Parallel, 2010 | Oil on canvas, 36 x 56 inches
In an industrial part of Carroll Gardens, Brooklyn, under the elevated subway tracks at Smith & 9th Street, lies the studio building of New York-based artist Hannah Cole. The rolling sounds of the F and G trains were heard overhead as I visited with her recently, an appropriate setting for Cole, whose subject matter is often culled from her surroundings. Her recent paintings are geometric abstractions of objects seen in her walk to the studio.
“It’s exciting to me to see stuff on the street that I don’t know how I’m going to translate into paint,” Cole tells me in her studio. “That’s the most exciting problem to have because that’s always where the more interesting painting happens.”
History Painting #1, 2009 | Oil on canvas, 20 x 24 inches
Double Subtext (Purple Smudge), 2010 | Oil on canvas, 22 x 24 inches
New American Paintings is pleased to announce that Laura Hoptman, Kraus Family Senior Curator at the New Museum in New York, will serve as the juror for the 2010 Northeast Competition, Edition #92. (Open to artists living in CT, DE, MA, ME, NH, NJ, NY, PA, RI and VT. The deadline for entry is August 31, 2010. Apply online.)
Previously, Hoptman was Curator of Contemporary Art at Carnegie Museum of Art where she organized the 54th Carnegie International exhibition as well as a survey of the drawings of Robert Crumb that appeared at the Whitechapel Art Gallery in London and the Boijmans van beuningen in Rotterdam. As a Curator of Drawing at The Museum of Modern Art from 1995-2002, she organized exhibitions including Drawing Now: Eight Propositions (2002) and Love Forever: Yayoi Kusama (1998). At the New Museum, she team-organized the opening exhibition Unmonumental, (2007); The Generational: Younger Than Jesus (2009) and has curated survey exhibitions of paintings by Tomma Abts (2007), and Elizabeth Peyton (2008), a project by the British artist Jeremy Deller (2009), and a retrospective of the multi-media work of Brion Gysin (2010). In 2011, she will present a survey of the painter George Condo, a project co-organized with Ralph Rugoff of the Hayward Gallery in London.
Photo: Mary Barone
The following was written by Meighan O’Toole for My Love For You Is a Stampede of Horses, a blog cataloging low brow and contemporary art, and originally posted on March 10. Kevin Cyr is based in Greenpoint, Brooklyn and was featured in New American Paintings Edition #68. You can read more about Cyr’s work on My Love For You…
Kevin opened up his studio to me earlier last month. We met early for coffee and headed over to his studio where he had been spending long, but enjoyable days. It was clear how hard Kevin had been working the minute I stepped into his studio. Most of his paintings were finished and hung in perfect grid like patterns. His famous 2010 West Prize winning camper kart was parked in the middle of the studio and model trucks lay strewn about in disarray on his drafting table, complete with a Mr. T. It was definitely the makings for a tight show. Kevin has no background in graffiti culture. His interest lay in how the vehicles he captures age and take on the environment around them.
Our 2010 Northeast Competition is now live. Enter the competition online. This year’s juror is Laura Hoptman, Kraus Family Senior Curator at the New Museum, New York. Check out some of the latest entries to the Northeast Competition. The deadline is August 31, so keep them coming!
NOTE: The following are random selections, and in no way reflect, or influence, final selections made by the juror.
Helena Wurzel, “Slide Show” | Oil on Canvas, 62 x 76 inches
Steven Walls, “The Balance” | Oil on Canvas, 48 x 36 inches
Dana Sink, “Isolated Yellow” | Oil on Panel, 18 x 24 inches
Alexandra Pacula, “Bursting Motion” | Oil on Canvas, 48 x 70 inches
Filed under: By the Book, Competitions | Tags: announcement, artists, Barbara O'Brien, selected, South, Southern, winners
The following artists are included in the current issue of New American Paintings, juried by Barbara O’Brien, Curator, Kemper Museum of Contemporary Art, Kansas City, MO, and featuring winners of the Southern Competition 2009. You can also click here to read her comments about the jurying process. Also included in Edition #88 is a feature on the work of artist Jen Stark, as well as an interview with Miami gallerist Eric Charest-Weinberg. Now available online and on newsstands!
Luke Miller Buchanan
Adam de Boer
Gonzalo A. Fuenmayor
Charles W. Goolsby
Jonathan Charles Vaughn
Kim Deakins, Me Eat, 2009 | Ink on paper, 36 x 55 inches
Featured in Editions #76 and #87 of New American Paintings, Kim Deakins loves the bizarre. Her work features a slew of colorful and odd subjects, and her website features a random (and equally amazing) list of fake band names, like Touch Hole, Funeral Hook-up, and Browned Grief. For these and many other reasons, we wanted to know more. This week she spoke with Editor-at-Large, Evan J. Garza.
EJG: How was the Band Name List on your website created?
KD: The band name page is an ongoing joke—with myself. I love music, all types, and often entertain the idea of being in a super hip electro-pop band like Gang Gang Dance or Hot Chip, but instead I decided to concentrate on making art and tattooing, which I’m very, very happy with… I like to place the genre with the name, for example, Tammy Toon and the Lipstick Duo would, ideally, be an all chick rockabilly band, and Lazer Braids would involve small Asian women… The nature of the Band Name List and the nature of art are one in the same in that they both share unlimited possibilities.
EJG: What are you working on in your studio right now?
KD: Right now I am working on a series of small ink drawings for a two person show at Anchor Tattoo and Gallery featuring David Hale and myself. I’ve been apprenticing under Dustin Hill for a few months now so naturally the tattoo aesthetic and my own style are merging, but I have managed to hang on to the most important things in my work—unabated color choices and bizarre subject matter—but most importantly enjoying what I’m making. I am also in the process of moving into a new studio so I can’t wait to start making new work there.
Kim Deakins, The Rainbow Thief | Ink on paper, 48 x 36 inches
Jen Mergel has had quite a year. The juror for New American Paintings Edition #80, Mergel announced in December 2009 that she would be leaving her post as Associate Curator at the Institute of Contemporary Art/Boston (ICA) to become the Senior Curator of Contemporary Art for the Museum of Fine Arts, Boston (MFA), a 134-year-old institution with a reputation for exhibiting (and collecting) mostly art historical works. With plans to open a newly constructed modern and contemporary wing in June 2011, however, the mandate is in place for the museum to up the ante—and Mergel is hard at work to do just that.
Her move to the MFA earned her a spot in Carol Vogel’s New York Times shortlist of young, cutting edge curators attracting new audiences to long-established museums, and Mergel’s new change of scenery is quickly presenting new opportunities, including the chance to address historical art through new work.
Before joining the ICA, Mergel was a curatorial fellow at the Addison Gallery of American Art in Andover, Massachusetts, an academic museum with works in its collection which date back to the eighteenth century. In her new position at the MFA, a museum with collections dating back centuries further, Mergel explains that the opportunity to contextualize contemporary work through historical pieces is exciting.
Just around the corner from P.S.1 in Long Island City, Queens, is the apartment and studio of New York-based artist Ben Weiner, whose painterly interests in still lifes have recently given way to an exciting collection of stop-motion videos, which appear—and are constructed—like moving paintings.
For years, Weiner’s works have been composed of rich and organic formal qualities, often capturing light through manmade chemicals—effectively making the unnatural natural through seemingly abstracted compositions that fluctuate between different modes of experience.
Clip from [H2O(l) H2O(g)], (C6H9NO)n, C3H8O2, C28H20N2Na2O8S2, 2010 | Video on loop, displayed on 26.5 x 40.5 x 4.5 inch screen; hair gel evaporating and reconstituting
To apply online, artists will need four jpegs of their work (no larger than 1200 pixels at their greatest dimension) and a credit card for the late entry fee of $55. All styles and media are welcome, as long as the work is singular and two-dimensional. Online Submission Deadline: July 10, 2010 (midnight).
Click here to register and submit your entries to the Pacific Coast Competition 2010, juried by Lawrence R. Rinder, Director of Berkeley Art Museum and Pacific Film Archive, Berkeley, CA. With the deadline extended to July 10th, keep those submissions coming!