New American Paintings/Blog


#94: Southern Competition, Juror: Dan Cameron, Now on Newsstands by openstudiospress

Cover: Marcus Jansen

For the 2011 edition of the Southern Competition, we’re thrilled to feature the curatorial expertise of Dan Cameron, the founder and director of Prospect New Orleans, a post-Katrina effort that is single-handedly changing the landscape of contemporary art in the Southern United States. As the man behind the largest international biennial of contemporary art in America, Cameron’s experience working with emerging artists dates back several years, and New American Paintings is proud to exhibit his perspective as this issue’s juror.

The Spotlight feature for #94 focuses on the work of Knoxville, Tennessee’s Jered Sprecher, whose optically charged abstractions have more in common with representational forms than they reveal at first glance. The winner of a 2009 John Simon Guggenheim Memorial Foundation Fellowship, Sprecher is an assistant professor at the University of Tennessee, Knoxville and a wily investigator of commonplace mark-making. Sprecher speaks with us about abstraction, Dollywood, and where you go looking for inspiration in the cornfields of Nebraska.

No conversation about contemporary work in the South would be complete without talking about Miami, and OHWOW’s Lydia Ruby speaks to us about the risk-taking sensibilities of the South Florida art capital, her move from Boston, and her experiences in the art world working with emerging artists.

With American institutions like The Whitney increasingly acquiring work from artists in the South, it’s clear that the region is more vital than ever before, and New American Paintings is excited to be a stalwart site for this growing conversation. Order your copy online! A full list of winners, and preview images, after the jump!

Evan J. Garza, Editor-at-Large

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Art 42 Basel Opens (PHOTOS) by openstudiospress

TOP: Francis Bacon, Marlborough Galerie | Zürich. BOTTOM: Robert Rauschenberg│Peter Freeman, New York. «Images: Courtesy of Art Basel»

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Pacific Coast Competition Deadline: June 30 by openstudiospress

Robert Minervini, L. A. (sell me something else) | Acrylic on canvas, 50 x 68 inches. Featured in edition #91 of New American Paintings.

Just more than two weeks are left for artists to apply to our annual Pacific Coast competition, one of our most anticipated and highly sought-after books of the year. Jurying the submissions this year is none other than Anne Ellegood, Senior Curator at the Hammer Museum, Los Angeles. We’re thrilled to have Anne as our Pacific Coast juror for the 2011 competition, and we’re excited to see the work from each of the artists who apply.

The Pacific Coast competition is open to artists living in AK, CA, HI, OR, and WA, and the deadline to apply is Thursday June 30, which is just around the corner, so get cracking.

Artists can now apply online! Simply visit our competition page and follow the instructions. It’s easier than ever to apply. But do it by June 30!



Capitol Ideas: Heiner Contemporary opens in DC by openstudiospress

Photo: Will Teass

With a few exceptions, most art galleries left the DC neighborhood of Georgetown ten years ago in search of cheaper rent. Many of them settled on the 14th Street corridor and the 1515 building before gentrification and skyrocketing rents recently pushed some of the bigger players toward more economically diverse pastures in the H St neighborhood. (As recently as a few days ago, another gallery announced their departure from 14th street, citing “unsustainable increases in rent.”)

All of this makes Heiner Contemporary’s new storefront space in Georgetown a bit of a throwback. Located in the quaint and quirky Book Hill section of Georgetown, the gallery is just far enough away from the trendy waterfront and the brutish bar scene on M Street to make the trip worthwhile. Also worth the trip is their inaugural show, Polychromatic Projection, featuring the work of Brooklyn-based painter, Elizabeth Huey. I visited Heiner Contemporary last week and sat down with owner/director Margaret Heiner to talk about setting up shop in Georgetown, her plans for her new gallery space,  and Huey’s work. Our conversation after the jump.   —Matthew Smith, DC Contributor

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Debo Eilers at On Stellar Rays (PHOTOS) by openstudiospress
June 10, 2011, 12:22 pm
Filed under: Art World, New York | Tags: , ,

Debo Eilers, Spoogoo, 2011 | Mixed media, 87.5 x 32.5 x 14 inches. Courtesy On Stellar Rays, New York. Photo: Christopher Morgan.

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Sharon L. Butler: The New Casualists by openstudiospress

Rebecca Morris, Untitled (#06-10), 2010 | Oil on canvas, 59 × 59 inches.

The pioneers of abstraction—the Cubists, the Abstract Expressionists, the Minimalists—emerged from firm and identifiable aesthetic roots and developed their own philosophies. In the competitive maelstrom of 20th century art, those philosophies became dogmas, and the dogmas outright manifestos. In the new century, many abstract painters are saying goodbye to all that didactic thinking and exuding a kind of calculated tentativeness. Raphael Rubinstein, in a 2009 Art in America essay and for a 2011 painting exhibition he curated in London, dubbed this new type of abstraction “provisional painting.” Similarly, artist and critic Stephen Maine homed in on the “incipient image” in a March 2011 show he curated at Lesley Heller. And the Brooklyn curatorial team Progress Report (aka Kris Chatterson and Vince Contarino) styled its survey of contemporary abstraction at the Bronx River Art Center The Working Title. All three labels suggest the centrality of the open proposition in contemporary abstraction.  

—Sharon L. Butler (via Two Coats of PaintThe Brooklyn Rail)

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Wallpaper in Search of a Narrative: Julia Freeman by openstudiospress
June 8, 2011, 12:37 pm
Filed under: Art World, Seattle | Tags: , , , ,

© 2011, Julia Freeman, VERY LITTLE ROOM FOR MISHAPS, mixed-media installation, Photos by Julia Freeman.

Julia Freeman’s installation Very Little Room for Mishaps drenches Gallery 4Culture in a visceral cacophony.  The Seattle artist’s hand-painted and collaged floral wallpaper wraps the gallery walls, while life-sized cutout photographs of shrubs and dark, amorphous masses on wheels float aimlessly within its center, intended to be pulled and arranged within the space by viewers. A table display of tape-wrapped tools provides the utilitarian objects of this estranged reality, while an ominous soundtrack created by Ajax Wood and J.M. McNuity complete the installation, fully immersing the viewer in the constructed scene.Compared to Freeman’s recent shoebox-sized scenes created for the windows of ACT Theatre, Very Little Room for Mishaps is colossal in scale, changing the role of the viewer from voyeur to participant.

More after the jump!  —Erin Langner, Seattle contributor

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