New American Paintings/Blog

Social Practice: A Q&A with Laura Hudson by New American Paintings
November 20, 2012, 8:28 am
Filed under: Q&A | Tags: , , , ,

Laura Hudson (NAP #99) has been getting out of the studio. The Baltimore-based painter organizes participatory events, documents them on video, then culls her compositions from the nuanced moments hidden in the hours of footage. For her latest project Laura organized a sleepover at the Arlington Arts Center in suburban Washington, DC. The event was meant to be a sentimental throwback to the days of slumber parties — the artist and 15 of her friends ate junk food, chatted, and played cards all night before nodding off into sleeping bags. It’s all part of her painting process now, bringing her together with friends as much as it pushes her into the isolation of the studio.

The resultant series of paintings, On Common Ground, are currently exhibiting in the same gallery space where the sleepover was organized. In this regard they’re meant to function like a site-specific installation, integrating the viewer into the composition and blurring the boundary between the audience and the painting. Another project, Art Opening (pictured below), takes what is perhaps a more direct path at this, as painted subjects and gallery goers comingle in the same functional space.

I recently had the chance to chat with Laura about her work and her process. Our conversation after the jump. — Matthew Smith, Washington, D.C. contributor

Laura Hudson | Installation view of Art Opening | 2012, image courtesy of the artist

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Collecting Critically: A Q&A with Henry L. Thaggert by New American Paintings

Andy Warhol’s relationship to abstraction is charged. Despite a latecareer painterlyimpulse — which included the Shadows series currently exhibiting at the Hirshhorn — his pictorial language based on representation fundamentally questioned the narrative of post-war painting as defined by Clement Greenberg. And the implications of Pop Art’s emergence over Abstract Expressionism were significant, not least for black artists as changes in collecting preferences opened new doors for art about the African American experience. This was the premise of a talk by art collector Henry Thaggert at the Philips Collection in Washington D.C. a few years back. It’s a perspective that Kara Walker seems to echo, at least indirectly, in a talk on Andy Warhol scheduled for next week at the Hirshhorn. I recently caught up with Thaggert to talk further about Warhol, get his thoughts on collecting art, and about his involvement in the local art scene. – Matthew Smith, D.C. Contributor

Andy Warhol | Shadows, 1978-79. Dia Art Foundation. © The Andy Warhol Foundation for the Visual Arts, Inc. Photo: Cathy Carver.

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