April 23, 2014, 10:24am
New American Paintings West Competition Deadline is April 30th, 2014 (Midnight, EST)
Juror: Nora Burnett Abrams
For Artists Residing In States: AZ, CO, ID, MT, NE, NV, KS, ND, NM, OK, SD, TX, UT, WY
April 22, 2014, 9:03am
Svalbard is an unincorporated Norwegian archipelago that resides in the Arctic Circle, between continental Norway and the North Pole. While its indisputable date of discovery surrounds a Dutchman’s search for the Northern Sea Route, in 1596, Scandinavians may have found it as early as the twelfth century. In either case, a human presence made its way into this distant, arctic land filled with fjords, mountains, polar bears and arctic foxes, through a history of interactions ranging from whaling, explorations and coal mining, to the last armed German military unit’s surrender, after World War II. Svalbard is also now the site of The Arctic Circle residency program, where Tacoma artist Saul Becker (NAP #49) took in the landscapes that became part of his new show, Dead Reckoning, while aboard a grand, 120-foot schooner. — Erin Langner, Seattle Contributor
April 21, 2014, 9:16am
Is there a reason we’re so drawn to hand-lettering right now? Why are we craving handmade cards, signs, and posters in this moment? Why do we gravitate towards making hand-lettered flyers and signs and cards as opposed to designing on the computer? Maybe it’s just because we don’t know how to use Adobe InDesign and Illustrator… but we think there’s more to it than that. - Lauren Gallow & Ellen C. Caldwell
Gemma O’Brien | “Better Left Unsaid” installation view at the Freemantle Arts Centre, 2013. Courtesy of the Jacky Winter Group.
April 17, 2014, 9:58am
Cary Reeder (NAP #108) paints industrial sites in a very particular manner. These normally cold places are made to feel slightly warm because of her attention to precise details like shadow, color, tone, and hue. They are also compelling, as if Reeder is able to call our attention to details that we might have overlooked in our own neighborhoods and cities.
In this Process of a Painting, we join Reeder on her lengthy, complicated, and rather grueling process toward completing “They Still Work.” Follow along with Reeder’s thoughts and insight embedded throughout her equally important visual documentation of the process. – Ellen C. Caldwell
April 15, 2014, 10:28am
In this Process of a Painting, painter and collagist Howard Sherman (NAP #60, #72, #90, #108) gives great insight into his process, which is based on experimentation, intuition, and action. Sherman does not have a formal approach to his works, which he feels out as he goes, much as many artists do. His approach is additive and subtractive though, and he finds the end result and the painting’s completion at unexpected moments during this experimental time.
In his own words, “I have had a long-standing interest in creating paintings that mix muscular abstraction with a playful cartoonist sensibility. The results have been commanding and humorous. My most recent work has included a disruption of my painting’s surfaces with collage in a raw and powerful way.”
What I love about Sherman’s process is that it is not necessarily what you expect, if you’ve only seen his finished works. It’s a fun, investigational journey, resulting in witty, playful, and wonderful painted finishes. – Ellen C. Caldwell, Los Angeles Contributor
April 14, 2014, 8:55am
This past February, street artists and fine artists alike joined together for the fifth annual Pow! Wow! Hawai’i (PWH) festival in Honolulu, Hawaii. Founder of the site and painting festival PWH Jasper Wong and mega-art site Booooooom’s Jeff Hamada caught up with me to discuss the event, its history, and its future.
Lady Aiko on Auahi Street| 2014, Courtesy of Pow! Wow! Hawai’I.
If you’re feeling like you missed out, check out PWH’s great video page and their mural page – and of course, consider attending Pow! Wow! Taiwan this year. – Ellen C. Caldwell, Los Angeles Contributor
April 09, 2014, 9:39am
Trauma permeates Miguel A. Aragón's very physical printmaking, both in subject matter (victims of Mexico's drug wars) and in process (depending on the intended result, he burns, abrades, or hand-drills the works). Aragón's return to Austin — his first solo here following the critically-lauded exhibition Fractured Memories, Assembled Trauma at Mexic-Arte Museum in 2012 — is both potent and bittersweet, as while the artist's bracing techniques continue to advance the compositional potential of paper, it also coincides with the final outing at eastside gallery Tiny Park. — Brian Fee, Austin contributor
April 08, 2014, 11:14am
Combing Tumblr for inspirational sources, painter Dan Gluibizzi pairs scenes of friends, porn, swingers, and bongs to form groupings of perfect strangers in his watercolor compositions. In his show "Between Friends" at the Kopeikin Gallery, Gluibizzi explores and questions the social media bonds and the ties of voyeuristic “friendship” in this digital age. – Ellen C. Caldwell, Los Angeles Contributor
April 02, 2014, 9:32am
Back in December, I wrote an article in which I suggested that, after a number of years in which abstraction has been the dominant mode of painting in the “contemporary art world,” we might start to see an upswing in image-based painting. It is not exactly a Delphic prophecy given the way in which today’s market driven art world is constantly craving the next best thing, and, I might add, in ever more compressed cycle times. In conducting my monthly survey of commercial gallery shows this month I was struck by the amount of representational work on view, and even more so by the “academic” rigor much of it evinces. So what am I talking about? Have a look… – Steven Zevitas, Publisher
March 30, 2014, 8:32pm
Painters and paint-lovers should flock to Evan Nesbit’s (NAP #99) current show /ˈkaɪˑæzəm/. Entering Roberts & Tilton, visitors are met by a group of large and brightly colored burlap canvases. The combination of acrylic paints and dye on brown burlap and of Nesbit’s painting on the opposite side of the burlap than the one facing outward has a contradictory effect on the colors: they are muted bolds and conversely, they are bright pastels.
The very act of painting backwards, though, is what interested me most—visually, aesthetically, physically, and quite psychically. – Ellen C. Caldwell, Los Angeles Contributor