Yancey Richardson now represents Tania Franco Klein

April 22, 2025

Yancey Richardson is pleased to announce its representation of Mexican artist Tania Franco Klein. Known for her visually evocative and conceptually intricate photographic series that explore emotion, psychology and subjectivity as social constructions, Franco Klein brings an innovative and incisive new voice to the gallery’s roster. Her work will be included in New Photography 2025: Lines of Belonging, the 40th anniversary edition of the Museum of Modern Art, New York’s celebrated New Photography series, scheduled to open in September of this year.

In her dramatically staged photographs that blend together references to contemporary film, photography and social theory, Franco Klein creates psychologically charged spaces where self-understanding is linked to an awareness of the collective gaze. A key emphasis within her work is the contemporary experience of being oversaturated by images and information alike, with an understanding of how this experience shapes our perception of the world and even fuels our anxieties. Just as the pace of historical change continues to accelerate, so too do the characters in Franco Klein’s photographs seem to alter their interiority in response to the shifting world around them. The malleability of identity is further expressed by Franco Klein serving as both model and subject in many of her series, in which she embodies new personas that each respond to the experience of being seen.

For Franco Klein’s most recent and on-going series, Subject Studies: Chapter I, she photographed 106 people of different ages and backgrounds, each within the same group of scenes, to highlight how people instinctively profile and assign meaning based on appearance alone. In Mercado de Sonora, she photographed her mother and grandmother as an extended form of self-portraiture to capture the ways in which beliefs are passed down from generation to generation. The photographs in the series’ Break In Case of Emergency, Proceed to the Route and Positive Disintegration each in their own way address forms of social isolation, psychological exhaustion and the breakdown of communication that have become consistent features of our moment in history.

Born in 1990 in Mexico, Tania Franco Klein received her BA in Architecture from Centro Diseño, Cine y Televisión in Mexico City and her MA in Photography from the University of Arts London. She was the recipient of the Artproof Schliemann Award supporting Artist Residencies in Arles, France and her work is in the collections of the Museum of Modern Art, New York, The Getty Center, Los Angeles and the Norton Museum of Art, West Palm Beach. Her first publication Positive Disintegration (2019) was nominated for the Paris Photo Aperture Foundation First Book Award. Franco Klein lives and works between Mexico City and the United States.

photo: Kovi Konowiecki

Jack Shainman Gallery announces representation of the Estate of Faith Ringgold

April 17, 2025

Jack Shainman Gallery is honored to announce representation of the Estate of Faith Ringgold (1930-2024) and the Anyone Can Fly Foundation. The gallery is planning an exhibition dedicated to Ringgold’s work in November 2025 at its new flagship location in Tribeca, New York.

Over the course of six decades, American artist, author, educator and organizer Faith Ringgold became one of the most significant cultural figures of the twentieth and twenty-first centuries, one whose impact and influence continues to be seen in the political art of young Black artists working today. Restlessly creative and formally ambitious, Ringgold worked in a variety of media and modes - from quilts and paintings to performance and children’s books - to create an incisive and unflinching narrative about the historical sacrifices and achievements of Black Americans.

The extraordinary body of work that Ringgold created was born out of her political consciousness and activism of the 1960s and 1970s in Harlem, New York. She fused together her own unique style of figurative painting with a bold and innovative approach to the language of protest to create many of the most substantial artworks of the Civil Rights era. Ringgold’s desire to overcome the largely white, art historical tradition led her to search for forms more suitable for the exploration of gender and racial identity, forms she found during her travels abroad in the 1970s, first to Europe and then to Africa.

The soft sculptures, masks and unstretched canvases adorned with sewn fabric borders - inspired by Tibetan thangkas and which Ringgold called 'tankas' - were the result of these exploratory trips and each would influence the creation of her story quilt paintings of the 1980s and 1990s. Regularly combining her autobiography with scenes and episodes from the collective history of Black life in America, the story quilts are disarmingly intimate yet historically grand - they demonstrate the fundamental relation between the personal and the political that Ringgold's art always understood.

Gallery founder Jack Shainman states, 'It is an absolute privilege to be able to represent the Estate of Faith Ringgold and the Anyone Can Fly Foundation and to do our part in helping to further cement the legacy of an artist who played such a significant role in shaping the culture of American art. Faith Ringgold's work touches on themes that continue to be relevant to our current social and political climates, perhaps more so now than they have since their creation and I could not be more proud to have the opportunity to continue to give her and her work a platform.'

'Faith Ringgold’s life and work has been the source of inspiration, hope and guidance for so many, whether that be in the arts or the world of organizing and activism,' said Michele Wallace, daughter of Faith Ringgold. 'Jack Shainman Gallery’s long history of supporting Black American artists, while also helping to grow the institutional awareness and embrace of their work, aligns with Faith’s efforts and the mission of the Anyone Can Fly Foundation. We could not have imagined finding better partners to help us deepen the legacy of Faith Ringgold.'

photo: Meron Menghistab. Courtesy of the Anyone Can Fly Foundation and Jack Shainman Gallery, New York

Annely Juda Fine Art announces representation of Nicola Turner

April 16, 2025

Annely Juda Fine Art has announced representation of artist Nicola Turner, commencing with a major installation at Art Basel Unlimited in June 2025, followed by her first London solo exhibition in 2026.

Turner creates sculptures and site-responsive installations that explore fundamental dichotomies: life and death, human and non-human, attraction and repulsion. Using “dead” materials such as horsehair and wool alongside found objects, her works touch upon the history and “memory” of materials, dissolving boundaries amid the interconnectedness of ecosystems.

With a background in set and costume design, Turner completed an MA in Fine Art at Bath Spa University in 2019 and in 2023 founded FORM-ica, an independent collective of artists in her hometown of Bath. She gained attention in 2024 for her site-responsive installation The Meddling Fiend which interacted with the statue of Sir Joshua Reynolds in the Courtyard of the Royal Academy, London, for the duration of the Summer Exhibition.

Turner’s works possess an animalistic quality, with tentacle-like elements that weave around and interact with their surroundings, much like a plant reaching for sunlight. Re-purposed antique furniture legs, kitchen bowls and forks, binoculars and clamps become anthropomorphic feet, hands or eyes, giving her freestanding sculptures a precarious, animated presence. The works tend to be dark both literally and metaphorically. Encased in hand-sewn mesh, the materials - once part of living creatures – draw upon Turner’s own experience of loss, bereavement and medical intrusions. This lends her work a visceral, unsettling power, evoking both attraction and repulsion, and inviting new ways of seeing.

photo: Maxwell Attenborough

Perrotin announces representation of the Nancy Graves Foundation

Perrotin is delighted to announce the representation of the Foundation of American artist Nancy Graves (b. Pittsfield, MA 1939 - d. New York, 1995), a trailblazing painter, sculptor, and filmmaker, who pushed the boundaries of each medium establishing herself as one of the most prominent figures of post-minimalism.

The gallery will present Graves’ work in a wide-ranging exhibition at Perrotin New York, which opens on 23 April and is on view until 31 May.

"We are thrilled to present a selection of exemplary and rarely exhibited works from the 1970s and 1980s," says Ylinka Barotto, Director at Perrotin. "Unfolding chronologically, the exhibition will include paintings, sculptures, and little-known archival materials, bringing to the forefront the multi-layered practice that distinguishes Graves as one of the most groundbreaking artists of the second half of the 20th century."

Nancy Graves gained recognition in New York in the late 1960s. In 1969, at the age of 29, she became the youngest artist to be featured in a sensational exhibition at the Whitney Museum of American Art, a pivotal moment that launched a successful and influential career spanning over two decades.

photo: Steven Sloman

Almine Rech now represents Hans Op de Beeck

April 15, 2025

Almine Rech is pleased to announce the representation of Belgian artist Hans Op de Beeck. The gallery will present Hans Op de Beeck’s work at Art Brussels and Art Basel, Basel 2025. The artist’s first solo exhibition with the gallery will be on view at Almine Rech Brussels in 2026.

Specializing in a wide range of mediums, Op de Beeck creates sculptures, installations, video art, photography, animated films, drawings, paintings, and short stories. Op de Beeck’s work is distinguished by its aesthetic versatility, ranging from minimalist designs to elaborate and exaggerated visuals, all aimed at expressing the core meaning of each piece as clearly as possible.

His thematic focus centers on human relationships with time, space, and society. The artist’s creations often depict imaginary yet familiar settings, characters, and moments, evoking a sense of tragicomic absurdity within the framework of our postmodern lives. Key themes in his art include the disappearance of distances, the disembodiment of the individual, and the abstraction of time—issues that have been shaped by globalization, technological advancements, and changes to our living environments brought about by media and automation.

"Belgian artist Hans Op de Beeck is acclaimed for his sculptures, installations, videos, and watercolor works, his highly sophisticated practice creates a surreal liminal space, inviting the viewer to contemplate, reflect, and dream. I’m thrilled to start this collaboration with an artist I admire and reinforcing in this way our involvement with the Belgian art scene, in which we have been present with a space in Brussels since 2008."
- Almine Rech

photo: Hugard & Vanoverschelde

KV Duong joins Pippy Houldsworth Gallery

April 9, 2025

Pippy Houldsworth Gallery is delighted to announce representation of KV Duong (b. 1980, Ho Chi Minh City, Vietnam). Duong is an ethnically Chinese artist with a transnational background - born in Vietnam, raised in Canada, and now living and working in the UK. His work explores migration and cultural assimilation through personal and ancestral histories.

Duong’s paintings forgo more traditional materials of canvas or linen in favour of latex, which is poured onto wooden board or concrete floor, then dried, painted, stretched and resin-fibreglass coated on the reverse. As a medium, latex bears fetishistic and sensuous connotations, particularly in conversation with queer identity politics, evoking sexual fantasy and intimacy. Yet it is also connected with the rubber industry, referencing the history of rubber plantations under French colonial rule in Vietnam, which lasted from 1887 until 1954. As Duong foregrounds the materiality of his medium – his painting responding to the bubbles, surface impressions, films and ripples that form as latex dries – he asks us to consider the history of exploitation and extraction surrounding the Vietnamese rubber trade.

photo: courtesy of Brave Projects and James Champion

Frances Morris CBE appointed Chair of Gallery Climate Coalition Board

April 4, 2025

Gallery Climate Coalition (GCC) announces that Frances Morris CBE has been appointed as Chair of the organisation’s Board. A museum curator, art historian and writer, Frances Morris played a key role in establishing Tate, and in particular Tate Modern, as one of the most important galleries in the world. After studying at Cambridge and the Courtauld Institute, she joined Tate as a young curator in 1987, and when Tate Modern opened, took on the responsibility of introducing an entirely new way of seeing the national collection of modern and contemporary art, first as Head of Displays (2000-2006), and then Director of Collections, International Art, until she took over as Director of Tate Modern from 2016 to 2023.

Frances’s legacy at Tate includes the geographical expansion of Tate’s collection beyond the western canon, gender equality in Tate Modern’s artistic programmes, extending the repertoire of contemporary art by making space for performance and live art in the gallery’s collections, and helping to shape internal and international green museum principles. In 2019, Frances spearheaded Tate’s public commitment to addressing climate extinction via the declaration of a Climate Emergency. This initiative offered a platform for discussion in partnership with artists, campaigners, artistic communities and cultural organisations, a commitment to reducing the organisation’s carbon footprint by 50% by 2023, alongside other measures including the adoption of a train-first travel policy, the switch to a green electricity tariff, the commitment to regular carbon auditing and the sustainable sourcing of produce for Tate’s restaurants.

As a leading voice in the discussion around culture and sustainability, Frances Morris will contribute her broad experience, expertise and international network towards GCC’s mission of mainstreaming Environmental Responsibility in the art world and reducing the sector’s CO₂ emissions by 50% by 2030, from a 2019 baseline.

Frances Morris:
“I am thrilled to be joining Gallery Climate Coalition as Chair at such a critical moment for both the organisation and the wider visual arts sector. The urgency of the climate crisis demands bold, collective action, and GCC has already made remarkable strides in galvanising the art world towards meaningful change. I have long admired the coalition’s commitment to practical, systemic solutions, and I look forward to working alongside the team and its members to accelerate this progress. Together, we have an opportunity—and a responsibility—to ensure that the arts lead by example in building a more sustainable future.”

Celebrating its 5th anniversary this year, Gallery Climate Coalition is an international coalition of over 1800 arts organisations and professionals working to urgently decarbonise the visual arts. GCC develops and shares best practice, provides leadership on sector specific environmental issues, and works to leverage the collective power of its membership to achieve systemic changes.

photo courtesy Tate © Samia Meah

Almine Rech now represents Heinz Mack

April 1, 2025

Almine Rech is pleased to announce the global representation of German artist Heinz Mack.

The artist’s first solo exhibition with the gallery will be on view at Almine Rech New York, Tribeca from 9 May to 14 June, 2025. The gallery and Fondation Le Corbusier will present a solo show by Heinz Mack at Maison La Roche, Paris in October 2025.

“I love the story of the ZERO group, founded in 1957 in Düsseldorf by Mack and Piene and joined by Uecker in 1960. ZERO represented the zero hour, a new beginning after the destructions of the Second World War. Mack decided to use light and glass, it was like 10 years earlier but it’s echoing the Californian Light and Space movement that forms the basis of the gallery’s program since the 1990’s. Mack soon began to develop his painting work, abstract approach of light and space through color research.” — Almine Rech

Heinz Mack (b. 1931, Germany) is the co-founder of the ZERO movement, known for his explorations of light, color, and movement through painting, sculpture, and installation. His work has been exhibited in major institutions, including the Solomon R. Guggenheim Museum, New York, US; the Centre Pompidou, Paris, France; the Stedelijk Museum Amsterdam, Netherlands; and is part of the collections of The Museum of Modern Art (MoMA), New York, US, and the Tate Modern, London, UK, among others.

photo: Archive Studio Mack

Perrotin announces representation of the Estate of Young-Il Ahn

March 28, 2025

Perrotin is pleased to announce its exclusive representation of the Estate of Young-Il Ahn (1934–2020). Ahn, a Korean-American painter celebrated for his exquisite abstractions based on the Pacific Ocean and the light of California, vaulted to critical acclaim late in his career following a solo show at LACMA in 2017–18. Perrotin, with locations across three continents, will represent the Estate globally.

In conjunction with the announcement, Perrotin presents Young-Il Ahn: Selected Works 1986–2019, a survey exhibition highlighting the lyrical range of Ahn’s work spanning a period of three decades. Curated by art historian and Perrotin Senior Director Jennifer King, the exhibition will be on view at Perrotin Los Angeles from 11 April to 24 May, 2025.

Emmanuel Perrotin states, “As a result of the gallery’s expansion to Los Angeles in 2024, we now have the wonderful opportunity to work intimately with the Estate of Young-Il Ahn, and to steward the legacy of an important Korean-American artist who made Los Angeles his home for over 50 years.” King adds, “Over the years, Perrotin has established a strong program of Korean and Korean diaspora artists including Chung Chang-Sup, Lee Bae, Park Seo-Bo, GaHee Park, and Shim Moon-Seup. It’s extremely gratifying to be able to build upon this strength of the gallery from a curatorial perspective.”

photo: courtesy of the Young-Il Ahn Estate

Emanuela Tarizzo appointed as director of Frieze Masters

Frieze has named Emanuela Tarizzo as the new director of Frieze Masters. She will take up the post at the beginning of April. Bringing strong experience in the art market and a rich appreciation for historical art across time periods and geographies, Tarizzo will lead Frieze Masters into its next chapter.

Tarizzo joins Frieze Masters with a wide network across the art world, built through years of collaboration with dealers, collectors, museums and scholars. With a background as an independent art advisor and former gallery director at Tomasso, London, she has cultivated a deeply rooted understanding of galleries and art fairs, as well as a passion for connecting audiences with historical art. Tarizzo is widely regarded for her research-driven approach, curatorial insight and commitment to fostering meaningful relationships within the cultural sector.

‘We are delighted to welcome Emanuela as director of Frieze Masters,’ said Kristell Chadé, executive director of fairs, Frieze. ‘Her extensive knowledge of the art market, combined with a rigorous approach to historical art, will strengthen the fair’s unique position as an essential platform for defining works of art history and deepen relationships with leading museums and collectors whose insight and ambition shape the field.’

Launched in 2012, Frieze Masters presents a contemporary perspective on thousands of years of art history, including collectable objects, artefacts from antiquity, old masters paintings and works up to the late 20th century. More than 130 international galleries participated in the 2024 edition.

The next edition will take place between 15 - 19 October 2025 at The Regent’s Park, London.

Georg Wilson joins Pilar Corrias

March 21, 2025

A spirit of place informs Georg Wilson’s practice. Drawing inspiration from ancient English folklore, poetry and painting, the artist depicts bountiful landscapes that exceed the natural; devoid of human presence, they are instead inhabited by wildling creatures that live harmoniously with the land. Wilson’s world-building is enriched by her unique approach to texture and mark-making that unifies all surfaces, forms and beings.

Painting with the seasons, Wilson’s work captures the cyclical rhythm of our existence, where birth meets growth, growth meets death and death awaits resurrection. Vibrant reds and bright greens shift to vivid yellows and deep browns as the seasons turn, and the land that was once overflowing with abundance is ready to lie dormant as the year comes to an end.

“Georg’s practice is deeply rooted in exploring the politics of ecology and history, translated through folklore and her personal experience. Her magical paintings offer a vision of the English countryside that transcends our everyday existence. We look forward to working with Georg at this exciting moment in her career.” - Pilar Corrias

Wilson’s first solo exhibition with the gallery, The Last Oozings, opened at Pilar Corrias Conduit Street on 31 January 2025 and runs until 22 March.

photo: Nick Whitworth

Timothy Taylor announces representation of Marina Adams

March 19, 2025

A new painting by Adams will be included in the forthcoming Art Basel Hong Kong 2025, which will be the artist’s debut presentation with Timothy Taylor, and a solo exhibition of her work is planned in the gallery’s New York space in September 2025.

Adams paints kinetic abstractions that explore the power of pattern. In her vibrant canvases, shapes engage energetically. Brimming with intense colour, her paintings are at times muscular and sculptural, at others sinuous and ethereal. Each distills the artist’s physical energy as she works—at once steady and responsive. Working between New York and Parma, Italy, Adams also paints small format gouache works on paper in the hills of Italy that inform the work she makes in her studio in New York. She modulates her hues with varied modes of paint application and layers of translucent pigment. Comingling and juxtaposing unlikely combinations of colour, she creates chromatic relationships that lend an uncanny luminosity to the paintings. Adams draws inspiration from commonalities, rhythms, and resonances across historically and geographically diverse cultural materials. In addition to her dialogue with her predecessors, Henri Matisse, Joan Mitchell, Alma Thomas, Willem de Kooning, and Hilma af Klint, she returns to the designs of Moorish mosaics, Indigenous American Southwest pottery, and Uzbek textiles, among other artistic traditions. Within these sources, she finds patterns that emerge from the foundational aspects of the natural world. With titles that reference the artist’s deep investment in poetry and music, these paintings welcome the engagement of other senses and of the viewer’s interpretive powers. Adams works with the belief that painting can open up context for reflection and transformation.

“What we call abstract painting is about creating a space for thought, a way to open the mind up and allow space for the other senses… When you look at them, you absorb an experience” - Adams

“We are delighted to be working with Marina Adams. I have long admired her distinctive approach to form and colour and the energy of her vibrant paintings. I look forward to presenting Marina’s work for the first time in Hong Kong next week and then later this fall at our first exhibition together in New York” - Tim Taylor

Adams will continue to be represented by Galerie Thomas Schulte in Berlin and von Bartha in Basel and Copenhagen.

photo: Jason Schmidt

Lee Bul joins Hauser & Wirth

Hauser & Wirth has announced representation of acclaimed Korean artist Lee Bul, in collaboration with Seoul-based gallery BB&M.

Known for a pioneering interdisciplinary approach honed over the course of four decades, Lee has created a body of work spanning sculpture, installation, performance and painting. She first gained international recognition in the 1990s for a provocative, genre-defying art that interrogates themes of utopian ideals, technological transformation and the fragility of human ambition. For early performances and soft sculptures that challenged societal norms, she often incorporated cyborg imagery to explore posthumanism and gender politics.

Over time, Lee’s practice has expanded to encompass large-scale immersive installations utilizing mirrored surfaces, organic-mechanical hybrids and architectural structures to engage viewers in a multi-sensory experience of space and perception. Deeply influenced by philosophy, literature and experimental architecture, her oeuvre examines the intersections of technology, history and speculative futures. Concepts of freedom and liberation are deeply embedded in Lee’s work, both thematically and formally.

In 2024, Lee was commissioned by the Metropolitan Museum of Art, New York, to create sculptures for the niches of its landmark Fifth Avenue facade. ‘The Genesis Facade Commission: Lee Bul, Long Tail Halo’ opened on 12 September 2024 and remains on view until 10 June 2025.

The artist’s first exhibition with Hauser & Wirth will take place in New York in 2026.

photo: Yoon Hyung-moon

Katy Moran joins Pippy Houldsworth Gallery

March 5, 2025

Pippy Houldsworth Gallery is delighted to announce representation of British artist Katy Moran, whose first solo exhibition with the gallery, Let’s get some AIR, will open on 2 May 2025. The exhibition represents a shift in Moran’s practice, which has undergone striking developments in scale and technique since her last solo presentation in London.

Known for her compelling abstractions that explore form, colour and surface, Moran enlists a spectrum of mark-making in the expression of different atmospheres. While some of her paintings suggest traditional land or seascapes and conjure figurative associations, they are essentially records of the intangible and are deliberately engaged in sensation, as opposed to representation. Much of Moran’s inspiration comes from her transcendental meditation practice and ideas for paintings are incubated during these sessions.This connection with her unconscious allows for an intuitive approach that prioritises the autonomy of paint as medium. The incident of coincidence in dialogue with the artist’s hand guides the development of each of Moran’s paintings, which employ experimental methods in their facture, from drips and pours to body painting. By allowing the nature of paint to inform the painting process, Moran is antithetically liberated from the bonds of materiality.

Katy Moran (b. 1975, Manchester) lives and works in Hertfordshire. She completed an MA Fine Art in painting at the Royal College of Art, London in 2005.

photo: John Shard

South London Gallery receives a major new grant from The Bukhman Foundation to fund Art Block

March 4, 2025

The South London Gallery (SLG) is delighted to have received a major new grant from The Bukhman Foundation. The grant will secure the future of Art Block, the SLG’s innovative free creative space for local children and families on its neighbouring housing estate, for a two-year period, providing the necessary funding for staff costs and artists fees, materials, activities and events.

Art Block is a purpose designed, inclusive space on Sceaux Gardens estate located directly behind the SLG. It is a place for local children and young people to make, play and be creative. It opened in 2017 and was built on the SLG’s long-term work with residents of Sceaux Gardens and other neighbouring housing estates. Sceaux Gardens Estate is within the 20% most disadvantaged areas nationally. Many children live in areas with limited access to spaces to play and ongoing issues of anti-social behaviour, with 71% of children living in the immediate vicinity of the SLG eligible for free school meals, over double the Southwark average.

The Bukhman Foundation was established by Anastasia and Igor Bukhman to support breakthroughs in medical research for Type 1 Diabetes, as well as celebrate the arts and culture, and access to education. The foundation’s work within arts and culture is centred on broadening and improving access to creativity and arts education through the support of pioneering institutions, complex and ambitious artistic projects, and ground-breaking young and emerging artists.

Margot Heller, Director, South London Gallery said: “We are immensely grateful to The Bukhman Foundation for their generous support to enable us to continue our work at Art Block. We very much look forward to this new chapter in the history of Art Block and to seeing its continued positive social impact and the creativity it will nurture.”

Palmer Gallery launches The Door, marking the gallery’s first anniversary

February 28, 2025

To celebrate the first anniversary of the gallery, Palmer Gallery is launching The Door, a new programme hosted in the annexed space at the back of the gallery. Functioning as a pseudo-project space, The Door is dedicated to supporting artists who work in less commercially-driven practices, offering them a platform to create immersive, experimental, and conceptual environments. This new initiative will feature a series of solo exhibitions running alongside the main gallery programme but with a sharper focus on experimentation, worldbuilding, and sensory engagement.

Each presentation will showcase artists whose practices emphasize multi-sensory installations, site-specific work, and the transformation of space into immersive and thought-provoking environments. The name The Door is drawn from a poem by the Czech modernist Miroslav Holub. The poem is about stimulating intellectual curiosity through endeavour, while feeling and responding to reality through an appreciation of the present. It encourages readers to embrace change and uncertainty by stepping into the unknown, suggesting that even the act of opening a door can lead to discovery, renewal, and possibility. The name also highlights the physical partition between the main gallery and The Door space, serving as a gateway into the artist’s world - a portal that can be shaped and reimagined with each new presentation.

The programme launches on 6 March with a solo presentation by Daria Blum, a performance artist and Royal Academy Schools alumna.