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.
August 05, 2013, 10:00am
In between the literal and the representational lies an oscillating, reverberating state of experience. When this is applied to painting, that experience is one of working through the visual tumult or engaging with your senses and letting your eyes play the part. What is it to just “see”, to meet a work on its terms and trust in its parts? Samantha Bittman (NAP #87 & #101)offers work that addresses this question while building paintings that visually vibrate. In her work, Bittman employs the process of weaving; interlocking material to create a surface, an image and a sense of optical splendor. Bittman’s recent two person show at Thomas Robertello Gallery in Chicago presented new work. We had a conversation about it. - Arthur Peña, Dallas Contributor
Samantha Bittman | Longest Distance, 2011, 15" x 12", acrylic on hand-woven textile
August 01, 2013, 9:00am
Congratulations to past featured artist Beverly McIver (NAP #42 and #94) for getting some love from the Huffington Post yesterday. After the jump, read the entire interview conducted by Priscilla Frank for the arts section.
July 31, 2013, 9:00am
Just two weeks ago, Nelson Mandela celebrated his 95th birthday, along with the rest of the world. While Madiba, as South Africans lovingly and reverently call him, has faced a great deal of health problems this year and more recently after a long stay in the hospital with reports of his potentially critical condition, many have taken this time to celebrate and honor his long life of service, leadership, and most famously, his fight against apartheid. - Ellen C. Caldwell, Los Angeles Contributor
All images courtesy of the Mandela Poster Project Collective.
July 30, 2013, 9:20am
Our first competition ever held on the new website will be for artists living in the Northeast. Artists living in CT, DE, MA, ME, NH, NJ, NY, PA, RI, VT, this one is for you!
July 29, 2013, 8:30am
There is something deceivingly friendly about Michael Ottersen’s paintings. The Seattle artist’s dense canvases pop with solid, inviting hues. As pointed out by Robert Yoder, artist and owner of SEASON, where Ottersen’s show The (Mentholated) Roads Around Naples is on view, most of the canvas-spanning forms can be contorted into geometric faces. But then, there are the titles, which counter the initial straightforwardness with an esoteric sense of humor that reads as equal parts inside joke and non sequitur wordplays—Stinky Pinky/Wigwamery and Mary Krishna stand out among the more confounding. This tug of war happens within each of the works, sucking you in at the first encounter and remaining stuck in your head long after. – Erin Langner, Seattle Contributor
Michael Ottersen, Mary Krishna, 2012, oil and acrylic on canvas, 64 x 48 in. Image courtesy of SEASON.