Congrats to Professor Patricia Cronin who was awarded one of four Tow Professorships for 2013-14 – wow!
Archive for May, 2013
Please join us at Centotto on Tuesday, 28 May, from 7-10pm, for the opening
of *Legend of Drafts*, an *interstizio* exhibit we like to think of as a
gallery show flipped upside down.
Or better yet, inside out.
For the how and the why, see here <http://centotto.com> and below.
We hope to see you at the show.
[image: Immagine in linea 1]
250 Moore Street, #108
Brooklyn, NY 11206
Chang Learning (located in Brooklyn) is currently recruiting NYS certified
teachers for their summer program. Classes run Monday to Friday from July
1st to August 16th. The teacher must commit for the entirety of the
Teachers needed for:
– SAT and SHSAT prep (Verbal Section) 9:15am-12:15pm
– Grades 6&7 Math Teacher 9am-12pm
– Grade 5 General Teacher 9am-3pm
– Grade K General Teacher 2pm-5pm
– Elementary School Art teacher
– Elementary School teacher for Spanish Language
– Elementary School teacher for Chinese Language
Interested candidates can apply to more than one position if schedule
allows. Please forward this to any colleagues who can benefit from these
Summer Teaching positions. (Compensation commensurate with experience.)
By Alexander Nixon, Managing Arts Editor
This week Dallas Owens is putting the finishing touches on artwork he plans to show the MFA review panel this Friday, culminating an enterprising first year as an MFA at Brooklyn College MFA.
He arrived at Brooklyn College a year ago fully aware the facilities would not allow him to continue making plastic the molds and models he churned out as a BFA at Miami University in Ohio. The facilities here lack the proper drainage and filtration for realizing his 3-D lambs in tuxedos splattered with disarming pink paint.
Taking a cue from the outside world, he outsourced his mold making, but not until exhaustively exploring the possibilities within the constraints of BC’s MFA facilities.
This 2012-13 exploration included oil and acrylics rendered on carpet, an epic-scale triptych, and various paint splattered polar bears and cartoonish lambs.
Disarming is the best word to describe Owens’ artwork.
The disarmament operates on several formal levels. The first and most startling is the element of taxidermy in his work. Like Rauchenberg’s infamous "Canyon" (1959), Owens incorporates stuffed animals in his artwork, mutilating them with paint and appropriating their every-day, not-art signification to confuse and, yes, disarm.
Like Rauchenberg’s bald eagle, of whose symbolic connection to the USA one need no convincing, Owens’ polar bear is much more than Duchampian DaDa. Like many other elements in Owens’ artwork, the polar bear is a stand-in for innocence and violence.
No other animal encapsulates the collective and anonymous terror inflicted by society on the natural world. We may write checks to non-profit organizations in hopes of "saving the polar bear," but we all know the fossil fuels consumed by sending such a letter will only shrink further that tiny sliver of ice float upon which the stranded polar bear stands as the temperature heats up.
Like Owens’ polar bear, the lamb has become a stand-in for innocence and violence. In the case of the lamb, another major surrogate element in his work, Owens opted for an animated cartoon representation.
"Diamond Dallas" (2012) depicts a lamb wielding a knife. The title, "Diamond Dallas," indicates we are looking at a self-portrait of the artist. This cartoon lamb is the most prevalent character in the work Owens executed this year. Why is he holding a knife? Is he a sacrificial lamb? Are we?
Owens joined the Brooklyn College MFA program immediately after earning his BFA.
One can expect the prospect of entering the real world to provoke feelings of being a lamb on one’s way to the slaughter, especially when one’s creative output is as intricately linked to one’s conscience, as is the case with artist Dallas Owens.
Visiting Owens’ studio is kind of like visiting the "Life Underground" (2001, Tom Otterness) installation at the 8th Avenue 14th St. subway station. There, one will find numerous bronze cartoon-like figures throughout the station. Like Owens’ characters, the bronze figures are adorable. Also like Owens’ work, they are often up to no good, in one case an alligator attacks a bronze pedestrian and tugs him into the abyss beneath a manhole cover.
Ownens’ bio states, "his recent work explores the dark side of the human condition with figurative mash ups that refer to an increasingly short public attention span and an indifference to social misfortune."
His work itself is anything but indifferent. By highlighting the profane aspects of society, he compels us to reassess what is sacred to us.
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NADA Art Fair: New York 2013 | Booth 301 View this email in your browser
Austin Eddy | Drunk, 2013 | Caulking, acrylic, ink, marker, cut paper,
charcoal, gouache, on canvas, 24" x 20" | I’d Fly Away Too, 2013 | Charcoal,
acrylic, ink, cut paper, caulking, powdered pigment, oil pastel on canvas,
24" x 20"
NADA Art Fair, Booth 301 | May 10-12, 2013
Pier 36, Basketball City located at 299 South Street on the East River, New
Radamés ‘Juni’ Figueroa
Jesús ‘Bubu’ Negrón
José Lerma | Eleonor Velasco Thorton, 2012 | Acrylic, pigmented caulk and
used parachute on canvas, 64" x 48"
Timothy Bergstrom | Nemes, 2013 | Thermoplastic, wire and acrylic on
canvas, 80" x 53"
Melissa Brown | Cloud Over the Beach, 2013 | Oil, dye and spray paint on
canvas, 66" x 72"
Copyright © 2013 ROBERTO PARADISE, All rights reserved.
ROBERTO PARADISECalle Hipodromo #610
San Juan, PUERTO RICO 00909
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Charly Himmel posted: "By Charly MoFuckin Himmel When You Hyun Chung came to Brooklyn College in 2010, he sought a new academic experience. He discovered something his home country of Korea had been unable to offer—artistic freedom. “This is amazing because we talk a lot about"
New post on The Kingsman
Frame and Focus: Success in the Viewfinder for International BFA Student <http://thekingsmanpaper.com/2013/05/frame-and-focus-success-in-the-viewfinder-for-international-bfa-student-2/>
by Charly Himmel <http://thekingsmanpaper.com/?author=13>
By Charly MoFuckin Himmel
When You Hyun Chung came to Brooklyn College in 2010, he sought a new academic experience. He discovered something his home country of Korea had been unable to offer—artistic freedom.
“This is amazing because we talk a lot about art, painting and [things] like that,” said studio mate and fellow expatriate Korean artist Jason River. “If he studied about painting in Korea, he never did that kind of painting because he never knew about painting. He just studied here. That’s how he made it.”
Back home in Seoul, River and Chung were co-workers. After Chung completed his associate’s degree in photography, They made their living as professional photographers shooting film posters, fashion, and product advertisements. River himself was an art major at Brooklyn College in 2008, and convinced Chung to come study in New York City.
“I came earlier and he came late,” River said. “We lived together at the time, but we separated and we just rejoined in our studio in Long Island City.”
Chung’s BFA thesis exhibition, “Abstractions,” which took place in the Boylan Gallery earlier this April, featured a sizeable and cohesive body of geometric abstractions in oil painting.
“In order to unify the series, I use limited vocabulary of squares and rectangles,” Chung explained in his artist statement. “Some of the paintings are compositionally the same, but they are not exactly the same because of the color differences and the color relationships within them.”
Some of Chung’s paintings exhibit a photographic influence in monotone, such as the twelve staggered black and white pieces along the back wall of the gallery.
“I think it’s similar because he always focuses on a kind of shape, like shade and brightness, you know these kinds of shapes,” said Rivers. “And he likes black and white photography. That’s why maybe he chose the grey painting.”
Through this lens, the square in the center of the images emulates a viewfinder on a camera. Lines alternate between sharp and soft focus, like an optical illusion, forcing the eye to reduce secondary and tertiary shapes that do not formally exist.
“I think everything’s related to photography,” Chung explained. “It’s kind of my habit… All of the work has frame in the center, it’s like photography, taking pictures.”
This effect is enhanced to a dizzying degree with Chung’s advanced experimentations in color theory. The human eye activates two strategically adjacent colors into multiple wavering tones. In his artist statement, Chung relates this phenomenon to cultural theory.
“I am fascinated by color theory because I believe that color has a power that is analogous to bias and prejudice,” Chung explained.
During his time studying at Brooklyn College, Chung has dabbled in many different mediums, including printmaking and drawing. Ultimately, he cites academic freedom, and artistic experientialism as his biggest tools for success here.
“I felt freedom to make art in here at Brooklyn College because in Korea many people went to some institute, like a drawing school or painting school before they go to college,” Chung said. “It makes everybody’s work look the same. But I didn’t do that. When you look at my work, it’s [mine].”
“If he was educated as a painter in Korea, he never would have done it. I studied painting and drawing in Korea and our education is pretty different from what the United States teaches,” said River. “It’s a lot similar to what Japanese people teach because of the important education from Japan, technically we have to be perfect, hatching drawings, we are crazy.”
On May 15-19, Chung and River, along with studio mates Yeonjin Kim, and Soongsup Shin, will host an open studio event at their studio space, JYYS located at 4301 21st Street, Suite 216 in Long Island City.
Charly Himmel <http://thekingsmanpaper.com/?author=13> | May 9, 2013 at 1:48 pm | Tags: Charly Himmel Seoul Jason River Wool Over Eyes <http://thekingsmanpaper.com/?taxonomy=post_tag&term=charly-himmel-seoul-jason-river-wool-over-eyes> | Categories: Arts Editor <http://thekingsmanpaper.com/?taxonomy=category&term=arts-editor> , Editor-in-Chief <http://thekingsmanpaper.com/?taxonomy=category&term=editor-in-chief> | URL: http://wp.me/p2hRHF-YU
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Kate McGraw announces her solo exhibition, Illumination + Snack, opening at
EMP Collective in Baltimore.
Illumination + Snack: A New Exhibition by Kate McGraw
May 17 June 9
Opening Reception: Friday, May 17th from 7 10 pm
307 W Baltimore St.
Baltimore, MD 21201 (map
Illumination + Snack is an art adventure featuring an honest cat embarking
on her life-long quest to find salvation in a world full of tricks and
treasures. Embracing the spirit of EMP¹s varied programming, Illumination +
Snack is a ³multi-dimensional journey² that will offer visitors a chance to
see art, be in art, and experience art. McGraw creates a fantastic and
whimsical world with her pieces that audience members are invited to
participate in during the exhibition.
Unfold a colorful and continuous matrix that can be viewed only during a
group participation to gently unravel it. Gather quiet thoughts or dance at
the base of Chouffe Mountain, a mythical place McGraw has created where
³crescendo is intrinsically understood and anyone can achieve their hopes
and dreamsS² or at least have a delicious snack.
About EMP Collective:
Founded in 2010, EMP Collective <http://empcollective.org/> is a nonprofit
arts organization dedicated to producing and promoting art events in
Baltimore, DC, and beyond. The collective also runs EMP, a multi-use arts
space that serves as a gallery for emerging artists and a performance space
for theatrical and musical events, experimental collaboration, workshops,
and film screenings.
³A hub of artistic activity² that was voted Best Arts Collective in 2012
(Baltimore City Paper), EMP has been lauded as one of the boldest ³visions
to change Baltimore² (Baltimore Magazine).
This Tuesday, please join us for the final BFA Exhibition opening of the year.
Opening Reception: Tuesday, May 7th, 5:30
Hope to see you there!
By Charly Himmel
Last Tuesday’s opening reception for Kelly Savage’s "Stuffed" marked week two of BFA thesis show season.
The solo exhibitions, which run weekly throughout the spring semester, are the final thesis projects for fine art undergrad students in their capstone semester with professor Adam Thompson. The shows provide students with a unique opportunity-not only in creating their own body of work to be exhibited, but also a chance to experience curating firsthand.
"I think it is really good that a solo show is provided," said Savage. "I know people who went to art school and paid crazy amounts of money that didn’t have a solo exhibition."
"Stuffed," which offered a nice spread of snack, was especially well attended. Ambient lighting provided a warmer atmosphere than most starkly lit art shows, complimenting Savage’s mostly-white paper compositions. "Stuffed" included six large reduction pieces carved from solid sheets of paper, then mounted on wood. This depth of space between the white compositions and white walls created a sense of movement effectively similar to shadows thrown by candlelight. On the floor beneath each piece, piles of paper cutouts remind viewers of the artist’s process.
"I wanted a little bit of violence. I wanted people to remember this was cut out-this was sharply cut out," said Savage. "It also looks pretty. It’s funny, but also it’s cut out.just a reminder that the stuffing fell out."
Citing feminist motifs as the focal point of her work, it’s problematic to say Savage was influenced by feminist art of the ’70’s. Perhaps more accurately, Savage was motivated to re-appropriate an art movement she refers to as ‘feminist essentialism.’
"In particular, there was Judy Chicago and Miriam Schapiro utilizing decorative arts to take back this type of work that was associated with women by giving it room in the art world for appreciation," said Savage.
"But I also think at the time of that particular work, it was not only pigeonholing women, but it was also really kind of just for upper-middle class white women. I got to respect it, but I have some things to say about it. I feel like I’m looking through the lens I grew up with, which was riot grrrl early ’90s feminism, which is more about race, socioeconomic status, class, religion, sexual orientation."
But though Savage’s paper compositions possess a beautiful delicacy, there is a humorous irony consistent within her work.
"I am paying tribute but I’m also trying to show how having that essentialism, that focus that women are universal, they’re all the same really stuffs, puts a gag in the issues," said Savage. "That’s why the imagery looks pretty, but it’s actually capturing some ugly sides."
At first glance, cutout twin silhouettes of young girls appear side by side. Upon closer inspection, one is holding a broom, the other, a shotgun. In the large folded sculpture at the South end of the gallery, what appears to be a giant origami flower is in fact the tail end of a bunny rabbit, replete with flowery turds falling onto the floor. Another piece features a girl leaning over to tell a secret, but is in fact vomiting a string of folded paper flower gradations into a coil in the center of the room. This piece provides the sole color present in "Stuffing," the pinks and reds reminiscent of a giant breast. This is yet another nod to the "femmage" circles of Miriam Schapiro.
"I wanted the contrast of a girl throwing up, but in a dainty, pretty way," said Savage. "That’s why I titled [the show] Stuffing, too. The pouring out, it just makes me sick sometimes when I think about the dainty flower craft circle stuff, but I love it too. It’s hard not to like it, but at the same time it’s so saccharine and sweet."
Reinterpreting traditional craft and community, Savage looked to her friends and family to help construct the numerous origami flowers in her exhibition.
"Judy Chicago had a lot of people work on the Dinner Party, but they didn’t get credit," Savage said. "So I thought I’d have a craft circle and give everybody credit for doing it. And it wouldn’t be just women, because that was something I felt like was really exclusive."
Originally, Savage planned to create an all-white paper installation of large-scale folded and bent paper sculptures. In doing so, she intended to pull away from her previous motifs – white paper symbolized the whitewashing of feminist ideals.
"The reason I wanted to do an all-white paper installation was it was like wiping the slate clean," said Savage. "But when I was doing that I just realized how uninterested I was. I just wanted to be honest with myself and do something sincere – sincere to me. Even though I have a rabbit shitting on the floor."
After her final semester, Savage looks forward to taking a break from her schooling to volunteer with community arts programs. Eventually, she would like to pursue a career in social work via the arts.
"I grew up poor. I didn’t have access to the arts. Not really much access at all, except through movements like the riot grrrl movement," said Savage. "I think the art world is really missing out big time on a lot of people that are below income. I think they bring a lot to the table but they just don’t have access. There’s no way to get your foot in the door unless you bust your ass. I think working in community arts helps keep those avenues open."
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