February 28, 2012

Rebecca Morris: Stubborn and independent

While out in Los Angeles, I learned about In The Make: Studio Visits with Artists and Designers, a collaborative online project between between photographer Klea McKenna and writer Nikki Grattan. A few weeks ago McKenna and Grattan visited the studio of LA-based painter Rebecca Morris, who is having a work-on-paper exhibition at Harris Lieberman in March. Toward the end of the conversation, they ask Morris what advice has most influenced her. "Be generous," she replies. I couldn't agree more.

 Rebecca Morris's studio in downtown Los Angeles. Photo courtesy In the Make.
Here's an excerpt from their conversation.

IN THE MAKE: What are your biggest challenges to creating art and how do you deal with them? How do you navigate the art world?

REBECCA MORRIS: It is always an issue of time....I am seriously interested in being a part of a dialogue, feeling an energy larger than myself. Last summer, two artist friends, Mari Eastman and Jill Newman, and I organized a series of panel discussions called “Talks on Painting." (We are transcribing the recordings of them now.) I was very heartened by how many people came out for them. Panels are a tricky format but it helped that this series was driven by artists for artists. My hope is that this discussion series will be an ongoing thing, in a fluid and seamless way. It’s hard to balance everything— my own work, professional responsibilities and community engagement, but all of it is important to me, so I try my best to stay involved on many fronts.

But in answering this question about the art world, I think it is also important to say here, in total honesty, that there have been times (long times) when I have felt things have been hopeless and pointless, when it felt like very few people understood my work or were interested in what I was doing. And I guess in those periods, I just tried to reverse that energy by redoubling my commitment to my work and soldiering on. It’s probably a strength of mine that I can do this because I’m independent and stubborn. I try not to concern myself with what other people think, and just to stay focused and believe in my work. Ultimately- and I’m not saying this in a dejected way- you only have yourself. In a very literal way we can only depend on ourselves, and that’s empowering. Luckily right now I feel like I have a strong support system around my work, and that’s great, but I recognize that can change again, that it’s not fixed....

Read the entire conversation here. 

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IMAGES: Frederick Hammersley's hunches

Is it possible to be an emerging artist when you're dead? Yes.

Frederick Hammersley (American, 1919-2009) worked in Los Angeles for many years, until in the late '60s when he was nearly 40, he accepted a teaching position at the University of New Mexico and moved to Albuquerque. After teaching there for a few years, he quit to devote more time to painting.  Hammersley has never been well known in New York, although he had a two-person show at Artists' Space in 1987, and Dave Hickey included his work in “Beau Monde: Toward a Redeemed Cosmopolitanism” at 2002 Site Sante Fe, which boosted his reputation. Last September, Hammersley had a  posthumous NYC solo show at Ameringer McEnery Yohe, and Roberta Smith, comparing his paintings to work by Thomas Nozkowski, Carrie Moyer, and Andrew Masullo, declared that his work seems "very much of the moment." Venice, California, gallery LA Louver has plans to mount a solo exhibition in March.


"My painting begins with a hunch, no plan, no theory, just a feeling to make a shape," Hammersley explained in a 2003 exhibition statement. "That shape dictates what and where the next will go, and so on." 
 
Frederick Hammersley, Even steven, 2000 - 2002, oil on linen 11 x 8 1/2 inches. Private collection, Aspen, Colorado 

 Frederick Hammersley, Savings & Loan, 2001 oil on linen 14 x 12 inches.

Frederick Hammersley, Option open, 2000 oil on linen 10 1/2 x 8 1/2 inches. 


Frederick Hammersley, Goal rush, 1997 - 2002 oil on linen 8 1/2 x 7 1/2 inches, Private collection, Los Angeles, California.

Frederick Hammersley, Knew to me, 2000 oil on linen 12 x 10 inches.

Hammersley made two distinct types of paintings that he called the organics (pictured above) and the geometrics. The geometrics, made early in his career, were carefully planned from sketchbook studies and rooted in grid structures, while the organics, which he began making in the 1980s, were  more intuitive. 

Frederick Hammersley, Savoir pair, 1978, #13, oil on linen, 48 x 48 inches.

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February 27, 2012

February round up: Handmade, utopic, urgent and obsessive



I just landed in DC, so I probably won't get to Airplane before "Facture" closes on Sunday, but the installation shots on their website look intriguing. "Combining a handmade aesthetic with a range of materials, the works in 'Facture' manipulate spatial perception and challenge the distinctions between sculpture, painting, photography, and video. Through their formal qualities, along with personal, cultural, and technological references, the works evoke questions about the physicality of the art object."  Curated by Eileen Jeng, an independent writer, curator as well as the archivist at Sperone Westwater. Facture: Hector Arce-Espasas, Jeremy Couillard, Amy Feldman, Elana Herzog, Gisela Insuaste, Jessica Labatte, LoVid, Heather Rasmussen, and Jamil Yamani.

Airplane, located at 70 Jefferson Street in Bushwick, was recently named among the five best new galleries in Brooklyn in The L Magazine.

Image at top: Amy Feldman Irascible leftovers, 2011, acrylic on canvas, 20 x 20 inches. Above: Elana Herzog, Untitled Bundle, 2012, wood, hardware, textile, metal staples, 92 x 14 x 13 inches.

Amy Wilson, How We Came To Know We Were Ready (we felt excluded by
high culture),
2011, watercolor, pencil, walnut ink on paper, 7 x 5 inches

Allow plenty of time to see Amy Wilson: We Dream of Starfish and Geodesic Domes, because Wilson's work always features lots of small, handwritten text that is worth taking the time to read. "Amy Wilson reveals an ambitious set of works that center around the themes of utopia and building a new world. Best known for her small watercolors that depict a cast of young girls who communicate the artist’s diaristic thoughts via text bubbles, in In We Dream of… Wilson brings the girls back, but they take on a new dimension as they roam around a landscape inspired by Hieronymous Bosch and contemplate the works of R. Buckminster Fuller, Paolo Solari, Murray Bookchin, and others. The girls wonder aloud: If we could build the perfect society from the ground up, what would it look like? What kind of values and ethics would we reward, and which ones would we shun? What kind of culture would we create, if we got to do it all over – and this time, do it right?" At BravinLee Programs, New York, NY, through March 24, 2012.


Elizabeth Gilfilen, Cusp, 2012, oil on canvas

Elizabeth Gilfilin: No Longer, No Later / Hunterdon Art Museum, Clinton, NJ. Through March 25, 2012.
Go see Gilfilen and Director of Exhibitions Jonathan Greene  talk about the work in her exhibition this Saturday, March 3, 2012 from 2pm-3pm.

"To Elizabeth Gilfilen, the blank canvas is an urgent lure. She doesn't want to begin; she has to begin. Gilfilen starts her paintings by setting up an atmospheric color that defines the mood of the work. Without a defined palette for each piece, she reacts to the fields of color as she works and selectively integrates new hues that expand on the expected potential color combinations. Gilfilen uses color to provoke our private discomforts and public visual pleasures. Her paintings share a sense of urgency, a result of her style of creating art that reflects her openness to chance and accident."


Astrid Bowlby, 12.16.07 (chrysanthemums floating), 2007, ink on paper. Courtesy of Gallery Joe, Philadelphia 

While at the Hunterdon, don't miss "Fragmented," which embraces an anti-casualist approach. The exhibition includes work by Astrid Bowlby, Sebastian Rug, Christopher Skura, Ben Butler. "An embodiment of repetition, detail and interconnectivity. "These four artists share the unique obsession with creating a picture by developing an ongoing correlation between its smaller sections. Upon close inspection of the work in "Fragmented," the viewer can quickly see how it would be impossible to remove just a section of the image without completely dismantling the entire work. This is where the dynamic lies: these images are strong because of their connections, but one disruption in any of these artist's processes would leave the overall work fragmented."

BONUS READING: At Hyperallergic Weekend, don't miss Thomas Micchelli's excellent conversation with Jason Andrew, co-founder and director of Bushwick's Norte Maar: "Many people have asked me if there is a defining characteristic among the artists in Bushwick. My answer is the one Hans Hofmann offered when asked what exactly constitutes the basis of the artist community at a round table discussion among artists at Studio 35: “Everyone should be as different as possible. There is nothing that is common to all of us except our creative urge. It just means one thing to me; to discover myself as well as I can. But every one of us has the urge to be creative in relation to our time — the time to which we belong may work out to be our thing in common.”

Jeremy Couillard,  Visual Piano Cube in Cellular Hallway, 2011 acrylic and electrical components on and in panel 40 x 48 inches

 And last but not least: "Tops," an exhibition of work on tabletops (reminds me of the concept behind CAA's ARTExchange) curated by President Clinton Projects at Open Space in Long Island City, NY. Tomorrow is the LAST DAY! President Clinton Projects is an artist-run curatorial project founded by Sun You. "Tops" features work by Ivin Ballen, Josh Blackwell, Vince Contarino, Paul DeMuro, Dennis Farber, Amy Feldman, Stacy Fisher, Joanne Greenbaum, Michelle Grabner, Eric Hibit, James Hyde, Lucy Kim, Yasue Maetake, Fabienne Lasserre, B. Wurtz.


Related posts:
Elizabeth Gilfilen: Pugilist painter (2011)
Jason Andrew, Brooke Moyse, and me (2009)
Amy Wilson's Antidote to Miami: The Degenerate Craft Fair (2009)
Video: Studying with Hans Hofmann in Provincetown (2011)


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February 24, 2012

Quick study: Psychedelic edition

• Ken Johnson, NY Times art critic and author of Are You Experienced: How Psychedelic Consciousness Transformed Modern Art, gushes over Terry Winters new paintings, calling them "psychedelically thrilling."

Terry Winters, Notebook 5, 2003-2011, collage, 11 x 8 1/2 inches

 • Terri Ciccone reviews "What I Know," in Bushwick Daily. "What we know, or can take from the show, is these great works are being thought of and created, and don’t just exist in a Bushwick vacuum. The show is unapologetic in being simply a massive collection of great, solid pieces. And because of that, there was a different feeling in the air in Chelsea that evening. A shift, a change, a quake could be felt in the art world." (Note: I have a small painting in the show!)

 Joyce Robbins: "I am searching in the area between volumetric sculpture and flat painting - and so currently my work is deeply involved in low-relief."

 • Joyce Robbins is having a show at John Davis! And he has a new website! The exhibition isn't posted on online yet, but save the date--the opening is March 1.

• Help fund my pal Timothy Nolan's project, Restack, at USA Projects. An talented artist, Tim has volunteered to help me organize the 2013 edition of ARTExchange at CAA. Happily, next year the conference is February 13-16 in New York. I'm proposing a panel on painting.

• Artist An Xiao is covering the College Art Association Conference for Hyperallergic. Here's her first report.

 • Looking forward to seeing: Eve Aschheim's new paintings at Lori Bookstein, New York, NY. Through March 24, 2012

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February 21, 2012

Art Appreciation quiz

In honor of the College Art Association's Annual Conference that takes place in Los Angeles this week, I've prepared a quiz not unlike the identification portions of the exams we used to take in art history class--but so much more fun when the artists are alive. The following paintings  caught my eye while visiting New York galleries this month. Can readers identify the artist for each work? Send answers, with name and website link, to twocoatsofpaint@gmail.com. Readers who identify all images correctly will be mentioned in a special "Winners" post with images of their work and links to their websites. Good luck!

FYI, I'm about to leave for the airport--look for coverage of the CAA Conference on the Two Coats Twitter page.

UPDATE: Thanks for participating!  Sadly, no one identified all the images correctly, but perhaps we'll try it again next month...?
Ryan Schneider, Mie in Dress, 2011, oil on canvas, 52 x 40 inches (Freight + Volume)



Louise Belcourt, Mound #9, 2012, oil on panel, 22 x 26 inches (NOTE: Most of the work in the quiz has come down, but Belcourt's solo show is up at Jeff Bailey through March 17, 2012 )

Santi Moix's illustrations for Huckleberry Finn, installation shot at Paul Kasmin.





Daniel Heidkamp, Soft Slip, 2012, oil on canvas, 63 x 63 inches (Freight + Volume)


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February 18, 2012

IMAGES: Michael Bauer

In the fantastic group exhibition at Foxy Productions, "Bauer, Croxson, Lichty, Wood," Michael Bauer (German, born 1973) presents diminutive paintings that suggest a new direction for abstraction. Dark and enigmatic, they evoke a self-effacing combination of surreal portraiture and Modernist abstraction, unleashing a variety of references both nightmarish and charming. Bauer, who studied at the Foundation of BROTHERSLASHER, Cologne, with Tim Berresheim and the Hochschule fur Bildende Kunst Braunschweig, Germany, lives and works in New York. He's had numerous shows in Europe, but not many in the US. Look for an upcoming solo with Lisa Cooley later this year. These paintings are on display at Foxy Productions through February 25, 2012.

 Michael Bauer, Karma Pet, 2012, oil on canvas, 18 x 14 inches.

 Michael Bauer, Raxola Empos, 2012, oil on canvas, 18 x 14 inches.

 Michael Bauer, Kohr Ex Gohr, 2012, oil on canvas, 18 x 14 inches.


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February 15, 2012

A painter in The Ungovernables @ New Museum: Lynette Yiadom-Boakye

The 2012 New Museum Triennial, which opens today, features thirty-four artists, artist groups, and temporary collectives—totaling over fifty participants—born between the mid-1970s and mid-1980s, many of whom have never before exhibited in the US. Called “The Ungovernables,” the exhibition is about "the urgencies of a generation who came of age after the independence and revolutionary movements of the 1960s and 1970s. Through both materials and form, works included explore impermanence and an engagement with the present and future..." so naturally painting is in short supply. HOWEVER: British painter Lynette Yiadom-Boakye, a portrait painter who had a 2010 show at  Jack Shainman, has work in the show.

Lynette Yiadom-Boakye, Further Pressure From Cannibals, 2010. This one is in the Triennial.

 Lynette Yiadom-Boakye, 11 pm Friday, 2010, oil on canvas

 Lynette Yiadom-Boakye, Any Number of Preoccupations, 2010, oil on canvas, 63 x 78 3/4 inches

 Lynette Yiadom-Boakye, installation at Shainman

 Lynette Yiadom-Boakye, installation at Shainman.

The subjects of Yiadom-Boakye’s portraits are mostly black and often confrontational. In her Shainman exhibition, the expressionistic brush strokes, combined with a dark palette, evoked a stark, theatrical mood.  “Although they are not real I think of them as people known to me." Yiadom-Byakye explained. "They are imbued with a power of their own; they have a resonance – something emphatic and other-worldly. I admire them for the strength of their moral fiber. If they are pathetic, they don’t survive; if I feel sorry for someone, I get rid of them. I don’t like to paint victims.”

 "The 2012 New Museum Triennial: The Ungovernables," curated by Eungie Joo, New Museum, New York, NY. Through April 22, 2012.

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From the DC art community: Tim Doud and Zoë Charlton

Last week I went to Mira Schor's lively talk, "Voice and Speech," at American University, where she discussed one of my favorite topics: painting, writing and how the two fit together in an art practice. I'm looking forward to her upcoming show at Marvelli. It opens on March 29 and will be her first solo at a NY gallery in several years. While on campus, I met faculty members Tim Doud and Zoë Charlton, both of whom had recently returned from sabbatical. Their work, which reveals mad drawing skills, is on display at the American University Museum at the Katzen Arts Center through March 18.

For "Paladins and Tourists," a series of graphite and gouache drawings, Charlton put an ad on the internet seeking male models with athletic bodies. When the volunteers came to the studio,  Charlton, a small, boyish African American woman with long, perky dreadlocks, found it hard to figure them out on the basis of their looks. "Some explained causes—Water for Africa, Live Strong, and other convictions, representing themselves as paladins," Charlton explained. "Others, in their limited real life experience with ethnic or racial diversity, were overt about their fascination with otherness. They revealed themselves to be cultural tourists." She drew them larger than life, (hilariously) increasing the size of their dicks and adding small accouterments like water bottles, sun visors, African jewelry, and shoulder bags that show a little bit about who they revealed themselves to be in the course of the drawing session.

 Zoë Charlton, Untitled, 2010, graphite and gouache on paper, 93 x 69 inches (framed)


 Zoë Charlton, installation view.

 Tim Doud, "Blue," installation view.

In Tim Doud's work the figures are fully clothed--he's interested in the way the traditional portrait functions. For the first series presented (images below), Doud worked with a single model who made all decisions about costume, pose and and even the titles of the individual paintings. In "Blue," a larger series of self-portraits hung in a grid formation (above), Doud worked on all of the paintings at the same time. In each, the pose remains the same, but the details, such as the patterns of the blue shirts, eyeglasses and background colors change. Doud was scheduled for a solo show at Priska Juschka, but since the gallery is in the process of relocating, the dates haven't been decided.


"Regaining Our Faculties: Zoë Charlton, Tim Doud, Deborah Kahn, and Luis Manuel Cravo Silva," American University Museum at the Katzen Arts Center, Through March 18, 2012.

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Two Coats of Paint @ The College Art Association Annual Conference

Best known as the hellish interview hub for hundreds of recent MFA grads, the College Art Association Annual Conference, which takes place February 21-25 at the Los Angeles Convention Center, is kind of like a geeky, intellectual version of Art Basel Miami. The schedule of discussions is dizzying and most university art programs and art schools host cocktail party receptions for their alumni. This year I've been involved with planning ARTspace, which in the past few years has grown into one of the most vital and exciting aspects of the conference. Like a conference-within-the-conference, ARTSpace (organized by the Services to Artists Committee) presents programming designed by artists for artists and, unlike the sessions in the rest of the conference, all the events are free and open to the public.

Supported by a generous grant from the National Endowment for the Arts, ARTspace has organized a terrific roster of panels and discussions on issues facing studio practitioners (as opposed to art historians and critics), including the[meta]Mentor series, which tackles professional-development issues, the Annual Artists’ Interviews (Mary Kelly and Martin Kersels), and several sessions devoted to public art issues and practice.

On Friday, February 23, 5:30-7:30, I hope everyone will stop by the ARTExchange, which I organized with  Julie Green. Forty-one CAA member artists will  present their performances, installations, videos, paintings, drawings, prints, photographs, sculptures, and more in the Concourse Foyer, Level 1. In the past, many ARTexchange participants found the event to be their favorite part of the conference because the main focus is sharing work and ideas with other artists. Bring some money--there's a cash bar. 

Reese Inman from Belfast, Maine, will be participating in ARTExchange. Inman's work focuses around several interests: language and the construction of meaning; how we access, edit, categorize, remix and transform information; and intersections of these interests with everyday life.

At ARTExchange, Diedra Krieger will present an updated version of "Building Backbones," which originally debuted in #Rank at Winkleman in Miami

 Installation by David Chapman Lindsay. Lindsay will be participating in ARTExchange.

 Joining us from Nashville, performance, installation, and video artist Adrienne Outlaw will be participating in ARTExchange.

On Wednesday, February 21, 12:30-2 pm, I'll be participating in a panel called "Taking Control of Your Career." Chaired by Reni Gower (Virginia Commonwealth University) and Sharon Louden (Vanderbilt University). The panelists will discuss social networking media (Peter Baldes, Virginia Commonwealth University), self-publishing (I'll be covering this topic with a special Skype appearance from Loren Munk--aka James Kalm), creating DIY and alternative venues (Adrienne Outlaw, Seed Space in Nashville), and alternative funding sources (Melissa Potter, Columbia College Chicago).

Then, immediately after at 2:30, I'm co-chairing a panel with Micol Hebron (artist, writer and co-founder of LA Art Girls) on contemporary collaboratives and collectives. The panelists will represent many forms of artist collectives ranging from localized community groups and international collaboratives, to online collectives. Speakers include An Xiao, (independent artist and founder of the Twitter collective, Platea) Ed Giardina (Finishing School), Nicole Cohen (Berlin Collective), Stephanie Allespach (LA Art Girls), Aaron Koblin (Data Visualization artist), and The League of Imaginary Scientists. 



A piece by Steve Elliott, another ARTExchange artist.

Here are links for all the ARTExchange artists, many of whom will be looking for feedback on new projects and ideas:

Youngsuk Altieri www.youngsukaltieri.com
Todd Anderson www.ToddAndersonArt.net
Darryn Ansted www.darrynansted.com
Kathy Arnold www.kathrynarnold.com
Christopher Arnold www.chrisarnoldprojects.com
Erik Bakke erikbakke.com/
Lessa Bouchard www.lessabouchard.com
Ryan Carrington www.ryancarringtonart.com
Douglas Cason avisfrank.com/artists/zepeda.html
Carol Ciarniello www.behance.net/gallery/Skys-the-Limit/2970821
Nathaniel Clark www.nclark.com
Annette Cyr www.annettecyr.com
Wendy DesChene www.plantbotgenetics.com
Kara Dunne www.karadunne.com/prints/
Clifford Eberly www.cliffordeberly.com
Steve Elliott www.elliottsculpture.com
Wanda Ewing www.wandaewing.com
Sara S. Fakhraie sarafakhraie.carbonmade.com/
Teri Frame www.teriframe.com
Reni Gower www.renigower.com
Cherie Hacker www.hackerartpub.com
Anitra Haendel www.anitrahaendel.com
H. Reese Inman reeseinman.com
Jessica M. Jacobs www.jessicajacobs.com
Diedra Krieger www.diedrakrieger.com/index.php?/collabs/rank/
David Chapman Lindsay www.davidchapmanlindsay.com
Jessamyn Lovell www.JessamynLovell.com
L. Mylott Manning www.mylottmanning.com
Janet Marcavage www.janetmarcavage.com/home_page.html
Presley Martin presleymartin.com/
Dan May goodgravydesign.net
Adrienne Outlaw www.adrienneoutlaw.com
Markela Paneygres vimeo.com/channels/255222
Anastasia Samoylova www.anastasiasamoylova.com
Kat Schneck www.katschneck.com
Joseph Shores web.me.com/joeshores
Karina Aguilera Skvirsky www.karinas.net/memories/1978.html
Carol Steinberg www.CarolSteinberg.com
Cara Vickers-Kane vickerskane.com
Jan Wurm janwurm.com
Pinar Yoldas pinaryoldas.info

For a full listing of 2012 ARTSpace sessions and events click here. For a schedule of curated video screenings, including the programmig of the Media Lounge,  click here. For a list of special conference events and art tours around Los Angeles, click here.

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February 13, 2012

Must read: James Elkins deciphers the Art Critique

After participating in final critiques at Brooklyn College and MICA last semester, I posted some notes for grad students about the critique process, and a reader suggested I check out a recent release from New Academia Publishing called Art Critiques: A Guide. Written by James Elkins, an art history professor who has participated in hundreds of critiques during his ongoing tenure at the School of the Art Institute of Chicago, the book analyzes the critique format, identifying five particular types --the Silent Professor Critique, the Conceptual Critique, the Silent Student Critique, the Boot Camp Critique, and the Anti-Critique. Elkins begins with a transcription of an actual critique, which he explains line-by-excruciating-line, attempting to make sense of the faculty's encouraging comments, defenses, suggestions, and half-uttered challenges. The comments generally fall into two broad categories—either about meaning or technical issues—and Elkins uses tables and diagrams to decipher what faculty often fail to say clearly or comprehensively.

“Critiques have a certain flavor," Elkins writes at the beginning of the book. "They are raw and undigested. They are often a bit dull. Inspiration isn’t easy, and certainly not for instructors who might be tired or distracted…. Occasionally critiques are brilliant: insight sparks off each other and stupendous ideas rain down faster than you can hear them. But most of the time nothing tremendously interesting happens…” 

Anyone who has ever participated in a bad critique, either as a student or a faculty member, will find passages downright hilarious. I can picture Elkins assiduously observing faculty behavior, taking notes and chuckling to himself as he records the banal, often vague comments in two columns: negative  (“kitsch,” “not kitsch enough,” “maudlin,” “unintelligent,” “stupid…”) and positive (“compelling,” “nice,” “really nice,” “nicely done,” “fierce,” “moving,” “stimulating,” “quite stimulating,” “sublime,” “cool…”). At one point Elkins explains what the phrase “Hmm, yes, that’s very interesting,’ might mean. He suggests that the critic may think, “I have next to nothing to say about this,” or, “That’s just interesting not really compelling,” or even, “God I wish I was home watching TV.”

Elkins, who gathered stories from former students and Facebook friends, has  boiled instructors' approaches down into easy-to-understand ideologies and divided critique narratives into spot-on categories like seductions, battles, and trials. Introducing concepts from philosophy and rhetoric, Elkins encourages students to dissect and question the underlying assumptions that faculty unconsciously perpetuate, and he suggests ways for students to take control of the process, discourage digression, and guide the critique toward the issues they want to address. To be fair, Elkins also includes a lengthy honor roll that lists artists who excel in critiques -- Mary Kelly, Chuck Close, Sam Messer, Cheryl Donegan, Dana Schutz, Deborah Kass, Gregory Amenoff, Gary Stephan, and Rochelle Feinstein are on it.

Beware faculty: after reading this book, empowered students will be likely to demand that you speak more specifically and explain exactly what you mean. Everyone involved in university art education should read Art Critiques: A Guide. Elkins's research will undoubtedly have a positive, long-lasting impact on the moribund, confusing, and sometimes humiliating rite of passage known as the Art Critique.

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February 10, 2012

In LA: Lorenzo Hurtado Segovia's woven paper grids

CB1 presents intriguing new pieces by Lorenzo Hurtado Segovia this month. His work references diverse sources ranging from personal anecdotes to art-historical and ethnographic motifs, and takes structural and organizational cues from Scottish Tartan, basket weaving, and abstract painting. Segovia paints the paper, then weaves the painted strips into large, oddly shaped pieces that can be viewed from all sides. In the LA Times David Pagel writes that Segovia’s penchant for "hinting at things proves to be more potent than laying them bare." Too bad the show comes down before I head out to Los Angeles for the CAA conference at the end of the month.

Lorenzo Hurtado Segovia, installation view of "Papel Tejido" at CB1 Gallery.





Great image on the exhibition announcement.

"Lorenzo Hurtado Segovia: Papel tejido," CB 1 Gallery, Los Angeles, CA. Through  February 19, 2012

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Quick Study: Residency Opportunities

I just received an email with a long listing of artist opportunities, so I thought I'd share a few. When I see residencies like this posted, I think of the thousands of artists who aren't selected each year. Keep in mind that artists can expand opportunities by creating their own small residencies and inviting friends. Remember Camp Pocket U? Many organizations (such as Smack Mellon) started as small, half-assed, artist-run programs that have grown into formidable grant-funded non-profits.

NARS International Artist Residency Program provides national and international artists with the opportunity to produce new work while engaging with the vibrant arts community in New York City. Artists-in-residence have access to an individual studio space and various professional development programs. Residents have an opportunity to share and present their work through artist talks, workshops, and lectures and receive studio visits by prominent New York City curators, critics and gallerists. The NARS Foundation seeks applications on two levels. The first level includes emerging and mid-career artists, for whom appointments as residents may make a significant impact on their careers. The second level consists of artists with established national and/or international reputations for whom a change of environment may offer refreshment and inspiration.  Deadline April 6, 2012 Application fee: $35

 Exhibition at the NARS Foundation gallery.

The Keyholder Residency Program - Lower East Side Printshop, NYC / Now accepting submissions Deadline: March 1, 2012 Application fee: None /  The Keyholder Residency Program offers emerging artists free 24-hour access to printmaking facilities to develop new work and foster their artistic careers. Residencies are one year long, starting on April 1, 2012, and take place in the Printshop’s shared Artists’ Studio. Facilities are available for intaglio, relief, monoprint, waterbased silkscreen, digital processes, and other techniques. Artists currently without a studio space are encouraged to apply. $1000 stipend. For a list of current artists in residence click here.

Wysing Arts Centre (Cambridge, UK) invited Berlin based artists Folke Köbberling and Martin Kaltwasser to create an ‘amphitheatre’ on Wysing’s rural site, working with a team of volunteers and using only discarded, found and recycled materials. WAC is accepting applications for six-week residencies through February 17.

Teaching Opportunity:

 

Bergen National Academy of the Arts is one of two national institutions vested with a special responsibility for higher education in the field of Art and Design in Norway. KHiB has a vacancy for a professor in painting for a fixed term of six years. "We are searching for a Professor with extensive experience in the field of painting with ambitions to expand and test the limits of what artistic practice can be, with an interest in, and a critically inquisitive mind towards, other forms of artistic expression and possible linkages between them. Applicants should have extensive practical experience, a strongly contextualised practice and a theoretical understanding of the artistic field including its historical, esthetic, social and political development and context...." Read more.


Look for more artist opportunities at Re-Title.

Related posts:
Studio update: Habitat For Artists

Studio update: January Residency at Pocket Utopia


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