New American Paintings/Blog

From Print to Painting to Print: CTRL+P at Arlington Arts Center by New American Paintings

Brian Chippendale came to prominence as a leading figure in the underground art and music scene that blossomed in Providence, RI during the 1990s. At the center of this creative explosion was Fort Thunder, an expansive live-work space co-founded by Chippendale in 1995 that occupied the second floor of an historic mill. Part performance space, part printshop, part residence, Fort Thunder was ultimately purchased by a developer and demolished in 2002, giving way to a supermarket and office supply store. As Chippendale bounced around studios over the next couple of years he went from decorating his walls with prints of his drawings to stretching them over wooden bars like paintings. As he told Greg Cook in a profile for Juxtapoz last June: “I think I got so wound up by the Fort Thunder thing that I couldn’t start fastening them to the walls. It seemed like a good way to make things I could move around. Plus, the walls were concrete, and I couldn’t really staple to them.”

Brian Chippendale | The High Castle | 2011, screenprint collage on wood, 58”x48” (image courtesy of the artist and Arlington Arts Center)

A few of these wall pieces, along with works by 27 other artists, are currently on display in CTRL+P (on view through September 16), an expansive group show co-curated by Kristina Bilonick and Julie Chae at Arlington Arts Center. The show explores new and multidisciplinary directions in printmaking, including painterly treatments like Brian Chippendale’s “stretched paper” pieces and a myriad other approaches. After the jump I look at a few of the more painterly works and I consider how they arrived at this junction between painting and printmaking. —Matthew Smith, Washington, D.C. contributor

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Progress Report: Q&A with Kris Chatterson and Vince Contarino by New American Paintings

Give it time and the Internet will mobilize for change in just about any arena. So it’s not surprising that artist-run exhibition spaces — always bastions of change — are increasingly striving for a stronger online presence, sometimes even eschewing fixed brick-and-mortar locales all together. And it’s not just exhibition spaces. Artist-run curatorial projects like HKJB, Culture hall, and Progress Report exist mainly on the web, producing information that’s decentralized and disseminated horizontally, peer-to-peer. All of which is relatively new.

One of these projects, Progress Report, is designed as an online curatorial resource centered on visual content and studio visits. Co-founded by Brooklyn-based painters Kris Chatterson and Vince Contarino, their project is particularly keen on abstraction and focuses on the creative process from the perspective of working artists. This is noteworthy not only because Chatterson and Contarino are a couple of accomplished abstract painters in their own right, but also because they prove to have an expansive grasp for what their contemporaries are up to. –

More about Progress Report and our conversation after the jump. -Matthew Smith, D.C. Contributor

Installation view of The Working Title, a group show on abstraction curated by Progress Report and exhibited at the Bronx River Arts Center, March 25 through April 29, 2011.

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