October 11, 2012, 8:00am

Emerging Again: D.C.’s (e)merge Goes Into Its Second Year

Last year’s preview night at (e)merge was a big, ruckus party. Amidst the large crowds it was often difficult to navigate the hallways between exhibitors, and the wait for the elevators always seemed impossibly long. While it may have been loads of fun for those of us sipping PBRs by the pool, perusing and buying artwork that evening seemed to require a bit more resolve and determination.

October 10, 2012, 11:00am

2012 MFA Competition Deadline

Attention current MFA students and 2012 graduates...

We are currently accepting submissions for what has become our most anticipated publication of the year. The MFA Annual will feature painters that are currently studying to receive a Master of Fine Arts or current year (2012) MFA graduates. Even more exciting, we have an amazing juror for this year's competition. New American Paintings is thrilled to have Dominic Molon, Chief Curator, Contemporary Art Museum St. Louis, prepared to review submissions and select the best and most promising artists to watch.

October 08, 2012, 8:20am

Chromatic Archive: Lisa Ruyter at Connersmith

There’s a seemingly direct line between Lisa Ruyter’s work and pop art. Like pop art, Ruyter’s paintings are guided by photography and mass media, her appropriation strategies a central crux of her compositions. But her artistic concerns are decidedly unwarholian. Rather than revisiting pop art’s critique of commodity culture, Ruyter is more interested in reframing the conceptual meeting point between image and color, obliterating photographic affect and repurposing meaning along the way. Indeed, much of the photographs’ original “truth” is lost when viewed through Ruyter’s decadently neon prism, nearly as abstract as it is figurative.

October 04, 2012, 8:25am

Alchemy of Paint: A Studio Visit with Margie Livingston and Isaac Quigley

Margie Livingston (NAP #61) has spent the last couple of years pouring, compacting and carving paint. Her experimentation with the limit of paint’s sculptural malleability has culminated in a (still-evolving) process by which she manufactures sheets of marbled, plastic acrylic that are later rolled, folded and cut into a number of forms, often posts or logs. Isaac Quigley indulges the materiality of paint in a different way, often pushing his canvases toward the brink of assemblage or bricolage. His paintings, which take up to a year to complete, are splashed with landslides of color, overlaid with delicate drawing, and embedded with paper, plastic and textiles.