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Gochman Family Collection

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A contemporary art collection with a focus on Indigenous artists, shared through lending and exhibitions.

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Kara Walker is an interdisciplinary artist widely recognized for her critical interrogations of the interconnected histories of race, sexuality, slavery, and violence in the US.
With a strong focus on iconography from the Antebellum South, the artist examines the aesthetic underpinnings and settler colonial mythologies that contribute to contemporary black representation today.
Led by an interest in “misrepresenting misrepresentations,” Walker initially rose to prominence through her large-scale drawings and silhouetted portrayals of black figures in speculative landscapes informed by Plantation scenes, battlegrounds, and the conditions of relocation.
More recently, the artist has gained acclaim for her monumental public artworks that subvert imperial narratives.

This work, titled ‘Stonewall Monument Study,’ is part of a series of studies in Walker’s oeuvre that reveal the groundwork for her colossal sculptures. Often created using cut-paper silhouettes and printmaking processes, these studies evoke the artist’s signature style. ‘Stonewall Monument Study’ was made in preparation for her 2023 sculpture “Unmanned Drone,” which was created out of a decommissioned statue of Confederate General “Stonewall” Jackson, originally displayed in Charlottesville, Virginia.
As seen in this silhouette study, Jackson’s body has been deconstructed and reoriented by Walker, in turn shifting any original respect for the General’s legacy literally sideways.

“I wanted to deal with the material in a way that was about the act of separation—separating man from horse and man from myth.”

-Stonewall Monument Study, 2022. Cut paper on paper, Framed: 90 × 83 inches

caption: Moonoka Begay

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Branchline is the @gochmancollection exhibition and gathering space located in Katonah, NY. This new public space will include a Main Gallery and Annex opening November 6, as well as a Barn and Sculpture Patio to open in 2027.

Branchline will present rotating exhibitions drawn from the Gochman Family Collection and beyond, centering contemporary Native art while engaging a broad range of artists and artistic practices, and host programming that invites visitors to come together around contemporary art.

At its heart, Branchline is a vessel for exchange—a place where the Collection's artwork can be shared and appreciated by all
🌱🌱🌱

Stay tuned for more information about Branchline's inaugural exhibition, Line Break, and upcoming opening celebration.
Free admission.
📍 18–24 Parkway, Katonah, NY

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And so it begins!

The Gochman Family Collection will open its public exhibition and gathering space, Branchline, on Friday, November 6th. The Katonah community has welcomed us so warmly and we are so thrilled to contribute to their vibrant arts and cultural landscape. More updates to come!

Follow along here at @gfcbranchline as we get ready to open our doors! We’ll be sharing sneak peeks, introducing artists, and announcing exhibitions and upcoming programs. We can’t wait to welcome you in November. ❤️

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On October 18, River Valley Arts Collective is delighted to host an informal gathering and conversation with artists Matthew Kirk and Jean Shin. Moderated by Laura Phipps, the artists will discuss the installations they are creating for On the Grounds 2027 at @alheldfoundation

Before convening in Al Held’s former painting studio, we will take a guided walk through the landscape he transformed from an abandoned dairy farm into a studio complex now listed on the National Register of Historic Places. This site is both the inspiration and location for the work that Kirk and Shin are currently developing. They will talk about their approach to site responsive outdoor sculpture, their relationship to the Catskill Mountains landscape, the materials they will employ, and the practical and conceptual considerations they are addressing as they plan their projects.

Link in bio to RSVP

Matthew Kirk portrait courtesy of Jonathan Grassi. Jean Shin portrait by Daniel Terna. Laura Phipps portrait by Denis Gutiérrez-Ogrinc

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Rose B. Simpson is a multi-disciplinary artist from Santa Clara Pueblo, New Mexico known for her ceramic sculptures, metal work, performances, installations, and custom art cars.

Centering care, self-reflection, and kinship, Simpson creates objects of empowerment as a project in healing the damages of colonial legacies. At times, this empowerment manifests through allusions to femininity and maternal love; at others, through depictions of androgynous, regal warriors and post-apocalyptic aesthetics, suggesting resilience and protection in her community.

Simpson’s works function as psychological ruminations of the self while simultaneously reflecting the layered histories and culture of her hometown. Hailing from a long matrilineal lineage of clay artists, Simpson’s engagement with ceramic traditions deepens this entanglement between personal and historical narratives, melding ancestral knowledge with visions of Indigenous futures.

This sculpture, titled “Crown II, “uses a technique Simpson calls “slap-slab” — a process of repeatedly throwing slabs of clay against a flat surface until they are very thin. These fragile sheets demand urgency and decisiveness; the clay dries quickly, resisting hesitation. Yet the process also invites surrender to chance, encouraging compassion and grace toward imperfection. Visible seams and surfaces retain the trace of touch, foregrounding process as a form of power and clay as a site of memory.

“My work is research into a very personal space, into my relationship to process and to a spiritual or psychological journey. The objects are the result or the by-product of that investigation. It’s what comes from the journey.
These things are kind of like the wake of it, that can ideally go out into the world and help other people, maybe, in their own investigation, their own journeys.”

~Crown II, 2017
Ceramic, steel, leather, 67 x 22 × 10 inches

Caption: Nicole van Brugge

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Masterclass in how to live with (beautiful, intimate, tactile) art by the @gochmancollection. So excited to see how they carry this deep feeling of connection to their new space.

@beginnerceramics did I spy you in the last snap? 💫

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Thank you so much to @gochmancollection for welcoming the Katonah Chamber of Commerce last night for a preview of their new arts space, Branchline, located at 18-24 Parkway in Katonah. Branchline will be open to the public on Friday, November 6. We are thrilled about this exciting new addition to town.

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Jean Shin is a Korean-American sculptor and installation artist who uses donated or discarded objects to interrogate material consumption, environmental pollution, and labor practices. Collecting cast-off materials from local communities, her work explores the hidden histories that lie within these objects—their production, circulation, disposal, and environmental impacts.

“My work often begins by observing a place, probing the indexes of a site’s physical reality to identify an object or material that is ubiquitous yet implies a deeply personal sensibility.”

In the artist’s hands, e-waste, plastic discard, and excess textiles transform from everyday remnants into confrontational public monuments, returning to the communities from which they came carrying a new sense of value and urgency.

The “S.O.S.” series uses branches salvaged from a fallen 140-year-old hemlock tree in Olana State Historic Site, which was originally planted in response to the tanning industry’s deforestation of the Catskill Mountains. Through acts of adornment, the series commemorates the historical and continued ecological threats hemlock trees face.

Shin carefully cleaned each branch before upholstering it with deadstock leather, recasting fashion-industry waste into a beautifying armor she describes as a “second skin.” The slow, meticulous process became an act of mourning, inviting reflection on forms of labor that are often obscured by consumer culture.

Separated from the trunk, the branches evoke a haunting feeling of dismemberment, while the leather functions as a funerary shroud for both the fallen tree and the calves from which the materials originated, linking these lives not through cycles of extraction and consumption, but in an act of remembrance.

“S.O.S #13,” 2022. Salvaged hemlock branches from Olana State Historic Site, leather remnants, upholstery tacks, 70 x 7 x 3 inches

Caption: Nicole van Brugge

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the red line II, 2025

Faye HeavyShield

Allow associations to coexist.

‘Faye HeavyShield is a sculptor and installation artist belonging to the Kainai (Blood) Nation of the Blackfoot Confederacy. Using minimal forms and humble materials, HeavyShield creates poetic meditations on memory, lineage, and place. She often draws upon the landscape of her Southern Alberta homeland and her Kainai upbringing, distilling natural elements, family histories, and lived experiences into spare forms that are equally symbolic and open-ended.

“The red line II” is composed of a beaded cord that meanders along the ground like an intuitive sketch. HeavyShield created the first version of this work at the beginning of the Covid-19 pandemic, finding comfort in the solitary act of beading: “‘The red line’ was a refuge for me at a time when this was much needed. It stood in for family when we couldn’t share in person solace, laughter, and grief.”

Deeply process-based, HeavyShield describes beading as a contemplative exercise—each session fostering a different kind of reflection: a connection to the ancestral art of beadwork, an investigation of the color red or the formal quality of a line, a metaphor for family lineage, or simply the mindful occupation of the artist’s hands. Upon display, “the red line II” recalls beaded Kainai necklaces or the winding rivers in Southern Alberta, yet remains intentionally ambiguous, allowing these associations to coexist openly.

With each installation of “the red line II,” HeavyShield assembles the cord segments on site, creating new configurations in response to the space. The sculpture thus embodies both the slow deliberate beading process and the immediacy of a contour drawing. This iterative quality is emblematic of the use repetition found in much of HeavyShield’s work. Repetition, together with her use of humble materials, shifts attention away from the artwork as a singular precious object and toward the quiet acts of making and care that bring it into being.’
@gochmancollection

#PeopleExplainThemselvesToThemselves
#FayeHeavyShield
#KainaiContemporaryArt
#IndigenousContemporaryArt

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Faye HeavyShield is a sculptor and installation artist belonging to the Kainai (Blood) Nation of the Blackfoot Confederacy. Using minimal forms and humble materials, HeavyShield creates poetic meditations on memory, lineage, and place. She often draws upon the landscape of her Southern Alberta homeland and her Kainai upbringing, distilling natural elements, family histories, and lived experiences into spare forms that are equally symbolic and open-ended.

“The red line II” is composed of a beaded cord that meanders along the ground like an intuitive sketch. HeavyShield created the first version of this work at the beginning of the Covid-19 pandemic, finding comfort in the solitary act of beading: “‘The red line’ was a refuge for me at a time when this was much needed. It stood in for family when we couldn’t share in person solace, laughter, and grief.”

Deeply process-based, HeavyShield describes beading as a contemplative exercise—each session fostering a different kind of reflection: a connection to the ancestral art of beadwork, an investigation of the color red or the formal quality of a line, a metaphor for family lineage, or simply the mindful occupation of the artist’s hands. Upon display, “the red line II” recalls beaded Kainai necklaces or the winding rivers in Southern Alberta, yet remains intentionally ambiguous, allowing these associations to coexist openly.

With each installation of “the red line II,” HeavyShield assembles the cord segments on site, creating new configurations in response to the space. The sculpture thus embodies both the slow deliberate beading process and the immediacy of a contour drawing. This iterative quality is emblematic of the use repetition found in much of HeavyShield’s work. Repetition, together with her use of humble materials, shifts attention away from the artwork as a singular precious object and toward the quiet acts of making and care that bring it into being.

-the red line II’ , 2025
Beads, thread, and cord
2/4 x 342 inches

Caption: Nicole van Brugge

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||•• today at 6:30 [New York time] I will be sharing for the first time the “i am the revolution” collection • i have the honour of opening the show and i am so excited to share this art and a piece of my heart with you all.

show details
INDIGENOUS NEW YORK FASHION WEEK
location • 234 W 39st 6th floor, New York
time • 6:3o p [edt]

for the first time ever 30 indigenous designers [all showing at @indigenousnyfw ] are listed on the official NEW YORK FASHION WEEK schedule • so much love to @relativeartsnyc for all the work they do and breaking down major doors • yall dope as fuck!

to watch virtually check the mobilize story, I’ll throw the link there!

big love to @cikwes for the support on this collection and music for the runway // as well my the deadly squad at @_a.r.t.w.e.a.r

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• THE GOCHMAN FAMILY COLLECTION •

▪️ THE TALENT IN THESE ROOMS ▪️

#INYFW #GochmanCollection #IndigenousArtists #IndigenousDesigners #FashionWeek

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