September 10, 2013, 5:02pm
The monumental in one’s life is becoming less and less recognizable. When everything gets flattened, digitized and dispersed, how is one to determine what is truly remarkable from what is utterly banal? Yet still, what does it mean for an artist to recognize these parallel ideas in order to cull some sort of meaning from not only their medium but their whole damn life? More direct, at this point what role does painting play in the everyday? I didn’t intend for this introduction to have so many questions but the work of Hilary Doyle is full of existential pontifications and I can’t help but reflect that. Doyle’s work could not exist if it were not for the core question of not “Why am I here?” but rather “How do I know I am here?” Doyle’s recent solo show, Window Facing Inward, at NYC’s Active Space addresses this question and approaches notions of time, the everyday and the space in between yawn and awe. - Arthur Peña, Dallas Contributor
Hilary Doyle | Hand Drier, acrylic on canvas, 16” x 20”, 2013
September 09, 2013, 9:40am
Barry McGee’s recent retrospective highlights a common dilemma in the rising popularity of bringing street art into museums and galleries—namely, how do you capture the ephemeral nature of the work and evoke its urban context in a white cube, and how does the message of the artwork change? The ICA show sought to confront these dilemmas, and the result was a show that revealed itself as an environment more than simply a survey. Replete with floor-to-ceiling wall installations, animatronic sculptures, and a massive totem of 130 television screens, the show drew heavily on McGee’s Bay Area roots and graffiti aesthetic. - Nadiah Fellah, NYC Contibutor (Visiting Boston!)
Barry McGee, Installation view, Institute of Contemporary Art, Boston
September 03, 2013, 9:50am
For all of you unable to meet the regular deadline for the Northeast Competition because of the holiday, take note that the deadline has been extended.
Artists living in CT, DE, MA, ME, NH, NJ, NY, PA, RI, VT, you can still apply! -
September 8th at Midnight, EST. GOOD LUCK!
*The late entry fee is $60.
August 30, 2013, 11:25am
The San Francisco painter Joan Brown achieved international recognition when she was scarcely out of her teens. By 1960, the same year she graduated from the California School of Fine Arts (now SFAI), she was represented by a major New York gallery, and was one of thirty-six artists included in the Whitney’s Young Americans exhibition. But even as she worked in San Francisco among a burgeoning cohort of fellow artists that included Elmer Bischoff, Jay DeFeo and Manuel Neri, Brown’s work developed in the following decades in a way that was distinct from others. Thinly brushed lines of enamel replaced her signature thick oil application, and shifting concerns in composition and tonal contrasts followed. However, themes within her imagery remained consistent even as her style evolved—namely, the reoccurring motif of water. Although many other California-based artists are known for their water-themed works—David Hockney for his swimming pools, and Richard Diebenkorn for his aquatic-framed cityscapes, among others—this running theme throughout Brown’s work is rarely given critical attention in the same way. - Nadiah Fellah, NYC Contributor
Joan Brown, Rio Vista, California, 1971; Courtesy of The Joan Brown Estate
August 29, 2013, 9:24am
A knockoff usually refers to a copy of a more expensive original, bringing to mind tables of faux designer handbags and leather jackets on street corners. When painter Roger Shimomura creates a knockoff, his is a human version—specifically, a person, or a punch to the face, literally knocking you off. The artist mashes up imagery from American pop icons, Kabuki actors, Korean and Japanese manga characters, Hello Kitty, Lichtenstein-style faces and Chinese propaganda, into in-your-face, self-portrait battles between himself and the stereotypes that portray Asian American people as less valuable citizens, or “American knockoffs,” the title of his new show. These works from 2009-2012 on view at Greg Kucera Gallery in Seattle, WA, continue the battles Shimomura has fought for over four decades, a testament to the persistence of both the artist’s pursuit and the forces he is up against. - Erin Langner, Seattle Contributor
August 22, 2013, 12:56pm
The deadline for the Northeast competition is lingering. Avoid late entry fees and apply now!
Artists living in CT, DE, MA, ME, NH, NJ, NY, PA, RI, VT, this one is for you!
August 12, 2013, 9:30am
Northern California-based artist Eric TiIlinghast has been working with water for almost two decades. His diverse oeuvre includes ambitious large-scale installations, sculpture, site-specific works, public art commissions and paintings. In his exhibition Water/Nymph, currently on view at Richard Levy Gallery in Albuquerque, Tillinghast offers up 41 re-contextualized vintage postcards. In these works, he identifies the water feature and meticulously paints over the surrounding environments, leaving only the essential shape of the water and the occasional figures. In many cases, his obsessive process requires the application of 50 of more layers of paint to seamlessly blend and cover up the background image, leaving the surface impossibly smooth and almost devoid of the artist’s hand. As Tillinghast explores bodies of water in all forms - swimming pools, lakes, waterfalls, dams, watersheds and tidal flows, what emerges is a meditation of form in both a natural and domestic context. The results of this aesthetic experience offer a sublime contemplation of our perceptions of Earth’s most abundant resource. I recently had the opportunity to ask Tillinghast some questions about his process. -Claude Smith, Albuquerque/Santa Fe Contributor
Eric Tillinghast |Clytie, 2013, acrylic on postcard, 3.5 x 5.5 inches; Image courtesy of Richard Levy Gallery
August 08, 2013, 7:30am
The New American Paintings, Midwest Issue, #107, is expected to hit newsstands across the US sometime in the next few weeks. Eric Crosby, Assistant Curator at the Walker Art Center, juried the competition.
After the jump see a full list of the artists selected for the NAP #107 and few sneak peek photos!
August 07, 2013, 9:00am
Is the myth of paradise all that compelling? The resort paradise, the motel bliss, dreams of tropical shores and youthful ocean air – are these the same dated visions of vacationing we still cling to, or has anything supplanted their modern aspirations? Do we really delight in a shallow image of shared retreat locations, or long to buy our piece of time from out of a brochure or agency – just another one of many touristic occupants? The theme of the temporary vacation and all its shortcomings has garnered quite a lot of attention by contemporary artists over the past few years. An exhibition by this very namesake, Timeshares, currently on view at LVL3, pictures three artists preoccupations with the idealism the term represents – if not the effects that summer tends to have on more “relaxed” thematic group shows, as well. Paintings and objects by Josh Reames (NAP #89, #95), Calvin Ross Carl, and Maria Walker prod at this artificial fabrication of time as it relates to art and practice; while some pieces directly picture seascapes, palm trees, and other brochure-ready visual ephemera, others take the spirit of vacation as a material cue – works that deal with pattern, perhaps belonging to a swimsuit, a lawn chair, or mosaic brickwork, and detritus wrapped in colored fabrics, the idea of something less refined simply wrapped into a higher context, masking themselves as paintings. – Stephanie Cristello, Chicago Contributor
Calvin Ross Carl and Josh Reames, “Mañana,” 2013. Sand, 136” x 54”
August 06, 2013, 8:30am
One person's trash is another person's treasure. That message resounds in Jason Webb's acrylic paintings, on view as Bulk Collection, his solo debut at Austin's grayDUCK Gallery. Rooting through these photorealistic accumulations of...stuff...we discern degrees of worth, on what is kept and what is left behind. — Brian Fee, Austin contributor
Jason Webb | Discard Pile 22, 2013, acrylic on illustration board, 10 x 8 inches. Image courtesy grayDUCK Gallery, Austin.