New American Paintings/Blog

Witches, Widows, Spinsters, & Lace: A Q&A with Katy Horan by openstudiospress
March 16, 2011, 12:45 pm
Filed under: Art World, Austin, Q&A | Tags: , , , ,

Katy Horan, Spinster #3, 2011 | Gouache, tissue paper and graphite on paper, 20 x 20 inches. Courtesy the artist and Swarm Gallery, Oakland, CA.

If you’ve ever laid eyes on Austin-based artist Katy Horan‘s work (perhaps in the recent West edition, #90, of New American Paintings) you probably recall the ghostly, lace-laden women and women-creatures that are Horan’s signature. These mysterious and striking figures combine Katy’s interest in Victorian fashion, Renaissance portraiture and historical female archetypes, and I’ve always been curious to learn more about them.

Last summer I had the chance to meet Katy for coffee while she was in Brooklyn and just beginning a new body of work for her recent show at Swarm Gallery in Oakland, CA. Katy had a ton of work ahead of her and so we agreed to do this interview when she finished. I asked Katy, among other things, about her process of creating new work and the significance behind her female archetypes and their elaborate dresses. It turns out that, growing up, Katy wanted to be a fashion designer and studied costume design before transferring to art school. Given her obsession with historical dresses and their haunting, cultural significance, this makes perfect sense. Our conversation after the jump.    Kate Singleton, contributor

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Q&A: A Conversation with Zane Lewis by openstudiospress
October 27, 2010, 10:00 am
Filed under: Q&A | Tags: , , , , , , ,

Mirror, Mirror, 2009 | Mixed Media, 69 x 51 x 2.5 inches. Private Collection.

Zane Lewis wants to go the distance. He admittedly thinks like a DJ when creating his work, a veritable zoo of different painterly and sculptural methods that are equally chaotic as they are startlingly refined. (“Zany” would almost be too appropriate here.) Featured in editions #66 and #72 of New American Paintings, Lewis has taken the last year to remove himself from the “gallery game” to focus on making new work. Not long for any one specific studio practice, Lewis is constantly changing his work, moving from method to method, in search of a more challenging application and context. Featured in 2006 as a “(23-Year-) Old Master” in The Wall Street Journal, I caught up with the New York-based San Antonio native last week to find out what he’s been up to and why he’s into “wall power”.  —Evan J. Garza

EJG: Tell me about what you’ve been working on recently.
My work has changed so significantly this last year, at least it feels like that for me. Obviously there’s conceptual and aesthetic threads that remain, but it’s very different from the type of work I was making when I was featured in New American Paintings. One year I got the back cover [of the magazine], and it was a large image of a detail shot of one of my drip paintings. They were these paint my number pieces that looked like they were spilling paint out of the shadowboxes they were in. And then when I got the cover [of #72], it was the cut painting style of work with the cut Paris Hilton piece. I am no longer making either of those bodies of work. (Laughing)

Paris, 2007 | Cut acrylic paint, 63 x 63 inches

I tend to work like that as an artist. I’ve always been intrigued by the idea of coming up with a certain way of working that’s approaching things in an unconventional way, dishing it out, doing a series, and then I get bored and I want to move on and I want to kind come up with something new and stimulating for me in a new way. So I haven’t made the cut paint paintings in about two years now, and longer since I made the paint by number paintings. I do typically, in my work, have that drip aesthetic. That is still there.

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New & Noteworthy: Devin Troy Strother by openstudiospress
September 8, 2010, 10:00 am
Filed under: Noteworthy, Q&A | Tags: , , , , ,

Boom for Real, 2010 | Enamel, acrylic, gouache, ink, graphite, silkscreen, collage on paper, 21.75 x 37 inches. Courtesy Richard Heller Gallery.

To say that the work of Los Angeles-based artist Devin Troy Strother is loud is an enormous understatement. In every work, with every color and each piece of cut paper, Strother constructs rich narratives that, quite literally, cannot be contained by the panels they’re made on. Featured as a Noteworthy artist in edition #85 of New American Paintings, Strother makes paintings that are highly confrontational, not only for their brilliant visual qualities but for the subject matter at hand. I caught up with the artist this week by phone to talk about his work.  —Evan J. Garza

EJG: You just finished up a residency at Skowhegan. How was that?
I’ve been working this past year on my solo show opening on Saturday, so I went [to Skowhegan] June to August. Skowhegan’s kind of a place to go and open up and experiment and try different things. Going there having to make work for a show, going there with a preset list of things that you need to accomplish [was] kind of a different thing than going there to make some shit and see what happens.

Big Hustle, Little Hustle, You Know Them Girls Be Puttin’ in Work, 2010 | Enamel, acrylic, gouache, ink, graphite, silkscreen, collage on panel, 30 x 40 inches. Courtesy Richard Heller Gallery.

EJG: Was the work you made at Skowhegan different than the work you’d been making previously?
I would say yes because the work is on this perpetual growth almost, where every piece I do is really different from the last one… All the studio visits really informed the work; a lot of feedback from a lot of people, as opposed to making work in the studio where it’s just mild feedback or just one person seeing it.

EJG: The titles are pretty great. Where do they come from?
The titles come before the work is made. I have a book that I keep of funny shit I hear or comments that I hear that are kind of interesting. It starts with a phrase or a title, and I try to genrate an image that relates to the whole narrative, this world that I’m trying to make. The titles come from things I hear in rap songs or things I hear family members say, things friends say.

California Dreaming/Love, 2010 | Enamel, acrylic, gouache, ink, graphite, silkscreen, collage on paper, 16 x 10 inches. Courtesy Richard Heller Gallery.

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