August 30, 2012

Patricia Treib: Pieces

Patricia Treib's upcoming show at Tibor de Nagy wins the award for shortest press release this season. Here it is:
Abstract paintings that translate the visual world.
In 2006, Treib received an MFA from Columbia University where she studied with Charline Von Heyl, and, previously, she has shown with John Connelly.  I'm looking forward to seeing her new work.

 Patricia Treib, Correspondence, oil on paper mounted on board, about 15 x 11 inches.

 Patricia Treib, Garb, oil on canvas, 66 x 50 inches.

UPDATE (September 4): I just received a note that there is, in fact, a longer press release. I liked the idea of a one sentence press release, but here's the longer version:
The gallery is pleased to present an exhibition of new paintings and works on paper by Patricia Treib. The exhibition marks her first solo exhibition with the gallery.

Treib will exhibit paintings that draw from the vicissitudes of perception through time. Made in one sitting, the paintings seek to bring about a feeling of simultaneity: the sensation that every act is happening at once in a continual present.

The paintings are painted on the floor and are scaled in relation to the artist’s height. Treib is searching for an image that is not from a singular viewpoint, but includes and entertains the inconsistencies inherent in vision itself. For example, the type of disjuncture that is experienced everyday, but is smoothed over and made imperceptible through habit, which is the act of synthesizing the separate views from both eyes. The paintings are rooted in the physical disjuncture that is part of the body.

Patricia Treib received an MFA from Columbia University in 2006. Her works have recently been exhibited at Wallspace in New York and Favorite Goods in Los Angeles. Treib had her first New York exhibition at John Connelly Presents and also had a solo show with Golden Gallery in Chicago. She has had residencies at Skowhegan School of Painting and Sculpture and the Marie Walsh Sharpe Foundation. Treib lives and works in New York.
"Patricia Treib: Pieces," Tibor de Nagy Gallery, New York, NY. September 6-October 13, 2012

Related posts:
The New Casualists (June 2011)
Artists who curate: "Creating opportunities for felicitous constellations" (June 2011)
Charline von Heyl takes on Ellsworth Kelly at the Worcester Art Museum (November 2010)


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Roberta and Jerry's artist-free art

In the NYTimes on Tuesday, Roberta Smith revealed her hobby: she and husband Jerry Saltz scour thriftshops, fleamarkets and yard sales for cheap paintings and interesting objects.
There is something immensely comforting about these works. They come at you entirely on their own, unencumbered by the name, life or personality of the artist, devoid of reputation or blinding auction prices. They lack the white noise of contemporary commentary and opinion that critics usually must work through, either consciously or subconsciously, on the way to their own conclusions when writing about art exhibitions. What might be called their orphanhood or nakedness is liberating. Given the onslaught of the art world and the current mania for contemporary art — largely a good thing, don’t get me wrong — artist-free art can be something of a relief. 
In a way, you love these paintings in the simple, uncomplicated way you love pets, and they love you back. You don’t expect them to hold up their end of a conversation about art in the age of digital, or even mechanical, reproduction.
At the same time, the paintings themselves are not totally separate from art in a professional sense. Some are full of diluted strains of art history: assorted trickle-down styles, vague allusions, instinctive adaptations or absorptions of things in the air. Read More.
Image above: Screen grab from a NYTimes GIF created by multimedia fellow Leslye Davis.

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Big thanks to our August sponsors

We would like to take a brief moment to thank this month’s sponsors. These are the organizations and companies that keep us publishing, so be sure to check them out!

Featured Advertisers
  • Brooklyn Museum- GO is a community-curated open studio project. Artists across Brooklyn will open their studio doors, so that you can decide who will be featured in a group show at the Brooklyn Museum. Voter Registration Deadline: September 9, 2012
  • School of Visual ArtsThe NYC art and design school is offering continuing education courses to meet the diverse educational needs of the city’s professional art and design community.
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  • Art Systems – Professional art gallery, antiques and collections management software
If you are interested in advertising on Two Coats of Paint, please get in touch with Nectar Ads, the Art Ad Network.

Image: This month's Thank You Blingee was created by Two Coats intern Stef Paschen-May, who recently moved to Brooklyn and is chronicling her experience on Instagram @spaschenmay. Stay tuned for more details about the talented new Two Coats interns next week.


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August 26, 2012

Quick study: Presidential endorsement, dog paintings, defending internships and more

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)


This week at Art Vent, Carol Diehl suggested that internships exploit young workers.
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.

 Josephine Halvorson, Southern 99232, 2012,oil on linen, 38 x 30″ (Image courtesy of the artist)

Here's an excerpt from John Yau's essay on Josephine Halvorson
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.


Wonderful writer Lise Funderburg has just signed on as a Creative Non-Fiction Mentor. Get help with your writing projects here


Steven Alexander, If Ever, 2011, 40 x 30 inches, acrylic on canvas

"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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August 25, 2012

More hiring news: SUNY Purchase hires 3 painting professors

After I posted about the new painting faculty at Connecticut College, Brooklyn College and Rutgers University yesterday,  I got a note from Sharon Horvath, associate professor at SUNY Purchase, reporting that the School of Art and Design has added three full-time professors to their painting faculty as well. After what I imagine was an exhausting search, they selected Matthew Bollinger, Cynthia Lin, and Beth Livensperger.

The SUNY hires all use traditional drawing and painting skills in their art practices, which, on a visual level, are engaged with the dialogue between representation and abstraction. Each has had career success with grants, awards and residencies, but none could be considered an "art star" in the commercial gallery world. All solid picks, the selection indicates that Purchase is investing in potential, opting for strong teaching and dedication to painting (not a combination of painting with newer media) rather than gallery affiliation or critical attention.

Visiting Assistant Professor Matthew Bollinger, Entry, 2012, flashe, acrylic, spray paint and watercolor on cut and pasted paper, 60" x 48 inches.

At the Kansas City Art Institute, Matt  doubled majored in painting and creative writing for a 2003 BFA, then earned an MFA rom RISD in 2007. From 2009-11 he was a fellow at the Provincetown Fine Art Center. He has been in plenty of group shows in New York, Philadelphia and Provincetown. Affiliated with Zürcher Studio, he had 2011 solo show in New York and another in their Paris gallery this past June. So far, Bollinger's work hasn't garnered much critical attention, but I'm sure it will down the road.

Assistant Professor Cynthia Lin, CropB32910W firescar, 2010, ink on mylar, 50 x 34 inches

Based in Brooklyn, Cynthia has the most expereince of SUNY's new hires, and accordingly has received the tenure-track position. According to her website, Cynthia was born in Taiwan and grew up near Chicago. In 2006 she was a Guggenheim Fellow, has had a solo show at Michael Steinberg Gallery and been included in nummerous group shows, most recently “Lush Life” at Lehmann Maupin Gallery, New York, and “Art on Paper 2010 Biennial” at Weatherspoon Art Museum, University of North Carolina, Greensboro, NC. She has done a lot of residencies, including Yaddo, The MacDowell Colony, The Space Program at the Marie Walsh Sharpe Art Foundation, Djerassi Resident Artists Program, Virginia Center for the Creative Arts, the Visiting Artists and Scholars Program at the American Academy in Rome, Ragdale, Constance Saltonstall Foundation for the Arts, and Hall Farm Center for the Arts and Education. Her teaching experience includes eleven years at Southern Methodist University in Dallas, where she achieved the rank of associate professor, and part-time appointments at the School of the Museum of Fine Arts, Brooklyn College, Cooper Union for the Advancement of Science and Art, Sarah Lawrence College, Dartmouth College, Morehead State University, and The University of Iowa, where she received her MFA.

Visiting Assistant Professor Beth Livensperger,  The Wash Sink, 32 x 32 in., oil on canvas, 2012.

Based in Queens, Beth has been teaching at SUNY as an adjunct lecturer since 2010. She earned her BFA at Cooper Union in 2001 and an MFA in painting and printmaking at Yale in 2008. In 2007 she received a Radius Fellowship, an award for emerging artists sponsored by the Aldrich Museum. Although Beth hasn't had any notable solo shows in commercial galleries, she had a show at Abrons Art Center at Henry Street Settlement where she was a resident artist, and she has participated in numerous group outings, including shows at Active Space in Bushwick and The Painting Center in Chelsea. Beth also taught as an adjunct at Adelphi University Department of Art and Art History.

Congratulations to both the new professors and to SUNY Purchase. If only more administrators realized that hiring more full-time faculty (instead of relying on adjuncts) ultimately makes universities stronger.

Related post:
Who got hired? A few new painting professors (August 24, 2012)


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August 24, 2012

Who got hired? A few new painting professors

This past year, after a dearth of painting listings in 2009-11 at CAA, several colleges posted positions for painting professors.  The choices made by these three institutions indicate what skills and attributes each program values--not necessarily who were the best artists or teachers in the pool of applicants.  If you know of any other new hires for painting positions, especially women, please post them in the Comments section and I'll add links and images. Also, if anyone interviewed this year, feel free to share stories about what the interviews were like. And, of course, congratulations and best wishes to the new hires. To those who were squeezed out, best of luck next year.

At Connecticut College: Assistant Professor Christopher Barnard. An easy choice because even the most clueless administrators could see that Barnard has traditional painting skills, but his work also has a fashionable conceptual/political angle as well. These kids better be ready to learn how to stretch canvas, draw properly, and come up with some good (but not necessarily too challenging) ideas.

Chris Barnard, Crowd Pleaser, New Mexico, oil on canvas, 2011 48 x 64 inches.

From Christopher Knight in the LATimes:
Romantic traditions of American landscape painting get apocalyptic comeuppance from our post-nuclear era in eight new paintings by Chris Barnard. Dubbed "Toward Trinity," presumably after the New Mexico blast site where the first nuclear weapon was detonated 66 years ago, the works are a pointedly unhealthful concoction of glamour and destruction, thrilling power and impending ruination.
Barnard shows at Luis de Jesus Gallery in Los Angeles.


Mason Gross School of the Arts @ Rutgers University: Assistant Professor Marc Handelman.
I'm not familiar with Handleman's paintings, but they are big and abstract and reference art history. He also works in film, video and book arts. Perhaps his references from Yale, Bard and SVA, where he taught previously, were impeccable. I imagine he has a erudite, academic approach to painting that comes in handy during student critiques.

Roberta wrote in a 2007 NYTimes review:
[H]is immense, swaggering, high-gloss canvases exemplify what might be called the Big Empty. A fellow traveler is Barnaby Furnas and his big red sea paintings. These works are essentially academic pastiches of known motifs executed with unimaginative diligence. Surface by surface, Mr. Handelman is clearly concerned with technique and physicality, but so far, he has a tin touch. In terms of motif, his precedents include the military spangle of Billy Al Bengston; the Op Art recyclings of Philip Taaffe and Ross Bleckner; and the intergalactic hyper-realism of Jack Goldstein.
 And from the MGSA Website:
Marc Handelman (1975, Santa Clara, CA), is an artist who works in painting, as well as across media including film/video, installation and book arts. He received his BFA from the Rhode Island School of Design with a concentration in Art History, and was a recipient of the Ellen Battell Stoeckel Fellowship at Yale Norfolk. He received his MFA from Columbia University. He was a recent recipient of the Steeprock Arts Residency and the Awards for Artists from Printed Matter in 2011. Marc Handelman has exhibited extensively throughout the United States as well as internationally in such venues as PS1 MoMA in Long Island City; The Studio Museum in Harlem; The Dayton Art Institute, OH; The Orlando Museum of Art, Orlando, FL; and the Royal Academy of Art in London, UK. His work has been written about in The New York Times, The Los Angeles Times, The New Yorker, Artforum, Art in America, Tema Celeste, and Flash Art Among others. He is taught in the graduate programs at Yale University, Bard, and the School of Visual Arts among others. He is currently a graduate critic at Columbia University's School of the Arts.
Handelman is represented by Sikkema Jenkins & Co., New York, NY; Marc Selwyn Fine Art, Los Angeles, CA; and RECEPTION, Berlin, Germany.
Marc Handelman, Dimension Stone I, 2010-11, oil on canvas, 87 x 62.5 inches.

At Brooklyn College: Assistant Professor Mike Cloud. Cloud is deeply immersed in the process,  and he engages contemporary ideas about painting. Hell yes, Brooklyn College! Great choice! Home to professors Lee Bontecou and Elizabeth Murray, this is where I'd want to study.

Mike Cloud, Body Builder Paper Quilt , 2010, altered photography book, paper, color aid, and acrylic
60 x 67 inches.
Cloud shows at Meulensteen in New York. From the website:
Mike Cloud has been featured in solo exhibitions at MoMA PS1, New York; the Gallery at Lincoln Center, New York; and the Sheldon Memorial Art Gallery, Omaha, Nebraska; as well as group exhibitions at The Studio Museum, Harlem, New York; and White Columns, New York. His work can also be found in the permanent collections of the Metropolitan Museum of Art, New York; Eileen Harris-Norton, Santa Monica; and the Sheldon Memorial Art Gallery. Cloud earned his MFA in 2003 from Yale University in New Haven, Connecticut, where he was awarded the Barry Schactman Prize in Painting.

UPDATE (6 pm):

University of Maine at Farmington hired two painting professors, husband and wife team Jason Irla and Chloe Watson. In this case, according to Chloe, the search committee was looking for an artist couple (what a great idea) with both traditional and digital skills, who would contribute to, and value, the close-knot UMaine art community. Before moving to Maine for adjunct positions last year, they had been living in Baltimore--no New York gallery representation required.

 Chloe Watson, Chalkboard, 2012, acrylic on paper, 4 x 6 inches

According to Chloe's website, she and Jason have opened an arts space called Points North that consists of a gallery in a farmhouse and an experimental space in a retired horse barn.  The inaugural exhibition, Method of Exchange, runs from October 26-November 17, with an opening reception on Friday October 26, 7-9 pm.

 Jason Irla

More new hires: 3 new painters at SUNY Purchase (August 25, 2012)


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Bohemian myths and other storytelling: Gretchen Bennett and Matthew Offenbach

Back in July, Gretchen Bennett and Matthew Offenbacher two insightful artists whom I met on my trip to Seattle in May, talked about their ongoing projects and collaborations with artist-critic Amanda Manitach. Here are excerpts from their fascinating conversation, which was originally published in the blog at New American Paintings. Sorry I didn't post this sooner--it's worth a read.

In Matthew Offenbach's studio. Image courtesy of Amanda Manitach/NAP Blog

Amanda Manitach: I want to start off talking about Gretchen’s Windfall Alphabet. How did that come about? You both have practices rooted in painting and drawing, but your projects often diverge from those, in very interesting directions.
Gretchen Bennett: Windfall Alphabet came about when I was on a residency with the Lower Manhattan Cultural Council on Governors Island in the fall of 2010. There was an almost hurricane-grade storm there the month after I arrived. The island has a dozen or so tree varieties on it, so when I went outside after the storm there was literally a windfall of twigs on the ground. I had started thinking about Ruskin right before I left Seattle, so I decided to spell the word — to literally make a landscape out of Ruskin’s name. It led to the collection of the whole English alphabet and I think now it’s moving from collection to examining walking as an art practice and the people who have come before me doing that.

 In Bennett's studio. Windfall Alphabet. Image courtesy of Amanda Manitach/NAP Blog

AM: You both seem to have a literary influence on your work. A knack for subtle storytelling.
GB: Interestingly it’s Matt who introduced me to John Ruskin by way of his essay “Green Gothic.” That’s when I started researching him and his writings, particularly his writings on J. W. Turner.
AM: So it has to do with the Romantic?
GB: I think it has to do with looking at Romanticism while not feeling very Romantic! I like the idea of Ruskin and Romanticism, and walking tours in general are really Victorian and Romantic. But they’re also a way of closely observing things. I like Ruskin’s essays on directing you to a walking tour. The Romantic walking tour is an insular experience, yet it can emanate outwards and leads to group participation.

AM: One of the reasons I mentioned storytelling is Matthew’s upcoming show at SOIL Gallery, Decor for Interstellar Flight, which has this elaborate backstory about space travel. Then, Gretchen, you are literally spelling out stories with twigs and your drawings reference pop culture narratives.
Matthew Offenbacher: I love words…in any form really. So I guess that makes sense. It’s funny because I never really think about story. Do you think of story as a component of what you do?
GB: Yeah, I think about narrative all the time and lately I’ve been focusing on private and public and elements of my own personal story and how they intersect with public experience. I mean, I’m just describing an art practice in general right there, but then I have my own specific entry points, and so does Matt.
MO: I think a lot about the power of language to create value of many kinds. I’ve tried to write fiction before and failed, and I think I associate storytelling with that ability to spin a yarn, which is something I’m terrible at, even at a dinner conversation. A fact to which Gretchen can attest.
GB: That’s not true!
MO: When I tell a story it just meanders and then twenty minutes later people are like, wait, what’s the point? 
AM: That is a kind of storytelling!
GB: I think that brings up a beautiful point, that there are different kinds of storytelling.

AM: Another thing you both do very effectively is interweave public engagement in your practices. You engage people through publications, you take them on walks. How did you get started publishing Norda? Was that an extension of your painting practice in any way?
MO: It was a way to connect to the community. I’d only been here a few years (I moved from San Diego in 2008), and my understanding of the artists here and what they were working on was still evolving. At the time I was thinking of painting shows as installations and giving a lot of thought to the supporting materials, written things like press releases and statements. The zine came out of this desire to create community as well as a consideration of how powerful words can be when used to talk about artwork. It was an attempt to take some of the power from people who traditionally have that role, like art critics and dealers, and put it back in artists’ hands.

AM: You also have made things like the Ke$ha broadsheet that you’ve included in your shows. Do you consider that an artwork or a supplementary object? Or is that line blurred?
MO: That line did get blurred really quickly because I think of the aesthetic of the publications, the layout, the design, in the same way I think about paintings.
GB: I think writing allows things to come into focus, helps them come into being. I was just reading this essay by Jeff Wall that discusses how the written description of a work is the one enduring thing. It is the remains of the art.
AM: Like a witness.
GB: And I like the idea of not having to say what a narrative is. Maybe as you explore a format you can help push it forward.

AM: Matt, what are you working on right now?
MO: They are paintings made on paper glued onto styrofoam. They have to do with science fiction novels. I’ve loved sci-fi since I was a teenager, even though it’s embarrassing to admit because they’re so often kind of pulpy and not great literature. I like the abstract aspect of science fiction, how it takes current day circumstances and projects them forward. It makes you think differently about the present. So lately I’m trying to not be ashamed of my science fiction love and embrace it. I recently read this trilogy about the colonization of Mars that includes long passages about the voyage from here to there and what that would actually be like to experience. I’ve been thinking about the conditions onboard a spaceship that would have to travel a long distance, especially the decorative problems that that poses. The important stuff!
GB: This relates to your depictions of flowers, which are usually the decorative element of an exhibit, but you make them the exhibition.
MO: I hadn’t thought of that, but yeah, I’m always super interested in the decorative things that are nearby but aren’t considered art. So I’ve been thinking about the conditions aboard a spaceship and then making paintings that would be successful in that context. I realized early on this is a great metaphor for the white cube gallery space: it’s a funny way to talk about the social and physical isolation that can exist in a space like that.
AM: Maybe you’ll get a commission from NASA!
MO:  Apparently people go a little crazy in those environments without natural cues of time passing. So these paintings are calendar paintings, a sampling of what would be a year’s worth of paintings, one painting for each day of the year. The astronauts would take down a painting every day and put up a new one, and the colors and textures would gradually shift over the course of a year to cue seasonal changes. And they’re on styrofoam, so they’re super light, because it’s expensive to get things out of the earth’s gravity….
GB: Wait, you said you’re not a storyteller!
MO: That was a super-meandering story! And the other thing that ties in is bohemianism and bohemia. It’s an interest in the Romantic that I think Gretchen and I share, this romantic notion of what artists do and how they live. One of the myths about artists is that they’re surrounded by beautiful, ornamented things....

AM: Gretchen, is there anything you’re working on besides Windfall?
 GB: I’ve been thinking a lot about the color grey. The formal aspects of it seem to have more credence for me now than they ever have. I think about Jasper Johns and how all these colors in Matt’s studio you can find in Jasper Johns’ greys. Johannes Itten calls grey the vampire of colors. It sucks in all the other colors. I don’t really know where I’m going with this except I’ve been thinking about grey, and in that context I’m working on a suite of drawings in my studio: their particular narrative is their greyness, otherwise there’s a little Cobain in there, there’s a little Girl With The Dragon Tattoo, there’s a bit of the TV show The Killing. So it’s kind of like a field guide in a way.

 Drawings from The Killing on Bennett's studio wall.

See more pictures and read the entire conversation here.

Related posts:

Seattle studio visits: Arnold, Molenkamp, Offenbacher (May 2012)
Gretchen Bennett's love letters to Kurt Cobain in Seattle(April 2008)


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Rooted in nostalgia: Karen Marston at Storefront Bushwick

At Storefront Bushwick, Karen Marston embraces old-fashioned technique and uses plenty of varnish in her painterly reconstructions of disaster photographs culled from the Internet. These mostly easel-sized paintings of tornadoes and firestorms drain the original news images of their elemental power, turning nature's shock and awe into subject matter for beautifully crafted, sentimental landscape images. Influenced by 19th-century landscape masters such as George Inness, Thomas Cole, and Frederic Edwin Church, Marston appears to suggest that our emotional connection with nature is overly mediated and rooted in nostalgia. Also included in the show are several lovely en plein air paintings, which are less dramatic, but more emotionally direct.

 Karen Marston, Tornado #4, oil on canvas, 24 x 32 inches.

Karen Marston, Tornado #6, 2012, oil on linen, 36 x 32 inches.

Karen Marston, Tornado #3, 2011, oil on linen.

Karen Martson, Firestorm, 2012, oil on linen, 54 x 44 inches.

Karen Marston, Oak Tree, 2011, oil on panel.
In the Project Room: On view in the back are a selection of en plein air paintings Kerry Law makes each night from his home in Ridgewood, Queens, of the Empire State Building. Overall, I like the series, and the paint handling on the spire and clouds is interesting, but I wish Law was more inventive depicting the sky on cloudless nights.
Kerry Law, Empire State Building Series, 2012, oil on panel, 12 x 12 inches.

Kerry Law, Empire State Building Series, 2012, oil on panel, 12 x 12 inches.

"Karen Marston: New Paintings," Storefront Bushwick, Brooklyn, NY. Through September 16, 2012. And in the Project Room: "Kerry Law."


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August 21, 2012

Brooklyn Museum Go: Bushwick short list

Brooklyn Museum GO, a sprawling open studio event that takes place throughout Brooklyn on September 8 and 9, is in overdrive, sending out announcements, posting to their blog, making videos, organizing meetups, and all the while tweeting updates along the way. An astounding number of artists are participating (and just as many, disappointed that the museum has resorted to crowdsourcing rather than traditional curation, are not). The idea is that people will register to vote in advance, visit a minimum of five studios, and nominate three artists to be considered for inclusion in an exhibition. Curators from the museum will visit the studios of the ten artists who garner the most nominations and select work for for a December 2012 exhibition.

I hope readers will stop by Two Coats HQ at 117 Grattan Street and say hello. New work will be on display, and I'll also be handing out those excellent new tote bags (see sidebar on right) to the first fifteen visitors each day who ask for one. 248 artists are registered in my neighborhood alone, so to make the weekend less overwhelming, I've compiled a short list of some emerging but mostly mid-career artists whose nearby studios are worth a visit. The links will take you to the GO page for each artist, where you can register to vote and add them to your itinerary. But of course, everyone is welcome to stop by, whether registered with the Brooklyn Museum or not.

Ben Godward
 / 49 Wyckoff Ave

Steven Charles / 238 Melrose St, #4

Björn Meyer-Ebrecht
 / 1182 Flushing Ave

Deborah Brown / 322 Stockholm St

Meg Lipke
 / 347 Troutman St, #223

Eric Heist / 505 Johnson Ave, #5A

Jeanne Tremel / 119 Ingraham St, #418

 Sharon Butler / 117 Grattan Street #419
This is a recent snap from the studio--some new work, but, sheesh, what a mess!

From clicking through the GO directory, I discovered these painters, but I've never seen their work in person. Could be worth a visit.

 Chris Gartrell/ 566 Johnson Ave, #33

 Max Yawney / 538 Johnson Ave, #404

 Rachel Phillips / 791 Bushwick Ave

Todd Bienvenu / 119 Ingraham St, #410

And. last but not least, here's a handy map with locations for each studio.
Stay tuned: Short lists for other neighborhoods are in the works.

GO, organized by the Brooklyn Museum, Brooklyn, NY. September 8 and 9, 2012, 11 am to 7 pm.


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August 20, 2012

Vuillard's process

On the website for the Edouard Vuillard show at The Jewish Museum, a lovely show of gem-like portraits and interiors, I found images of two versions of the Bloch family portrait along with preliminary pastel sketches that reveal how this beautiful painting took shape. Here they are, along with an interview with Claude Bloch Dalsace, one of the children depicted in the painting.

 Edouard Vuillard, Madame Jean Bloch and Her Children, first version, 1927–29, glue-based distemper on canvas, 75 3/4 x 70 5/8 inches. Neffe-Degandt Ltd., London.

Edouard Vuillard,  Madame Jean Bloch and Her Children, 1930, reworked 1933 and, 1934, glue-based distemper on canvas, 72 7/8 x 70 7/8 inches. Private collection, Paris. This is the second version of the portrait, created when the Blochs had another child.

Vuillard's preparatory photograph of the Bloch's sitting room.

Preparatory drawing, pastel on paper.

Preparatory drawing, pastel on paper.

Preparatory drawing, pastel on paper.

Preparatory drawing, pastel on paper.

Preparatory drawing, pastel on paper.

Preparatory drawing, pastel on paper.

Edouard Vuillard, Preparatory study for Madame Jean Bloch and Her Children, 1927, glue-based distemper on paper, 74 x 63 3/4 inches. Private Collection.

Preparatory study, glue-based distemper on canvas, 76 3/4 x 69 inches.

Claude Bloch Dalsace, one of the children in the portrait,  recalls what it was like to sit for Vuillard.

"Edouard Vuillard: A Painter and His Muses, 1890-1940," The Jewish Museum, New York, NY. Through September 23, 2012.

NOTE: For readers who use pastels, check out the Mount Vision Pastel Company.


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Beyond the Bedroom at Norte Maar

At The L Magazine, Paul D'Agostino selects several must-see exhibitions, including "Beyond the Bedroom" at Norte Maar, a group exhibition that features work from Jason Andrew's personal collection. I haven't been over to check out the show, but since my name is on the roster, I suspect this painting, which found its way into Jason's collection during BOS2012, is included. (Shameless plug: Stop by my next open studio on September 8 and 9 where work for my upcoming show at Real Art Ways in Hartford, CT, will be up before packing and shipping commense. ) D'Agostino writes that
Many visitors to this landmark Bushwick apartment gallery are familiar with Jason Andrew's private collection of artwork because it adorns walls just steps away from those adorned by curated exhibitions. Now, however, for a truly sweet treat of a summer group show, Andrew has decided to turn things a bit inside-out by filling out all of Norte Maar's walls with works by over two dozen artists in his holdings, from younger darlings of the local art scene to more mature members, let us say, of the broader art world establishment. Expect an exceptional display of various styles and fine taste, and expect more than a few surprises as well. This show is by appointment only, so contact the gallery and book your date now.
The exhibition features work by so many great artists, including Man Bartlett, Daniel Brustlein, Hermine Ford, Ryan Michael Ford, Rico Gatson, Ben Godward, Cooper Holoweski, Andrew Hurst, Norman Jabaut, Kirsten Jensen, Ellen Letcher, Amy Lincoln, Bjoern Meyer-Ebrecht, Thomas Micchelli, Brooke Moyse, Mario Naves, Larry Poons, Cathy Nan Quinlan, Oliver Ralli, John Silvis, Austin Thomas, Julie Torres, Jack Tworkov, and Paul A'Agostino himself. Selections from Jason's zine collection as well as works from his historic dance photography collection are also on display.

Above: Installation view of "Beyond the Bedroom."  (via Norte Maar) Image at top: Sharon Butler, Rooftop, 2012, pigment and binder on prestretched canvas, 18 x 24 inches.

"Beyond the Bedroom," Norte Maar, Bushwick, Brooklyn, NY. Through the end of August.

Related posts:
Guilty: Kicking off 2012 in Bushwick
Hyperallergic, Jason Andrew, Brooke Moyse, and me
Dear Tamara, and other letters about art


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