Brenda Zlamany

The Opening Gallery is pleased to present 366: A Watercolor Portrait A Day, a solo exhibition of works by Brenda Zlamany curated by Sozita Goudouna, PhD. The exhibition presents a selection of Giclée prints from 366, a chapter in Brenda Zlamany’s ongoing project, "The Itinerant Portraitist." The exhibition highlights Zlamany’s dedication to exploring human connection through painted portraiture, blending intimate visual documentation with social engagement and community building. Each piece in this limited-edition print series offers a glimpse into the artist's year-long project painting members of the arts community.

366, which began on April 25, 2015, was conceived as an immersive, collaborative experience. Over the course of a leap year, Zlamany invited a different individual from the local arts community to sit for a portrait each day. As she painted each sitter in watercolor, the process became a two-way exchange: sitters observed the painting unfold and engaged in dialogue that informed the resulting artwork. Upon completion of each portrait, Zlamany photographed the sitter holding their portrait, often working collaboratively on pose and lighting to capture their preferred presentation. Daily social media posts garnered a significant following, creating a unique form of public engagement around the intimate act of portraiture while touching on themes of beauty, aging, self-esteem, and community. These Giclée prints, each 14 x 10.5 inches, are printed on Hahnemühle Rag paper using archival pigment inks by Ray Henders at Rayographix Fine Art. They are available as limited-edition prints signed by the artist.

The Itinerant Portraitist: A Decade of Portraiture Across Communities and Cultures

Since 2011, "The Itinerant Portraitist" has been Zlamany’s platform for exploring the transformative power of portraiture in diverse communities around the world. With each chapter, Zlamany shifts focus to address unique social and cultural themes, documenting conversations with her portrait subjects during sittings and photographing them with their finished portraits. Each watercolor portrait is completed from direct observation in a single sitting, using the camera lucida, a centuries-old optical device that supports Zlamany’s commitment to capturing the sitter’s essence while fostering a relational experience. These immersive portraits give voice to various communities and individuals, with past projects ranging from 888: Portraits in Taiwan, made possible by a Fulbright Fellowship, to portraits of concertgoers in Oxfordshire, taxicab drivers in Cuba, elderly adults in the Bronx, and individuals affected by climate change in the U.S.

“The Itinerant Portraitist” has amassed over 2,000 portraits to date, each one representing a singular relationship. The project also includes video recordings, photographs, and social media engagement, creating a platform where Zlamany’s subjects and viewers alike can engage with art that illuminates issues from migration and identity to environmental and social justice. Chapters of "The Itinerant Portraitist" have been featured in installations and exhibitions worldwide.

Brenda Zlamany’s portraits often feature subjects from various backgrounds, promoting inclusivity and representation in art. Her work fosters discussions about identity, culture, and the importance of diverse voices in society thus can evoke strong emotional responses. By capturing the essence of her subjects, Zlamany’s portraits encourage viewers to connect with the stories behind the faces, fostering empathy and understanding. The artist engages with local communities through her art, collaborating with individuals and groups to create portraits that reflect their experiences; thus, she strengthens community bonds and creates a sense of belonging. Her portraits serve as a platform for social commentary, addressing issues such as inequality, social justice, and human rights, thus, raising awareness and inspiring action among viewers. By showcasing different cultures and perspectives, her portraits initiate conversations about societal norms, prejudices, and the impact of culture on identity, promoting a dialogue that can lead to greater understanding.

Zlamany’s work encourages individuals to share their own stories, thus amplifying voices that might otherwise go unheard and promoting a narrative of inclusivity. Through these avenues, the artist contributes to social engagement by fostering dialogue, understanding, and community connection.

Brenda Zlamany is a New York-based artist whose work revitalizes portraiture, positioning it as a powerful medium for cultural commentary and human connection. With a career spanning over three decades, Zlamany has garnered international acclaim for her issue-driven approach to portraiture, creating deeply personal works that explore themes of identity, community, and representation. Zlamany’s work has appeared in over a dozen solo exhibitions—including in New York City at Laurie M. Tisch Gallery (2018), Derfner Judaica Museum + The Art Collection (2017), Taipei Economic and Cultural Office (2012), Jonathan O’Hara Gallery (2007), Galapagos Art and Performance Space (1999), Stux Gallery (1998), Jessica Fredericks Gallery (1996), and E. M. Donahue Gallery (1994, 1992, and 1991), as well as at The Re Institute (2021), the Studios of Key West (2019), the Museum of Contemporary Art Taipei (2012), Sabine Wachters Fine Arts in Brussels (1995 and 1994), Galerie Quintessens in Utrecht (1994), and Hallwalls Contemporary Arts Center in Buffalo (1989). Her work has also been featured in numerous group exhibitions across the United States, Europe, Asia, and the Middle East.

Museums that have exhibited her work include the Susquehanna Art Museum (Harrisburg, 2018), the National Portrait Gallery of the Smithsonian Institution (Washington, 2018 and 2006), the National Museum (Gdansk, 2007), the Fine Arts Center, University of Massachusetts, Amherst (2001 and 1995), the Museum of Contemporary Art (Denver, 2002), Museum voor Schone Kunsten (Ghent, 2000), the Boulder Museum of Contemporary Art (1999), the Frankfurter Kunstverein (1997), the New-York Historical Society (1991), and the Brooklyn Museum (2024).

Since 2011, The Itinerant Portraitist, Zlamany’s multi-year, global project, has been a cornerstone of her practice, combining painted portraiture with community-building and multimedia storytelling. This series has allowed her to travel worldwide, recording video conversations with portrait subjects and photographing them with their completed portraits, bridging intimate connection with social media engagement. Past chapters of The Itinerant Portraitist include 888: Portraits in Taiwan, a Fulbright-funded exploration of Taiwan’s indigenous communities, and portraits of girls in an Abu Dhabi orphanage (2013), Cuban taxicab drivers (2016), elderly and disabled adults in a Bronx nursing home (2017), individuals affected by climate change in the U.S. (2018–2024), and visitors to the King Abdulaziz Camel Festival in Riyadh (2019). Throughout her career, Zlamany has received major awards, including a Fulbright Fellowship (2011), a Pollock-Krasner Foundation grant (2006–2007), a New York Foundation for the Arts Artists’ Fellowship in painting (1994), and a Peter S. Reed Foundation grant (2018). Her residency fellowships include prestigious programs at Yaddo, the MacDowell Colony, Denali, National Park, and, most recently, Glacier National Park. She has upcoming residencies at the Tusen Takk Foundation and The Pouch Cove Foundation in 2025. Zlamany’s ongoing exploration of portraiture combines art with advocacy, using her work to address critical social issues and spotlight the beauty in diverse communities worldwide.