This weekend Downtown Los Angeles will play host to a trio of new art fairs led by Art Platform – Los Angeles, whose parent company, The MMPI Art Group produces The Armory Show (which for 18 years has been one of the leading international contemporary art fairs in the world), Art Chicago, Art Toronto, NEXT, Volta, Volta NY, and now, Art Platform – Los Angeles.
Following Art Platform’s lead are PULSE and Fountain art fairs, each with roots established in Miami and New York. Each hoping to transplant some of their success in Los Angeles.
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Filed under: Competitions, Los Angeles, MFA | Tags: Alma Ruiz, competition, LA, MFA Annual, MOCA, Senior Curator
MFA ANNUAL DEADLINE: October 31, 2011
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 recent MFA graduates. Even more exciting, we have an amazing juror for this year’s competition. New American Paintings is thrilled to have Alma Ruiz, Senior Curator of the Museum of Contemporary Art, Los Angeles, ready to review submissions and select the best and most promising artists to watch.
If you have received your MFA in 2011 or you are a current candidate, you are eligible to enter! The deadline is October 31, 2011 (Midnight EST). So apply online now! Or, visit competition page and follow the instructions. Submitting is easy! Just have four jpegs, less than 1200 pixels at their greatest dimension, and a credit card for the entry fee.
You may download a PDF of our postcard announcement here. Good luck!
Filed under: Atlanta, Review, Spotlight | Tags: Charles Huntley Nelson, Cordova, Jr., Paul Boshears, Saltworks, William Cordova
William Cordova’s (NAP MFA Annual 2003) recent show in Atlanta [Saltworks Gallery; September 16 – October 29, 2011] búscame en el torbellion: but also time itself is a complicated knotwork of imagery that potentially provides a rich discussion. - Read the full review by Atlanta Contributor, Paul Boshears, after the jump.
sin titulo (geronimo II), 2011, reclaimed brown paper bag, aerosol can, feathers, coin wrapper, courtesy of the artist and Saltworks
Filed under: Art Fairs, DC | Tags: Alex Ebstein, art fair, Corcoran, DC, DC Cheer, eMerge, Free Art Booth, Katherine Tzu-Lan Mann, Kristina Bilonick, Matthew Smith, MICA, NUDASHANK, Peacock, platform, Sophia Guerci, Tammi Campbell
Unlike the gallery platform, two-dimensional works were a bit less common in the artist platform at (e)merge. It’s not surprising — in their call to artists the organizers expressed an interest in site-specific work that engaged with the idiosyncrasies of a hotel setting. But it may also point to the organizers’ desire to favor experimentation over commerce in this portion of the fair. There were simultaneous performances throughout (e)merge, and they were hard to miss, but we also got a look at a couple of two-dimensional works as well. New American Paintings’ contributors, Matthew Smith and Alex Ebstein, discuss the artist platform at (e)merge, which closed yesterday. More after the jump!
DC Cheer!, an artist project led by Kristina Bilonick, greeted artists with encouragement as they arrived. Photo by E. Brady Robinson
Filed under: Art Fairs, DC | Tags: ADA Gallery, Andy Moon Wilson, Bart O'Reilly, Conner Contemporary Art, Curator's Office, Daniel Rios Rodriguez, DC, Ella Kruglyanskaya, eMerge, Jiha Moon, Jimmy Trotter, kendell carter, Matthew Smith, monique meloche, Nina Bovasso, White Columns
(e)merge kicked off with a preview and poolside party on Thursday evening. Featuring two platforms, one for galleries and the other for unrepresented artists, the fair occupies the first three floors of the Capitol Skyline Hotel as well as the lower level parking garage. I took a look around the gallery platform on Friday — just about 40 exhibitors — and will be checking out the artist platform on Saturday. My report on the galleries, with lots of images, after the jump. - Matthew Smith, DC Contributor
Filed under: Portland, Review | Tags: Erin Langner, Kristen Miller, Memento, PDX, PDX Contemporary Art, Portland
Before experiencing Kristen Miller’s (NAP #67) exhibition Memento at PDX Contemporary in Portland, it is difficult to avoid thinking of Christopher Nolan’s indelible film of the same title. However, where Nolan’s treatise on memory employed tension and dramatic manipulation, Miller’s works small works on paper and textiles rely on delicate constructions, meditative techniques and minimal materials. Rarely straying from a spectrum of white and beige, Miller carefully sews tiny seed beads and paints comparably scaled dots of gouache into delicate, vulnerable forms suspended in space. – Erin Langner, Seattle Contributor
Beginning and Ending 1, 2011, paper and gouache,16.375″ x 18,” image courtesy of PDX Contemporary. Click Image To View Larger
Filed under: Art Fairs, Art World, DC, Q&A | Tags: Capitol Skyline Hotel, Connor Contemporary, DC, eMerge, Helen Allen, Jamie Smith, Leigh Conner, Matthew Smith, Morris Lapidus, open art collection, Pulse, Rubell Family Collection, White Columns
The (e)merge art fair (September 22 – 25, 2011) — founded and organized by Conner Contemporary Art co-directors Leigh Conner and Jamie Smith, as well as by Helen Allen, founder and former director of Pulse — officially opens its doors tonight at the Morris Lapidus-designed Capitol Skyline Hotel in Washington, D.C.. The focus of the fair is on emerging artists, but not just those arriving via their dealers and gallerists. Nearly half of the approximately 80 exhibitors will be unrepresented artists vetted by a selection committee that included White Columns director Matthew Higgs, megacollector Mera Rubell of the Rubell Family Collection, among other art professionals. Which practically guarantees that (e)merge won’t be another big-box art fair. Earlier this week I caught up with the organizers of (e)merge, no doubt very busy with last minute preparations, to talk about the concept behind their project. Our conversation after the jump. - Matthew Smith, DC Contributor
Filed under: Review, Seattle | Tags: cable griffith, islands, Joey Veltkamp, Seattle, SOIL, soil gallery, susanna bluhm
For SOIL‘s latest show, Islands, Seattle artists Susanna Bluhm (NAP #53, 67, 91) and Cable Griffith are creating mystical terra firma. Strange, new islands, populated with references to Guston, early video games, and feminism, are all tied together with a unified of palette of blues, greens and grays. Where Griffith is tight and controlled, Bluhm is loose and expansive. I’m quite sure at night, the two shows whisper across the gallery to each other, “You complete me.” - Joey Veltkamp, Seattle Contributor
Filed under: In the Studio, Los Angeles, Q&A, San Francisco, Studio Visit | Tags: 73, Catherine Clark, Ellen C. Caldwell, Ellen Caldwell, Elyse Pignolet, graffiti, Great War of Californians, Jacques Callot, NAP, Paul Mullowney, Pignolet, Sandow, Sandow Birk, Temporary Permanence
Husband and wife team Sandow Birk (NAP #73) and Elyse Pignolet are solo artists in their own right, but they also form a dynamic collaborative art aesthetic in ambitious projects ranging anywhere from large-scale woodblock print series, to painted ceramic murals, to hand-drawn maps. - Ellen Caldwell, LA Contributor
Filed under: Austin, Review | Tags: Austin, Brian Fee, Jim Torok, Laura Reynolds, portraits, Walton
I keep thinking of Caroline. I have never met this Caroline in person, nor have I visited Walton, the town nestled in the Western Catskill Mountains in upstate New York where she resides. And yet, when regarding her portrait — the middle image of seven same-sized, intimately scaled paintings in Jim Torok’s Walton exhibition at Austin’s Lora Reynolds Gallery — I feel as though I “could” know her. Like I’ve seen that faintly sun-streaked brown hair, those indescribably blue-grey eyes somewhere before. Or I could know one of her neighbors, Yanna with her fuzzily textured tartan scarf and ice-water eyes, Iskander the kid, his T-shirt a mottled non-pattern like a painted Easter egg, whatever’s hanging from the string around his neck hidden beyond the boundaries of the painting. - Brian Fee, Austin Contributor