New American Paintings/Blog


Northeast Issue #98 Sneek Peek! by New American Paintings

The 2012 Northeast Issue, #98, is now hitting newsstands across the US. We expect them to ship to subscribers in the next 1 to 2 weeks, so check those mailboxes! The juror for the Northeast issue was Dina Deitsch, deCordova Sculpture Park and Museum, Lincoln, MA.

Deitsch notes in her essay, “While the Northeast can be characterized by its cold weather, ties to the earliest days of American history, a collection of some very good schools, and perhaps, what is politely termed a Yankee frugality or better yet, pragmatism, the truth of the matter is that the art here bears no such defining characteristics. In the realm of painting, where the limits are the mind and hand, there is a remarkable range of forward-thinking ideas, subject matter, and technique. In the grouping of painters featured in this issue of New American Paintings you’ll come across works that speak more to the human experience—both local and global—and a broadening effect of thinking through painting as a material, as color, and less as a means to an end. This shift towards the materiality of paint seems to almost reinvigorate the medium, taking it into the space of the world itself.”

— View a list of all featured artists after the jump!

You can pre-order the issue by calling 617-778-5265.

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Happy New Year! by New American Paintings

Left to Right: Alexa Kinne, Dana Cordova, Steven Zevitas, Drew Katz


Heart to Art: Jill Schroeder of grayDUCK Gallery by New American Paintings

When I relocated to Austin from New York City this summer, I became inextricably attracted to grayDUCK Gallery and its consummate Austin vibe. Its location south of Town Lake puts the gallery in walking distance from “Keep Austin Weird” South Congress, and it shares a Zip Code with Torchy’s Tacos and indie record store End of an Ear — i.e. Austin all the way. Then there is grayDUCK’s rigorous monthly exhibition schedule and its strong roster of local artists. I met with Jill Schroeder, owner and director of grayDUCK, to discuss the gallery’s unique presence and her goals for the future. — Brian Fee, Austin Contributor


Jill Schroeder, photographed by Jefferson Harris

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Julie Rodrigues Widholm: A Conversation with the Midwest Competition Juror by openstudiospress
January 14, 2011, 1:51 pm
Filed under: Art World, Behind the Scenes, Q&A | Tags: , , , ,

Julie Rodrigues Widholm knows her stuff. The Pamela Alper Associate Curator at the Museum of Contemporary, Chicago (MCA), Widholm has had extensive experience working with emerging contemporary artists, including organizing nearly 30 of the MCA’s 12 x 12 shows, an exhibition series of emerging Chicago-based talent. And in 2009, she was the curator of Constellations: Paintings from the MCA Collection, which examined the course of painting over the last 60 years.

We’ve tapped Widholm to jury the 2011 Midwestern Competition, for which artists can apply online now through February 28!

I caught up with Widholm at the MCA to talk about her experience with painting, how young artists are experimenting with the medium, and her excitement for reviewing the Midwest submissions.

EJG: Tell me about your experience and some of the projects you’ve worked on.

JRW: I have been at the MCA since 1999… In terms of painting, I did a fairly large exhibition called Constellations: Paintings from the MCA Collection, looking at eight or nine different ways that artists have approached painting in the last 60 years. That was probably the first time I really sat down and started thinking about painting, in particular as a medium, and what it means to paint today.

I did a short documentary video with some local artists and asked them the questions, ‘Why do you paint? What is it about painting in 2009/2010 that continues to be so exciting and interesting for artists?’ And I was surprised because I learned quite a bit about why this medium persists and how different artists approach it… I realized [painting now] is much more personal, much more about time, about process, the materials, the use of those materials, and the exploration through those materials. That was really revelatory for me.

So, what’s your answer to that question? What is it about painting in 2010, or 2011, that’s exciting?

I think it’s so much about very idiosyncratic and personal approaches to process. I think a lot of painting now is process and not so much the image. And, of course, there will always be representational painting, but what I’m seeing is a kind of renewal in the younger generation who are approaching abstraction in a new and exciting way that’s very open-ended… On one hand, [those practices] have become very formal. I think formalism is back in a new way.

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Behind the Scenes: Kristen Dodge by openstudiospress

Kristen Dodge is from Boston (don’t get it twisted), and she’s representing Red Sox fans in a city full of Yankees. After several years in Boston where she served as director of judi rotenberg gallery, which shuttered this summer after 40 years of programming, Dodge has taken her new gallerist reigns to the Lower East Side of New York and is running full gallop in her new space, DODGEgallery.

While in Boston, Dodge created a dynamic program of contemporary artists with rotenberg co-director Abigail Ross, which Nick Capasso, senior curator at the DeCordova, said, “became one of the most important places to see advanced work in Boston”—a goal that she is already hard at work executing in her new home in New York at 15 Rivington Street, just around the corner from the New Museum.

Dodge works hard, she expects artists to be hard-working as well, and—to no surprise—she admits that the work she’s drawn to is rigorous. I spoke with the young New York dealer this week to talk about leaving Boston, why she decided on the Lower East Side, and her plans for her new space. —Evan J. Garza

EJG: You were director at judi rotenberg for a number of years before recently moving to New York and starting your own space, DODGEgallery. How did you end up in New York? And why the Lower East Side?
I worked at the rotenberg gallery with Abigail Ross for 6 years. My first day on the job was one of those moments in life when everything falls into place and you find yourself exactly where you need to be. It was an incredible run, and very hard to sever myself from both the gallery and Abi. When I first told her that I needed to follow my own dream, take the leap, grab life by the balls—however you want to say it—she was immediately supportive and excited for me, or relieved to have me off her tail!

I spent a few months weighing the pros and cons of Boston versus New York, and it became very obvious to me that I would have a more balanced lifestyle in Boston, my home, but that I would find greater opportunity in New York. I decided that if I was going to make this commitment and the number of sacrifices that it entails, and ask our artists to do the same, I needed to position the gallery in New York where there is endless and unparalleled opportunity. So I spent about five months traveling back and forth to New York to set up the business. I had some incredible friends who let me sleep on their couch, and so many friends and family who offered their unwavering support. I’m also incredibly lucky that Patton Hindle was willing to pick up her life in Boston and move to New York to join the gallery.

So why the Lower East Side? This is one of the most exciting gallery hubs in the city—it’s the newest generation of spaces, and continues to grow steadily. I’ve heard that nine new galleries opened in L.E.S. this fall. It’s more renegade than Chelsea is now, there’s a greater opportunity to stand out, and find memorable, unlikely spaces [in which] to open a gallery. Visitors like the sense of discovery that the neighborhood offers too. How fantastic is it to walk past a kitchen supply store and stumble into a contemporary art gallery?

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