May 18, 2015, 8:49am
A big thank you to Staci Boris from the Elmhurst Museum for doing such an incredible job with New American Paintings first ever museum show....all 40 artists from last year's Midwest Issue are included. View some images below and for more information, please visit: https://www.elmhurstartmuseum.org
May 07, 2015, 8:47am
Michaël Borremans US premiere of his survey show As sweet as it gets brings together 50 paintings, 40 drawings and 5 films from the last fifteen years. The show opened at the Dallas Museum of Art and was organized by Jeffrey Grove, the Museum’s Senior Curator of Special Projects & Research, who worked closely with Borremans to showcase this impressive body of work. The films in the show function to establish their importance to Borremans process of culling frames from moving images but the films also maintain an independence all of their own. The most effective film piece, The German, showcases an enclosed diorama which houses miniature figures standing in front of a stories tall (in terms of scale to the miniatures) screen that features a man’s face speaking.
The work expertly showcases Borremans imagination and most importantly his acute sense of scale that is also present in his drawings which exploit scale to depict grandiose ideas and scenes in a restrictive size.
Michaël Borremans | A Mae West Experience, 2002, Pencil, watercolor on paper, 6 13/32 x 8 in. (16.3 x 20.3 cm), Private Collection, Belgium, Courtesy Zeno X Gallery Antwerp © Photographer Felix Tirry ©Michaël Borremans
April 28, 2015, 8:41am
Caitlin G. McCollom lays it all out in Blood and White, her solo exhibition at Pump Project on Austin's east-side. These modest- and large-scale mixed-media paintings on synthetic paper — described by the artist as “indirect abstractions...represent[ing] the quiet panic of the disordered mind and the beautiful decay of the diseased body” — are the result of both six months of sheer studio work and a more complicated cocktail of interstate relocation and return, illness, temporary art-making hiatus, and a subsequent wellspring of creative energy. — Brian Fee, ever-traveling contributor
April 24, 2015, 8:37am
David E. Peterson (NAP #112) takes industrial design as his inspiration and turns it into art for your wall. Moved by the bold colors, layout, and rhythms of storeroom floors and wall displays, Peterson set out to mimic and recreate those aesthetic triggers in his wall sculptures.
Bright and bold, his works offer an immediately recognizable visual suggestion and allusion to references we consume daily while driving past storefronts, window shopping on a stroll, and going through the motions of daily urban living. Shying away from commenting on materialism directly, Peterson reflects both our consumer-driven culture and our need to consume art and design, even while shopping. – Ellen Caldwell, Los Angeles Contributor
April 21, 2015, 8:59am
When I went to see JD Banke’s Peasant Dreams, the paintings were in the middle of a photo shoot. Lighting apparatuses and tripod stands loitered around Glass Box Gallery’s small, jigsawed-together spaces, the artwork’s real-life interrupting its day job of just hanging out. The photographers politely tried to move aside in a space with little room to move, but they didn’t need to; I liked it this way. The comingling of the utilitarian things with the art-things created the best possible space for hearing the most vocal part of Banke’s work—a persistent, self-assured pronouncement of being alive. — Erin Langner, Seattle contributor
April 20, 2015, 9:32am
Skylar Fein (NAP #112) combines text and paint to create powerful imagery on paper, aluminum, and wood. With a burst of dry verbal wit and starkly contrasted style, his works bite you subtlety and leave you thinking.
With the rise and renaissance of hand-lettering, Fein’s work recalls that of both pop art masters and signage gurus in works like his series of oversized matchbooks (featured in both the 2014 show Giant Metal Matchboxes and 2015 Strike Anywhere) and other works like his presidential silhouettes such as “Red FDR/Fried Chicken,” named for the color of the text signage and that which it is advertising. Here, Fein discusses text-based art, the darker side of pop, and the failure behind great 20th century revolutions. – Ellen C. Caldwell, Los Angeles Contributor
April 17, 2015, 8:39am
There are entire worlds—entire existences—suspended within there, floating up to gazes which have been detached long enough—or ran down, heaving and glassy eyed, caned and fatigued—to pick up on such things, looming forms ascending like the prophetic pyramid out of the cuttlefish-ink abyssal underbelly of an 8-ball, rising and falling and materializing out of the blood brume; there are entire continents, cream continents adrift in an angry sea of cadmium, a granular expanse—as if someone chunked up a block of anatomist's arterial wax, dumped it into a pneumatic cannon, and proceeded to broadside raw canvas—ripe for pareidolia. Their borders are fringed, cloudy, a particulate demarcation of crimson gnats, and that fuzz is really what the fuss is all about, an adroit—if blatant, once one sees it—analogue to the fungible nature of perception, memory, and self; there are images contained within the blood brumes, although it is only by the grace of Angel Otero's exposition that we are privy to this, as they have been translated, riven, reconstituted, and then pressed—like a witch!—into their current, beautifully abused form; these were photographs once, the ultimate form of mimesis, until a triturator has placed his hands upon them, riven them, splayed them…and look at the bloody, powdery mess made of ipseity now! – B. David Zarley, Chicago Contributor
April 08, 2015, 2:56pm
For more than twenty years, the critically acclaimed publication, New American Paintings, has featured the work of more than 3000 painters from throughout the United States, many of whom have gone on to receive international recognition. A lavishly-illustrated exhibition-in-print, each issue of New American Paintings results from a highly selective juried competition and aims to share the work of deserving artists to a wider audience. Selected by Elmhurst Art Museum Chief Curator Staci Boris from more than 400 submissions, the 2014 Midwest Edition features forty of the most promising artists from Illinois, Wisconsin, Michigan, Minnesota, Indiana, Missouri, Ohio and Iowa working within the context of contemporary painting. For the first time in its history, the New American Paintings publication will jump from the page to the museum as EAM presents the exhibition New American Paintings: Midwest Edition.
May 17 - August 23, 2015
April 06, 2015, 10:13am
There's these streams, these, like … death streams, running all along the hollers and open wounds and scars and deep, dark hills of southeastern Ohio, like in Athens county or Crooksville, Sunday Creek country, these fucking chameleon streams, born crystal virgin pure—a hideous faux-virginity! pure fatality, no other kind of purity suspended in there!—and eventually, running along like Leiningen's ants or pyroclastic flows or Kali, in that dread, beautiful motion, which sweeps life away, they eventually begin blooming into this fabulous reddish-orange, the color of rafflesia petals, and running along with nothing but gravity and iron and sulfuric acid in it, no aquatic life at all. This ichor flows all along the hills, perfectly beautiful and perfectly deadly, a conflation of the earth and the vicious byproducts we left when we entered the earth, gross seeping wounds we didn't bother to cauterize or seal properly when they stopped sustaining us, when the black precious coal could no longer be found, when blood from a stone no longer made economic sense, and after we left the earth cut open, vivisected and scooped out, it sat still and decided to slowly poison us, poison the fish and crawdads and deer, in vengeful retribution. – B. David Zarley, Chicago Contributor
March 30, 2015, 9:01am
Painting, perhaps more than any other medium, has existed as a site for reconciling the systemic biases of art history, of which a large percentage are encapsulated in painting's own history. Painting has historically referenced previous imagery – subjects of the Renaissance were aesthetic updates to earlier depictions of the myths of the Bible and ancient Greco-Roman cultures found in past sculpture, frescoes, mosaics, manuscripts, textiles, etc. Subsequent derivative idioms, such as the master's copy and homage, have lineages stretching back long before anything could have even been labeled pre-modern. Neoclassicism was an agenda-based, aesthetic do-over by definition; Modernism's brief, valiant attempt at creating a future caught its breath in the late 20th century and painting began, again, to eloquently engage in a conversation with itself about itself. Although in contemporary art this is not unique to any one medium, there is enough cultural resonance specific to painting that it justifies the reflexive nature of artists continuing to investigate its unique position in history. – Jason Ramos, Los Angeles Contributor