New American Paintings/Blog


PORN IN THE WOODS – DEVON DUNHILL CLAPP AT et al projects by New American Paintings

By tackling taboo subject matter with an abject attitude, Devon Dunhill Clapp’s die weiße Schweinehund was an exciting way to end 2012. Clapp’s work is inspired by a dark side of the human experience. Internet dumping grounds like “space ghetto” and true horror stories from rides on the New York subway generate the imagery for his work. Francis Bacon was noted saying that he wanted his “…pictures to look as if a human being had passed between them, like a snail leaving its trail of the human presence….as a snail leaves its slime.”  I liken this sensibility to Clapp’s paintings which exist underneath the rock of culture where the worms hide away from the light.  He makes animals of us by exposing the things we do not wish to see and that which we try to forget. Clapp describes his work as evoking the same sensation as “stumbling upon pornographic magazines in the woods,” and they are truly that unsettling and invigorating; we feel uncomfortable looking, yet cannot look away. It is also worth noting the cinematic nature of the work, many of the paintings feel like clippings from the climax of a film, as if there were moments in life where he stopped the frame to make a note when everyone else hid their faces in terror.  – Anthony Palocci Jr., Boston Contributor

G_TRAIN_FLUID_EXCHANGE
Devon Dunhill Clapp | G Train Fluid Exchange, 2012 oil on canvas, 84” X 60” Photo courtesy of et al projects

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Up all night: Q&A with Ted Gahl by New American Paintings
October 26, 2011, 8:05 am
Filed under: New York, Q&A | Tags: , , , , , ,

Ted Gahl’s new exhibition (and first solo exhibition in New York City) Night Painter, on view at Dodge Gallery though November 13th, includes an honest and uninhibited array of works that suspend memories and personal symbology in the thin stratum of Gahl’s painted surfaces.  Dense but not overcrowded, minimal paintings serve as visual respite between larger, tangled compositions where the referential and abstract overlap.  Within the dark and specific palette, each painting begins to read as a different element of memory, meditation, dream, insomnia and delirium. – Read the interview between Alex Ebstein, Baltimore contributor, and Ted Gahl after the jump.


Ted Gahl Night Painter at Dodge Gallery, Installation View, photo by Carly Gaebe, courtesy of Dodge Gallery

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The Writing’s on the Wall: a Q&A with David Kramer by New American Paintings

Considering current events, it may be easy to wonder if David Kramer’s paintings have a slight political bent. Much like the characters in his work, we’ve had to collectively reassess our own aspirations amid the failed promises of the credit and housing bubbles. But taking stock of one’s own life is far from a political act, and Kramer’s work is probably too introspective to be social activism. In his paintings, Kramer, who is a child of the 70s, responds with disappointment to the glossy promises of 1970s lifestyle magazine ads. His response can begin to seem like a latently familiar one, and whether we perceive this personally or collectively is likely to depend on the viewer.


Modern Living
, 2011, Ink and bleach on paper, 19 3/4 x 25 1/2 inches, courtesy of Heiner Contemporary and the artist

Heiner Contemporary in Washington, D.C. is currently exhibiting a solo show by New York-based David Kramer titled Prequel to the Sequel: Waiting for a Hollywood Ending, which runs through October 22. I caught up with the artist to ask him a few questions about his work. His answers, and photos from Prequel to the Sequel, after the jump. — Matthew Smith, D.C. contributor.

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