleveland, OH (2025); Scorched Petals to Pages, The Nicholson Project, Washington, D.C. (2024); It Never Entered My Mind, curated by Michael Sherman, Sean Kelly Gallery, Los Angeles, CA (2024). Forthcoming solo exhibitions include Silber Art Gallery, Goucher College, Towson, MD (2025).