As if you didn’t already suspect it, Two Coats of Paint endorses Barack Obama and Joe Biden in the 2012 Presidential Election. Go check out the campaign store, and buy their merch. Right now the race is so close that supporting Obama/Biden is more important than funding Kickstarter projects. Obamacare is good for artists!
Joshua Abelow has been looking at paintings of dogs (scroll down)
Since I doubt that my colleagues advertising for interns are in the Tea Party camp, I’m wondering how being a socially compassionate liberal fits with taking advantage of a climate that presumes people should work for free. Just wondering.”
Well, yes, Carol, some internships, particularly those at profitable businesses requiring interns to work more than forty hours a week in what are essentially entry level jobs, do exploit young workers. On the other hand, some internships are genuinely educational. In fact, at the primarily working class liberal arts university where I worked for the past eleven years, internships, volunteer work, and other pre-professional experiences have become graduation requirements for all students. For the Two Coats of Paint Internship Program, I will be training interns with materials that I’ve developed specifically for college courses. At the end of the internship period, the interns will have professionally edited, published projects in their portfolios, as well as wider community contacts and a larger audience for their work. To suggest that interns simply “hang around and participate in what we do” is ridiculous. Directing an educational internship takes time, effort and planning, but ultimately it’s a worthwhile endeavor that benefits everyone involved. Some internships, but by no means all, are genuinely good opportunities.
Here’s an excerpt from John Yau’s essay on Josephine Halvorson at Hyperallergic:
In “Southern 992321,” Halvorson brings us in intimate contact with the decline of the American industrial empire, the irreversible decaying of its infrastructures. In doing so, the artist establishes a dialogue with the Precisionists, the optimistic American modernist movement that emerged in the 1920s, and included artists such as Charles Sheeler and Charles Demuth.
In contrast to Sheeler’s idealization of American industrial plants in “Classic Landscape” (1931) and Charles Demuth’s celebration of the burgeoning agribusiness of American farming in “My Egypt” (1927), Halvorson’s “Southern 992321” shows us one outcome of that dream. In place of the austere linearity and sharply angled, flatly painted, geometric planes that are characteristic of Sheeler and Demuth’s mature works, Halvorson arrives with subtle shifts and changes in color, which underscore the worn and weathered surfaces of her subject. The side of the boxcar is stained with grease and dirt. The letters and numbers have faded. Everything is in a state of entropy…. Read more.
“Blind Eye and Suppwhoreturd of Frenz Only” Department:
Matthew Miller @ Pocket Utopia, LES opening Sept 5th, and uptown at CG Boerner on Sept 12.
Thomas Micchelli @ Centotto, Bushwick, opening Friday, September 7, 2012.
Nathan Lewis @ A-Space, New Haven, opening September 1, 2012.
Steven Alexander @ David Findlay, 57th Street, opening September 5, 2012.
Paul Behnke @ The Rosenfeld Gallery, Philadelphia, opening Septmeber 9, 2012
(more to come)
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Tags: Quick study