New American Paintings/Blog

Alchemy of Paint: A Studio Visit with Margie Livingston and Isaac Quigley by New American Paintings

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.

We convened at Livingston’s studio in the SODO neighborhood of Seattle to discuss some of the shared characteristics of their work. Quite the host, Livingston has laid out a spread of Coconut Bliss, homemade peach tarts and tea for us. It’s the first time the two artists have met, and they start talking right away about paper towels and Rauschenberg. – Amanda Manitach, Seattle Contributor

Margie Livingston and Isaac Quigley.

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Where to draw the line: A Conversation with Bette Burgoyne and Jed Dunkerley by New American Paintings

I sit down at a bar at the north end of Seattle’s Capitol Hill neighborhood with two artists whose work is the definition of obsessive, both in technique and content. Neither of them identify as OCD or autistic.

The venue is called Joe Bar. Located next to Seattle’s Cornish College of the Arts and owned, staffed, and curated by a handful of Cornish grads since 1997, Joe Bar is the most likely of unlikely places you’ll find excellent art tucked away in the city. Unlikely because it serves crepes and beer, has garish green walls, and is super cozy, none of which are particularly helpful settings for displaying artwork. But none of that stops some of Seattle’s most interesting artists from hanging their work there. -Amanda Manitach, Seattle Contributor

Joe Bar

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Busted Open Abstraction: Fritz Chesnut on Richard Prince by New American Paintings

Painter Fritz Chesnut first stumbled across Richard Prince, the artist whose repurposed photographs of cowboys, bikers and open roads made Americana sexier and more sinister, when still an undergraduate in Santa Cruz. “I think I was in the library just combing through books,” he says. “I remember discovering Rauschenberg the same way. Just grabbing this big glossy book and thumbing through it and being completely fascinated.” – Catherine Wagley, LA Contributor

Richard Prince |  Untitled (Upstate), 1995-99, Ektacolor photograph, 40 x 60 inches, 101.6 x 152.4 cm

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