New American Paintings/Blog

40 Galleries You Should Know if You Love Paint by New American Paintings
June 29, 2012, 8:15 am
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It is a simple truth that in any given month, if you added up all of the available space in commercial galleries around the country, the amount dedicated to painting would dwarf that of all other media. The list that I have compiled consists of 40 United States’ based galleries that have a proclivity for painting. That is not to say that painting is the only medium that these galleries show; indeed, most represent artists producing work in a range of media. All of them, however, have shown a particular interest in the medium over an extended period of time, and all have stables of artists that are at least 50% painters.

Mark Flood. Courtesy of Zach Feuer

The list is obviously far from comprehensive, and I consciously avoided blue chip galleries such as David Zwirner and Matthew Marks in favor of younger spaces. Some dealers I have personal relationships with, and others I know only casually. If you love the medium of painting, these are all spaces that you should be familiar with.

I hope that you find the list informative. Directly below is a list and after the jump you’ll find some brief comments and a list of noteable artists. Enjoy! – Steven Zevitas, President/Publisher, New American Paintings

American Contemporary
Angles Gallery
Jeff Bailey Gallery
Shane Campbell Gallery
Lisa Cooley
Corbett vs. Dempsey
CRG Gallery
Devening Projects + Editions
Eleven Rivington
Feature Inc
Zach Feuer
Freight + Volume
Gallery Paule Anglim
James Fuentes
James Harris Gallery
Harris Lieberman Gallery
Horton Gallery
Inman Gallery
International Art Objects Galleries
James Kelly Contemporary
Leo Koenig, Inc.
David Kordansky Gallery
LaMontagne Gallery
Gregory Lind Gallery
Marx & Zavattero
Anthony Meier Fine Arts
Mitchell-Innes & Nash
Mark Moore Gallery
Friedrich Petzel Gallery
Sue Scott Gallery
Sikkema, Jenkins & Co
Fredric Snitzer Gallery
Texas Gallery
Susan Vielmetter Los Angeles Art Projects
Daniel Weinberg Gallery
Howard Yezerksi Gallery
Zieher Smith

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VOTE NOW! The Inaugural New American Paintings Annual Prize: Reader’s Choice Poll by openstudiospress

New American Paintings Annual Prize: Reader’s Choice
For the first time in the 17 year history of the publication, we’re asking our readers who they think deserves some attention. We’re pleased to present the New American Paintings Annual Prize, including two components: a cash prize of $1,000 awarded to one Noteworthy artist featured this year, determined by a panel of seasoned curators, and a $500 gift certificate sponsored by BLICK Art Materials, with the winner decided by YOU, our reader! Take a look at all 12 of this year’s Noteworthy artists below and VOTE NOW!

Voting is open through January 7. The winner of the Reader’s Choice will be announced on Monday, January 17, and the winner of the Annual Prize will be announced Monday, January 31.


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Dan Cameron: A Q&A with the Southern competition juror by openstudiospress

Dan Cameron is single handedly changing the landscape of contemporary art in the Southern United States. So it’s no surprise that we sought him out to be the juror of the current Southern Competition of New American Paintings. (Apply online!)

A curator for more than 30 years and the founder and director of Prospect New Orleans, the largest biennial of international contemporary art in the country, Cameron has introduced audiences in the South to exceptional work from artists across the globe. More importantly, however, Cameron and Prospect have contributed significantly to a new growing contemporary scene in New Orleans and a further revitalization of the Big Easy.

I caught up with Cameron while at his New York office last week to talk Louisiana and emerging work.

The deadline for the Southern Competition is December 31 (open to artists living in AL, AR, DC, FL, GA, KY, LA, MD, MS, NC, SC, TN, VA, & WV), so keep the submissions coming! –Evan J. Garza

EJG: You started Prospect New Orleans after Katrina. How long have you been working in New Orleans?
I’d been a visitor and have worked in New Orleans, on and off, for more than 20 years. I started Prospect as a post-Katrina effort to engage the city. It was really something that the artists and the community called on me to do because they knew that I was very close to the city and they knew that I could get a lot of attention for New Orleans, and that’s how the whole process started.

I was working in New Orleans as early as January 2006 on Prospect, but I didn’t form the company until 2007. But because of raising money outside of a museum, and because of the needs of the community, it was not appropriate at all for an outsider like me to start to open up a new charity in New Orleans less than a year after the storm. So I had to be very careful not to compete with other nonprofits in New Orleans, and bring money from outside of Louisiana, so to do that you have to be in a place where there’s a lot of media, and there’s a lot of art, and that happened to be in New York. So I have two homes: an office in New Orleans and an office in New York.

EJG: Have you seen a direct effect that Prospect has had on New Orleans?
Very dramatic. New galleries have opened up, there’s more attention for museums and galleries. Before, you could barely see any mention of [the city] in The New York Times or Art Forum. Nothing had ever happened to New Orleans which was considered newsworthy on a national level, and that’s totally changed.

Now the Whitney has recently bought the work of younger New Orleans artists—that’s totally unheard of. And I think that’s only going to improve over time. More and more New Orleans artists have national and international exposure and New Orleans galleries are able to start showing their work in other parts of the country and also internationally. I would say that the number of co-op galleries in New Orleans has gone from zero in 2007 to something like ten right now. The whole St. Claude arts district, where the co-op galleries are located, has absolutely exploded. It’s far and away the most exciting new addition to the New Orleans art scene that anyone can remember and that’s all really a direct result of Prospect.

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MFA Annual – Where are they now? by openstudiospress

Matthew Day Jackson, August 6th, 1945 (Dresden), 2010 | Burnt wood, lead on 2 wood panels, 96 x 123 3/4 inches. Courtesy Peter Blum Gallery, New York.

Not to toot our own horn, but there have been some pretty exceptional artists featured in the past editions of the MFA Annual competition of New American Paintings, many of whom have gone on to achieve significant international success. This month, with the 2010 MFA Annual Competition in full swing, we’re revisiting some of the strongest  and most acclaimed artists to be featured in the MFA book, including Chris Ballantyne, William Cordova, Jim Gaylord, Matthew Day Jackson, Elisa Johns, Lisa Sanditz, Michael Scoggins, and Daniel Rich. (Toot toot.)

CURRENT MFA CANDIDATES: Apply online through October 31 for this year’s competition, juried by Randi Hopkins, Associate Curator, Institute of Contemporary Art/Boston (ICA). And be sure to check out our recent interview with Randi to hear what she has to say about working with emerging artists.  —Evan J. Garza

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New & Noteworthy: Jim Gaylord by openstudiospress
September 20, 2010, 10:00 am
Filed under: Noteworthy | Tags: , , , , , , ,

Force Field, 2010 | Oil on canvas, 36 x 60 inches. Courtesy Jeff Bailey Gallery, New York.

Jim Gaylord was included in the 2006 MFA Annual, edition #43, and was selected as a Noteworthy artist in edition #86 of New American Paintings by Northeast competition juror Monica Ramirez-Montagut, Curator, The Aldrich Contemporary Art Museum. I caught up with the Brooklyn-based artist last week to discuss his optically-charged works, which seem as if to use movement as medium. —Evan J. Garza

EJG: Your work evokes a great deal of movement, and some of your abstractions seem as if captured by a moving camera.
That makes sense because all of the current work is made up of abstract shapes I find in film stills. They’re the kind of forms that fly by quickly and are easy to miss, but I slow down certain sequences frame-by-frame and look for something interesting to work with.

The blurring effect that’s happening in a lot of the new paintings is a result of the fast-moving subjects, but I’m finding that the motion translates into painterly brush strokes in an interesting way. The trick for me is to make them seem like they just happened spontaneously, while in reality they’re planned out. It’s kind of a contradiction, but if you think about it, it’s not really even a process of abstraction because I’m depicting something that’s actually occurring on the screen.

EJG: Did you stare out of car windows a lot as a child?
Sure, and I still appreciate being a passenger in a car or a train. I guess it’s like watching a movie, or a campfire.

Lapse of Decorum, 2010 | Oil on canvas, 35 x 60 inches. Courtesy Jeff Bailey Gallery, New York.

EJG: The line between representation and abstraction in your work is, quite literally, blurred. How do you approach your compositions and how are they produced?
I’ve always liked pictures that I had to keep looking at to figure out what I was seeing, but keep changing, so they never settle into one thing. I used to make ‘automatic drawings,’ like the Surrealists did, just making these ambiguous, stream-of-consciousness forms. But after a while, they all began to look the same, and I wanted to come up with more contemporary ways of image making.

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