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Posted on May 31, 2012

Searching Within – Review of Alice Neel: Late Portraits & Still Lifes
Originally posted on Art-Rated (May 31, 2012)
by Lily Koto Olive, Class of 2013

Alice Neel: Late Portaits & Still Lifes installation shot. (Courtesy of David Zwirner Gallery ©)
Alice Neel: Late Portaits & Still Lifes installation shot. 
(Courtesy of David Zwirner Gallery ©)

Currently on view at David Zwirner Gallery  
May 4 – June 23, 2012

Stepping into the Alice Neel exhibition currently on view at David Zwirner felt like I had entered directly into the artist’s psyche and memory banks. The show is sparsely hung with selections from the late artists estate, most being portraits of her friends and cohorts made between 1964 and 1983; the last two decades of Neel’s life as a painter in NYC.
Ample white space between the hung images and the uniform white frames on all of the paintings create an environment of calm reflection, as the interior lives of her subjects peer out at us from within their surfaces. Neel’s uncanny ability to capture her subjects psychological states in the moments they sat in front of her reads intensely in person. The personalities reveal themselves through Neel’s fluid handling of paint; stories unfolding, lives and past moments cascading into the present.  I immediately wanted to know more about the lives of the people she was surrounded by.
Nancy, 1980 Oil on canvas 41 7/8 x 56 inches (106.4 x 142.2 cm) (Courtesy of David Zwirner Gallery ©)

Nancy, 1980
Oil on canvas, 41 7/8 x 56 inches (106.4 x 142.2 cm)
(Courtesy of David Zwirner Gallery ©)

Juxtaposed realism and abstraction live side-by-side within Neel’s works; linear outlines of figures combine with rendered form and moments of flat space adding to the dynamism of these portraits. Most of the portraits in the show are centrally composed, and like the show itself, Neel frames her compositions with room to breathe; subtle absences of detail creating worlds within, leading our eyes on a visual journey. Limbs are often cropped and pushed right up to the edge of their frames, negative and positive space create rhythms and patterns, and hint at the formalist way she moved around the canvas.
Neel’s study Nancy, 1978, of her reclining daughter-in-law Nancy Neel, wife of her son Richard, caught my eye. The expressionistic and bold, blue outlines searching out shapes and angles, the lines disappear as a more realized face emerges. Tension is created within the centrally placed figure in the triangular composition through use of gestural marks next to the more developed facial features, an eerie contrast.
Geoffrey Hendricks and Brian, 1978 Oil on canvas 44 x 34 inches (111.8 x 86.4 cm) Courtesy of David Zwirner Gallery ©)
Geoffrey Hendricks and Brian, 1978
Oil on canvas, 44 x 34 inches (111.8 x 86.4 cm)
(Courtesy of David Zwirner Gallery ©)

Another highlight of the exhibition is Neel’s portrait of Fluxus forerunner artist Geoffrey Hendricksand then partner, the late Brian Buczak. Humor and tenderness are brought into the portrait of the couple, who Neel painted sitting at her kitchen table behind a suggestive still life of phallic bananas languishing across a lush green avocado.
Neel’s still lifes in the show exemplify her ability to bring life into her medium, objects take on energy of their very own, placeholders for people and existing as portraits in their own right.  In Still Life (Breakfast Table), 1965, spoons, jars and the vase of flowers on the table are the lively inhabitants of their own universe, gathering in the center to perhaps converse and catch up on the latest within their world.
Still Life (Breakfast Table), 1965 Oil on canvas 30 x 24 inches (76.2 x 61 cm) (Courtesy of David Zwirner Gallery ©)

Still Life (Breakfast Table), 1965
Oil on canvas, 30 x 24 inches (76.2 x 61 cm)
(Courtesy of David Zwirner Gallery ©)
While Alice Neel is no longer with us her paintings live on, and this exhibit presents some of her very best, most poignant works from her later period. Neel was a marginalized painter who stood her ground during her career, famously upholding her interest in figurative art when it fell out of fashion and became sublimated by the more hip, male-dominated Abstract-Expressionist movement. Alice Neel is truly a hero for vagabond artists, bohemians, and especially emerging female artists everywhere.

2012 MFA THESIS EXHIBITION

Posted on May 15, 2012

thesis_exhibition_2012

An exhibition of work by the 2012 Graduates of the New York Academy of Art.

Featured artists above (left to right):

Evan Kitson, Skull (detail), 2012; Jen Miller, Kansas Saints (detail), 2011; Joseph Brickey, Premonition (detail), 2012; Kristina Cao, Strawberry (detail), 2011; Jacob Hicks, Chandelier (detail), 2012; Aleah Chapin, Laugh (detail), 2012; Randall DiGiuseppe, Gowanusaurus (detail), 2012; Jesse Stern, Self-Portrait, 2012.

My First Tribeca Ball, 2012

Posted on April 28, 2012

By Amanda Scuglia, MFA 2013
Photography by Maria Teicher, MFA 2013
a bright multicolored installation with models in one piece costumes matching the wall colors
In the weeks leading up to the ball, there was a lot of buzz going around the Academy. Party planners came in to discuss the look of the evening and the entertainment. The students cleaned up their studios and displayed their best work. The walls throughout the building were curated by the faculty.
a gallery hallway filled with hung canvas
4 artists pose together amongst a crowded gallery space
The evening of the ball, students arrived dressed in cocktail attire. This was different from how we are used to seeing each other, with old clothes covered in paint. Franklin Street was blocked off and security was high. Masked models were dressed in bodysuits and exquisite Van Cleef and Arpels jewelry. Celebs and art collectors were met in the lobby by red carpet photographers. We mingled in and around our studios once the guests arrived.
a person in a blue one piece suit stares out a blue painted window
a black and white photo of a crowded party
a photo of musicians playing in a gallery space
Live music was performed on all 6 floors. All bars were fully stocked with top-shelf liquor and personal-size champagne bottles. Entertainment was occurring in each designated room. No matter which door you chose, something fun was happening. You could witness a performance piece or get your photograph with a Frida Kahlo or Rene Magritte painting. (photography at these artists booths, including the shot below of Jessica Augier and I, courtesy of www.bringintobeing.com)
a woman in a dark dress, a man in a black suit, and a woman in a light dress pose together for a photo
Celebrities like Naomi Watts and Liev Schreiber, Julianna Margulies, Solange Knowles, Kim Cattrall, Nora Zehetner and Carla Gugino walked through our studios. Artists like Will Cotton and Jeff Koons were also spotted. I was lucky enough to be greeted by some curious art supporters with questions about the content of my paintings. I got to explain to interested viewers the process of my work. I received some great feedback and I even sold a piece! It was such an exciting night for all of us.
a photo of a long bar table at a party
a photo of several women looking at art
an actress stands among a crowd in a gallery space
a crowd of people are engaged in conversation at a party
several people are admiring a work of art
2 artists are in the process of making a screenprint
After the cocktail hour we were rushed out of the building and onto the after-party at bar M-15 on Walker Street. The class of 2012 and 2013 had many drinks and many dances. Meanwhile, back at the Academy, Robert DeNiro was being honored at the Tribeca Ball dinner for his years of continued support of the arts. He was met by friends like Harvey Keitel and Mary-Kate Olsen, among others. See some selected photos, featuring some artist studio shots, from the night below. See full set of photos by Maria Teicher at on our flickr page here.
photo of Adam LaMothe
Adam LaMothe, MFA 2012
photo of Nic Bandy
Nic Bandy, MFA 2013
photo of Holly Sailors
Holly Sailors, MFA 2012
photo of Kristy Gordon
Kristy Gordon, MFA 2013
artwork by Kaitlynn Stubbs
by Kaitlynn Stubbs, MFA 2012
an installation with red curtains and a large black x painted on a wall, a red chair sits nearby, an woman in a black dress leans against the wall
photo of Nicolas Sanchez
Nicolas Sanchez, MFA 2013
photo of Ramona Bradley
Ramona Bradley, MFA 2012
photo of Rob Plater
Rob Plater, MFA 2013
photo of an artist sculpting
photo of Sherry Di Filippo
Sherry Di Filippo, MFA 2012
photo of Elana Baziz
Elana Baziz, MFA 2012
photo of a drummer and cellist
a photo of several set tables lit in blue

Does Painting Still Matter?

Posted on April 18, 2012


The best way to make a dramatic leap as an artist is to stop working. After Hilary Harkness‘ show at Mary Boone Gallery in 2011, she laid down her brushes for a full month and went to southern India. Personal transformation aside, she will never evaluate art the same way again.  Here are some ideas for ways to push your practice forward from the subcontinent.
Not at the Taj Hotel in Kovalam, India. Kovalam is a tropical vacation town at the Southern tip of India. I normally think resorts are jail, but I was feeling good since we had been upgraded to a suite with a private pool. There were paintings throughout the hotel, but the owner or management must not have looked at them.
In contrast to the beautiful décor, there was a watercolor painting of an airplane going down in flames hung on the living room wall. Later, in the restaurant, I noticed a painting with floating, disembodied eyes. What mood was the designer going for? Was he feeling vengeful? Why was no one interested?
Kovalam is also on the Kerala side of the Tamil Nadu border, a state with human inhabitation dating from 500,000 BCE and former stomping grounds of the separatist militant organization Tamil Tigers. This was the first insurgent organization to use concealed explosive belts and vests, and a member assassinated the former Prime Minister of India Rajiv Gandhi in 1991. The FBI has described the Tamil Tigers as amongst the most dangerous and deadly extremist outfits in the world. They were guilty of human trafficking, sea piracy, ethnic cleansing, and credit card fraud.
Later in the trip, vigilante civil war broke out between the states of Kerala and Tamil Nadu over an old dam that had never been safety tested, and was now feared to be unsafe. The Keralans wanted it taken down, while 100,000 Tamil Nadu farmers were dependent on the dam for water. Civilians were ripping each other out of cars and the violence was becoming widespread. We flew out shortly before the airport was shut down. The Federal government of India declined to get involved, because what good could they do?

Maybe I was wrong about the paintings at the hotel, maybe they weren’t aggressive but merely apt reflections of reality hidden in a fantasy land.

Tribeca Ball: From the inside

Posted on April 10, 2012

By Jonathan Beer, MFA 2012Artist, www.JonathanBeer.com
Director, Blind Artists Society
photo of Richie Fine, Jessica Beck, Jon Beer, Kaitlyn Stubbs, Aleah Chapin, Lily Olive & Nic Holiber
Left to right: Richie Fine, Jessica Beck, Jon Beer, Kaitlyn Stubbs, Aleah Chapin, Lily Olive & Nic Holiber
Every spring the Academy puts together one of the most exclusive and exciting events of the year, TriBeCa Ball. Imagine an art opening, a cocktail party and a ball all rolled into one, and you’ve got TriBeCa Ball. The best part is that at the heart of the evening is our artwork. As a student its an incredibly rare chance to have your work viewed by so many people, many of them happen to be artists, collectors, actors and tastemakers from all over NY.
A photo of several students in a hallway
The school gets totally transformed in just a few short days before hand. Everyone seems to be involved with preparation and the excitement is palpable in the air. The walls are given a fresh coat of paint and every available spot taken to hang artwork. The studios become galleries for the evening and each floor becomes an exhibition space.The building gets turned upside down as students, staff, and decorators work to make the theme of the party come to life. 
The night finally arrives and the excitement keeps building as all the last minute details are attended to. 6 pm arrives in a heartbeat and the guests begin to roll up. The lobby is an ocean of people, all dressed in their finest.  After making it past the press the guests are brought throughout each floor, and they see just about every studio. Staff and alums circle on each floor to make sure that the students are having fun and that the guests are happy. 
twom women in dark dresses and a man in a light grey suit pose for a photo
Art is sold and connections are made, but that isn’t the whole point of the night. It’s also about having fun with all the people that make up the great community at the NYAA and about showing off the artwork you’ve lovingly labored on all year.  It’s a great evening and one of the best perks of being part of the NYAA.

Escape from Studio Lockdown: An Allegorical Tale of a Backpacker in Alappuzha

Posted on April 4, 2012

The best way to make a dramatic leap as an artist is to stop working. After Hilary Harkness‘ show at Mary Boone Gallery in 2011, she laid down her brushes for a full month and went to southern India. Personal transformation aside, she will never evaluate art the same way again.  Here are some ideas for ways to push your practice forward from the subcontinent.

From Love is What you Want, by Tracey Emin
From Love is What you Want
  Word is that you don’t need to look outside yourself for creative inspiration, and that the more personal a work is, the more universal it is. Think Tracey Emin’s tampon piece. This is great advice for the first decade out of school, and for intermittent periods later in life- even Louise Bourgeois took breaks from showing while she reconnected and reorganized her work in relation to her inner life.
a dramatically lit, distorted hanign sculpture by Janus Fleuri 1968
Janus Fleuri 1968
After leaving Yale, I painted for myself for three years with no one looking, and no thoughts of showing at a serious gallery. When I moved to NYC, I had no choice but to work long days, often around the clock, to keep up with deadlines for shows. I believed that if I had no life, I would live through my paintings, making them come alive. And if I put all my care into making paintings, then my paintings would go out into the world and take care of me. (I didn’t realize that my paintings couldn’t take care of networking). My dealer Mary Boone has been a champ in that she is hands-off when it comes to my creative process and doesn’t grouse when I turn away collectors. Outside of casual visits from friends, I’ve done only a handful of studio visits in the past decade, and it’s saved me from having to keep up appearances in my studio, explain anything, or otherwise waste time.  I was able to be vulnerable and truthful in my work because I wasn’t bracing myself against dismissive criticism (I was still worn out from surviving Yale).
Since I’m blogging about escaping from my studio,  I want to tell you about meeting a lovely blond backpacker in Alappuzha, Kerala after a night on a rice barge cum houseboat. She was 29 and looking for adventure, hanging in bars (I wondered for a minute if she was going to scam me in some way, instead, she gave me a nonfiction book about the state of healthcare in India). She had spent a night on a houseboat with five backpacker guys she hadn’t known previously, and when she pulled out her camera to show us photos of a foggy Taj Mahal she found that unbeknownst to her the guys had taken photos of their pasty asses and equipment for her to discover later. 

a boat on the river in indiaShe told me that she had been in India for three weeks and that it was all the same and boring. She was off to Vietnam where she had heard that there were more backpackers.  She was more interested in backpacker monoculture than the culture around her. There’s a time in life for living in your own world, but after a while you’re missing out on much more interesting and important stuff.
Without healthy engagement in reality, I believe artists become unmoored and their creativity shrivels from lack of mental input. 
Genitals, Forrest Bess
Genitals, Forrest Bess
Only a few of us can be Forrest Best, the penultimate outsider artist, but with genital mutilation on the docket (a belief in sacrificing everything to creativity, including ejaculation), it’s better to “sell out†and join the fray.
Untitled No. 5, Forrest Bess, 1949
Untitled (No. 5), Forrest Bess, 1949
What dogma about creativity has you by the throat?


Escape from Studio Lockdown: In Search of Bhagyanath Chandroth

Posted on March 14, 2012

The best way to make a dramatic leap as an artist is to stop working. After Hilary Harkness‘ show at Mary Boone Gallery in 2011, she laid down her brushes for a full month and went to southern India. Personal transformation aside, she will never evaluate art the same way again.  Here are some ideas for ways to push your practice forward from the subcontinent.
 
In Search of Bhagyanath Chandroth


photo of Bhagyanath ChandrothThere’s a thriving art scene in Kerala, so I traveled to the color-drenched port of Kochi to connect with the artist Bhagyanath, whose work I feel an affinity to. He originally introduced himself to me via Facebook, and when I checked out his work online I knew I had to meet him in person to talk shop and discover more about his inspiration. Every time I visit a new city I try to meet an artist or do a studio visit because museums and art galleries rip art out of its true context (unless it was made specifically to be seen in a museum, yawn). For me, connecting with artists is the number one reason to travel, so consider trying it yourself, it’s easier and more fulfilling than you might imagine.
 a drawing of a person sitting
 
Upon arriving at the local airport, I fainted and was delirious for days. I have a blurry memory of some antique fishing boats in the harbor with the pizazz of a Lari Pitman paintings, but I failed in my quest to meet with Bhagyanath. Here are some examples of his work that I feel connected to from 8,000 miles away.
a colorful painting of claustrophobic traffic, trapped, by Bhagyanath Chandroth
Trapped
For My Little Friend, 2006, Bhagyanath Chandroth
For My Little Friend, 2006
A painting of a large group of monkeys in a tree
2010
Space and Ladder, 2008, by Bhagyanath Chandroth
Space and Ladder, 2008
a drawing of a person laying down
Secret Dialogue 17
All works are copyright Bhagyanath Chandroth. Find out more at www.kashiartgallery.com/archives/bhagyanath
Even better, get in touch with him on Facebook, he’ll be happy to hear from you!

This Side of the Red Sticker

Posted on March 6, 2012

Maria Teicher is currently in the first year of her MFA at the New York Academy of Art.  Although painting is her first and foremost, Maria also works as a photographer.  With camera in hand at all the Academy’s events, her perspective is unique as it often changes within each new frame. A new conversation is heard with another focus of her lens.  
Originally posted by, Maria Teicher, MFA 2013

 
The general art loving/collecting public doesn’t often get to see the artist’s perspective behind the finished canvas. There’s often a lot more to the work hanging on the white wall before you. There’s a real human being there that is often overlooked and unrealized.


The Academy has some incredible opportunities for students attending. Deck The Walls is a big one. Three walls filled with incredible art by students and alumni are divided by price points while artists paint live models in the middle of our gallery space. Collectors and art lovers crowd around, finding art they connect to and some even purchase works to take home. This particular show is anonymous and the collector does not know who exactly they are purchasing work from until later.  It’s a beautiful idea that forces one to look at the work rather than the name of the artist. It’s a fun frenzy, but there’s more to it than one would realize.


I entered Deck The Walls with camera in hand (as usual) and walked around the room. The excitement from everyone was apparent and contagious. I stumbled over to where my pieces were and within the first hour, two had sold. Overjoyed, I immediately captured the red sold sticker and contacted my fiancé. It was an incredible moment but I wasn’t forced to analyze how big these moments can be until a little later on.


After walking around the event and documenting it’s blissful candids of holiday art, drinks and fun, (which you can see here: flickr) I found some of my fellow classmates and friends. A handful of us got wrapped up in great conversation as we quietly kept our eyes on our pieces. Some of us had sold works while others hopefully waited. I watched my classmate Daniela as the dialogue continued. She had yet to sell and I observed her  eyes floating back and forth from her piece to the conversation taking place. A few minutes passed and all of a sudden there was a red sticker placed next to her painting. The genuine excitement and emotion she exuded was beautiful, infectious and honest. Her eyes filled with quiet tears as she apologized for becoming emotional. She explained that this was her first work ever sold and the weight of the moment was felt by all. Standing there with her, the group of us couldn’t be more thrilled for her. It was only a few minutes in time, but that feeling will stay with me for years to come.  

 
photo of a painting of car on a gallery wall marked as sold

To put your mind, heart and hand into something (no matter the subject) takes a lot of courage. When someone you do not know connects enough with something you have made to purchase it, it is a feeling like no other. Art lovers and collectors may not realize that these little moments exist, but they do. They’re a silent encouragement to the artist. They are a confirmation that our passion, hard work and skill can make connections to the world we observe and choose to express through creating. 

 
There’s an entire world on the other side of the red sticker and although I’m slighting bias, I must say that it’s a really great one.
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