Brainard Carey's Blog, page 34

Paula Wilson

Portrait by Gabriella Marks

Paula Wilson received an MFA from Columbia and a BFA from Washington University in St. Louis, MO. Alongside her current exhibition at Denny Dimin Gallery, she is currently exhibiting within a group exhibition Plein Air at MOCA Tucson and has an upcoming solo exhibition Toward the Sky’s Back Door at The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs in 2023. She has also recently had an acquisition placed at Colby College Museum of Art. In addition, her upcoming Albuquerque Museum show: Nicola López and Paula Wilson: Becoming Land opens October 8th, 2022 and is part of a larger umbrella of shows titled: Historic and Contemporary Landscapes including work by Thomas Cole and Kiki Smith.

Wilson’s has held other recent solo exhibitions at Locust Projects, Miami, FL (2020-2021), 516 ARTS Contemporary Museum, Albuquerque, NM (2019), Smack Mellon, Brooklyn, NY (2018), and Denny Dimin Gallery, New York, NY (2018). She has been included in four exhibitions at the Studio Museum in Harlem, exhibitions at Tufts University Art Galleries (2021), Skidmore College (2015), Inside-Out Art Museum in Beijing (2014), Postmasters Gallery (2010), Weatherspoon Art Museum, Greensboro, NC (2010), Contemporary Arts Museum Houston (2009), Zacheta National Gallery of Art in Warsaw (2007), Sikkema Jenkins & Co. (2006), just to name a few. 

Wilson’s artwork is in many prestigious collections including, The Studio Museum in Harlem, the New York Public Library, Yale University, Saatchi Gallery, and The Fabric Workshop.

Microhouse, 2022 Mixed Media. Courtesy of Paula Wilson and Denny Dimin GalleryEarth Angel, 2022 Acrylic and oil on muslin and canvas (relief, silkscreen, monotype, and lithography print), wooden and beaded jewelry made in collaboration with Mike Lagg. Courtesy of Paula Wilson and Denny Dimin GalleryUp My Sleeve, 2021 Acrylic on muslin and canvas (woodblock, relief, monotype, silkscreen, collagraph, and digital print) Courtesy of Paula Wilson and Denny Dimin Gallery

Takuji Hamanaka

In Takuji Hamanaka’s mosaic-inspired works on paper, multiple sections of monochrome color interlock within dimensional, polychrome compositions. Adapting the ‘Bokashi’ technique of woodblock printing to a contemporary practice, Hamanaka prints multiple papers in color gradients and arranges them onto paper in organic designs that call to mind lattices, prisms, and slopes. Color and its absence draw attention to the paper’s opacity, as well as more theoretical ideas of windows and grids, and the tension between nature and pure abstraction.

Takuji Hamanaka was born in 1968 in Hokkaido, Japan and lives and works in Brooklyn, New York. From 1986-89 he trained at the Adachi Institute of Woodblock printmaking in Tokyo, Japan. Hamanaka is the 2022 recipient of a prestigious Pollock-Krasner Foundation Grant, and the recipient numerous other grants and awards including The Gottlieb Foundation Individual Support Grant (2021), the Rauschenberg Emergency Grant (2020), and the NYSCA/NYFA Artist Fellowship in Printmaking (2017 and 2011). He was a fellow at the Kala Art institute, Berkeley, CA in 2016 and a Barbara and Thomas Putnam Fellow at MacDowell Colony in 2013. His works are included in the collections of the Fleming Museum, The University of Vermont, Burlington, VT, the Johnson Museum of Art, Cornell University, Ithaca, NY, the New York Presbyterian Hospital, and Fidelity Investments Corporate Art Collection among others. Recent group exhibitions include ‘Focus on the Flatfiles: Between Worlds,’ Kentler International Drawing Center, Brooklyn, NY, and ‘Here and Now,’ The Center for Contemporary Art, Bedminster, NJ. His exhibitions have been reviewed by John Yau (Hyperallergic) and Johanna Fateman (The New Yorker).

The book he mentioned at the end is Early Light by Osamu Dazi.

Takuji Hamanaka , Collapsing Stair, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer Takuji Hamanaka, Stream Mineral, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance BrewerTakuji Hamanaka, Broken Screen, 2021, Cut and pasted woodblock printed papers, mounted on museum board, 32 x 25 1/2 inches, TH1165, Courtesy of the Artist and Kristen Lorello, NY, Photo: Lance Brewer

Anthony Akinbola

Anthony Akinbola Photo by Fredrick Nwosu

Anthony Akinbola is an interdisciplinary Nigerian- American, Brooklyn-based artist. Born in Columbia, Missouri, Anthony Akinbola, is a first-generation American raised by Nigerian parents in the United States and Nigeria. His layered, richly colored compositions celebrate and signify the distinct cultures that shape his identity. The artist’s signature Camouflage paintings, consisting of single and multi-panel works, utilize the ubiquitous du-rag as their primary material. Universally available and possessed of significant cultural context, the du-rag represents for Akinbola a readymade object that engages the conceptual strategies of Marcel Duchamp and other significant artistic predecessors. Throughout his work Akinbola unpacks the rituals and histories connecting Africa and America, addressing the power of fetishization around cultural objects.

Anthony Akinbola was selected for the Anderson Ranch Art Center Residency in 2017 and created a monumental wall collage for The Queens Museum in 2018. In 2019, Akinbola was awarded the Van Lier Fellowship and named the eighth Museum of Arts and Design Artist Fellow, which resulted in a solo exhibition at the museum. In September 2022, Anthony Akinbola was awarded the Silver Arts Project residency in New York. Akinbola’s work is currently featured in a group exhibition at the Kalamazoo Institute of Arts. His work will be included in a group exhibition at the Baltimore Museum of Art in March 2023. His work has been featured in exhibitions at The Queens Museum, NY; the Bronx River Art Center, NY; The Zuckerman Museum of Art, GA; and The Verbeke Foundation, Belgium, amongst others. Following his exhibition at the Museum of Art and Design, NY in 2020, Akinbola mounted a significant solo exhibition in early 2021 at the Kohler Arts Center, WI. Akinbola received a BA in communications and media from SUNY Purchase College. His work is included in the Pizzuti Collection, Columbus, OH, the Beth Rudin DeWoody Collection, and The Everson Museum of Art, Syracuse, NY amongst others.

Installation view of Anthony Akinbola: Natural Beauty at Sean Kelly, New York, September 8 – October 22, 2022, Photography: Adam Reich, Courtesy: Sean KellyAnthony Akinbola White Bronco, 2022 durags, acrylic on wood panel overall: 110 x 72 inches © Anthony Akinbola Courtesy: Sean KellyAnthony Akinbola Camouflage Study “Lilac/Green”, 2022 durags, acrylic on wood panel 48 x 96 inches © Anthony Akinbola Courtesy: Sean KellyAnthony Akinbola Lift Every Voice, 2022 durags, acrylic on wood panel overall: 149 x 73 1/2 inches © Anthony Akinbola Courtesy: Sean Kelly

Kyle Thurman

Kyle Thurman (b. 1986, West Chester, PA) lives and works in Brooklyn, New York. In 2016 he received an MFA in painting from the Milton Avery Graduate School of the Arts at Bard College. From 2011 to 2012, Thurman studied with Christopher Williams and Peter Doig as a guest student at the Kunstakademie Dusseldorf. In 2009 he received his BA in Film Studies and Visual Arts from Columbia University.

Most recently, Thurman was included in the 2019 Whitney Biennial curated by Rujeko Hockley and Jane Panetta; his work is now included in the permanent collection of the Whitney Museum of American Art. Other recent solo and group exhibitions include Central Fine, Miami Beach, FL; The Meeting, New York, NY; Sophie Tappeiner, Vienna, Austria; 1301PE, Los Angeles, CA; Off Vendome, New York, NY; The Cleveland Triennial, Cleveland, OH; Parapet Real Humans, St. Louis, MO; Hannah Hoffman Gallery, Los Angeles, CA; Cookie Butcher, Antwerp, Belgium; Office Baroque, Brussels, Belgium; Kostyal, London, England; Benevento, New York, NY; OFFSITE, New York, NY; Bodega, New York, NY; MOCA Tucson, Tucson, AZ; Fluxia Gallery, Milan, Italy; Laurel Gitlen, New York, NY; Dickinson Gallery, New York, NY; Galeria Marta Cervera, Madrid, Spain; Lisa Cooley and Laurel Gitlen, New York, NY; Room East, New York, NY; Middlemarch, Brussels, Belgium; Nudashank, Baltimore, MA; Shoot the Lobster, Miami, FL; Maison Particuliere, Brussels, Belgium; West Street Gallery, New York NY; Eleven Rivington, New York, NY; Clearing, Brussels, Belgium; M and B Art, Los Angeles, CA; Martos Gallery, New York, NY; Printed Matter, New York, NY; and The Mercantile Fiction Library, New York, NY among others. The artist’s upcoming exhibitions include Central Fine, Miami Beach, FL and Sophie Tappeiner, Vienna, Austria.

Kyle Thurman Dream Police (My neck) 2022 Acrylic dispersion, gouache, oil, and watercolor on PVA primed paper and Dibond panel in artist’s frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cmKyle Thurman Forest (our shadow) 2022 Gouache, graphite, oil, and watercolor on PVA primed paper and Dibond panel in artist’s frame 49 7/8 x 73 7/8 x 2 7/8 in 126.7 x 187.6 x 7.3 cm.Kyle Thurman Crown (model monument, emotion) 2022 with altar by Lesser Miracle Patinated bronze and wood Sculpture Dimensions: 21 1/10 x 21 1/10 x 21 1/10 in 53.6 x 53.6 x 53.6 cm Altar Dimensions: 30 x 70 x 33 in 76.2 x 177.8 x 83.82 cm.

Andrea Kantrowitz

Andrea Kantrowitz, an artist and educator, has lectured and led workshops on art and cognition internationally, and has twice served as a Singapore Ministry of Education Outstanding Educator in Residence. She was a teaching artist in the New York City public schools for many years, involved in multiple local and national research projects that demonstrated the positive academic impact of an integrated art curriculum for students growing up in poverty. As a director of the Thinking through Drawing Project, she co-organized 10 years of international drawing and cognition research symposia and workshops, in collaboration with colleagues from around the world. She holds a doctorate in Art Education and Cognitive Studies from Columbia University Teachers College, an MFA in Painting from Yale, a BA in Art and Cognition from Harvard and is an Associate Professor and Director of the Art Education Program at the State University of New York at New Paltz.  Her paintings have been exhibited nationally and are in many private collections.  She has curated multiple exhibitions on themes of drawing, cognition, and the creative work of artist/educators.  She is an artist member of The Painting Center in New York City, and her artwork is also represented by Kenise Barnes Fine Art.

Noah Jemisin

Noah Jemisin, 2022

Noah Jemisin was born in Birmingham, AL and obtained an MFA degree from University of Iowa, in 1974. His extensive travels in Africa, Europe and  Asia over the years have helped him to develop an approach to life and art that enables him to synthesize into a distinct and dynamic whole the various components of his identity and create work that strives tomake meaning of his personal history as well as the ambiguities and contradictions of contemporary culture. There is a great deal of critical experience, of knowledge and admiration of art historical precedents in his work as well as an
ever sensitive deftly balanced interaction between modernism’s formal concern’s with a belief in the emotive potential of painting. Solo exhibitions include Just Above Midtown Gallery (JAM), Bernice Steinbaum Gallery,  22 Wooster Gallery, Myungsook Lee Gallery, Minor Injury Gallery, Broadway Windows, all in New York City, Lattuada Studio,Milan, Italy, the Hillwood Art Museum, the College of Charleston (a retrospective) and the Oswego New York Museum. He is included in the exhibition Just Above Midtown: Changing Spaces, Museum of Modern Art, (MoMA), New York, October 9 , 2022 – February 18, 2023. JAM was an art gallery that welcomed artists and visitors of many generations and races in New York City from 1974 until 1986. A hub for Conceptual, abstraction, performance, and
video, JAM expanded the idea of Black art and encouraged both critiques of and thinking beyond the
commercialization of art. Upcoming solo exhibitions include Noah Jemisin: Paintings-1970s-1980s, Skoto Gallery, New York, October 13-November 26, 2022; and “Back to B’ham”, a survey exhibition at the Birmingham Museum of Art, Birmingham, AL.; Spring 2024. He is represented in numerous public and private collections including the Metropolitan Museum, New York, the Library of Congress, Washington DC, the Museum of Art at the University of Iowa, Montclair Museum of Art, Museum of Santa Fe, New Mexico and the Miami-Dade Public Library, Florida. Awards include New York Foundation for the Arts, the Pollock-Krasner Foundation, a travel grant from Arts International, Artist in Residence at The Studio Museum in Harlem and The Bronx River Art Gallery, Bronx, New York.

The Immortality Of The Human Soul, Nyame Nwu Mawu I, 2021, acrylic, gouache on canvasMaiden Bathers, 1985, Encaustic on canvas, 54×36 inches

 

Anna-Eva Bergman

Perrotin New York is pleased to present the first survey exhibition in the United States of the late Norwegian-born painter Anna-Eva Bergman (1909-1987), entitled Revelation. A central figure in the development of European modernism, Bergman abstracted the landscapes of Norway into spiritually transcendent compositions. Despite Bergman’s colorful life and strikingly original creative output, there has yet to be such a spotlight on her talent — a situation that is soon to change, given a major pair of retrospectives set to open at the Musée d’Art Moderne de Paris and the National Museum of Oslo in 2023.

This interview is with Thomas Schlesser, the director of the Hans Hartung and Anna-Eva Bergman foundation.

N°63-1961 Big universe with small squares, 1961. Oil and metal sheet on canvas Framed: 198.2 × 208 × 6 cm. Photographer: Claire Dorn. ©Anna-Eva Bergman /ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung -Bergman & PerrotinAnna-Eva Bergman N°59-1962 Small golden fire on black, 1962 Tempera and metal sheet on canvas Unframed: 24 1/16 x 19 11/16 inch Framed: 25 7/8 x 21 9/16 x 1 9/16 inch ©Anna-Eva Bergman/ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung-Bergman & PerrotinAnna-Eva Bergman N°17-1976 Nunatak II, 1976 Acrylic and metal sheet on canvas Unframed: 98 7/16 x 78 3/4 inch Framed: 101 3/8 x 81 9/16 x 2 3/8 inch ©Anna-Eva Bergman/ADAGP, Paris & ARS, New York 2022. Courtesy Fondation Hartung-Bergman & Perrotin

Sarah Dwyer

Sarah Dwyer (b. 1974, Ireland) is a painter who lives and works in London. Drawing is at the heart of her process, often combined with painting, printmaking, and sculpture, resulting in reimaginings of the familiar through exuberant color palettes and lively approaches to mark-making. Incorporating both figurative and abstract imagery, her dynamic compositions are the result of processing her own surroundings and the human day-to-day experience, in addition to an indulgence in our desire for play. Surfaces, in turn, retain traces of process and development within their own archive and present the viewer with a navigable visual history.

Dwyer earned a Master’s in Painting from the Royal College of Art, London, in 2004 after an MFA from Staffordshire University in 2001. Her work has most recently been exhibited at Fabian Lang Gallery, Zurich; PiArtworks, London; Pigeon Park, Manor Place, London; in three solo shows at Josh Lilley Gallery, London; Hastings Contemporary, Hastings, UK; Hair & Nails Gallery, MN; Rochester Art Center, MN; Bloomberg Space, London, UK; Kyubidou Gallery, Tokyo, JP; Jane Lombard Gallery NY, NY; Fe McWilliam Gallery, NIR; Royal College of Art, London, UK; Saatchi Gallery, London, UK; The Walker Art Gallery, Liverpool, UK; Kevin Kavanagh Gallery, Dublin, IE.

Cockshutt Lane 2022 150 x 120 cm 59 x47.2 inches, Oil and Pastel on LinenFink 2022 100 x 75cm 39.4 x 29.5 inches Oil and pastel on linenThrum 2022 150 x 120 cm 59 x47.2 inches, Oil and Pastel on Linen

 

Sydney Licht

Sydney Licht draws inspiration from the common, disposable detritus of everyday life and creates still lives centered around takeout containers, department store boxes, sugar packets and other disposables.  Licht tells the domestic experience of society’s materialism via modern takes on the still life.

“For centuries, still life paintings have portrayed items from the realm of the domestic….food, utensils, dishes, flowers and other elements that celebrate the table and the communal dining experience,” Licht says. “Today, as technology impacts our lives more and more, few of us have the means or the desire to spend hours preparing and presenting a meal served on china dishes with silver place settings.  Instead, we order online and our food arrives ready to be microwaved.  During the Covid era, communal dining experiences were more likely to occur on a computer via Zoom than in person sitting around a table together.  All of this begs the question, has the shelf life of the still life as we’ve known it reached its expiration date?”

Sydney Licht has exhibited widely throughout the United States. Her work has been featured in the New Yorker and Elle Décor, among other publications. She has been a visiting artist at the American Academy in Rome twice, and the recipient of the Yaddo Residency. Licht has an MFA from the School of the Art Institute of Chicago, and lives and works in New York City.Sydney Licht, Still Life with Packing Tape, 2022 oil on panel 10 x 10 in.Sydney Licht, Still Life with Fat Quarters and Brown Vase, 2022 oil on panel 10 x 10 in.Sydney Licht, Still Life with Bag & Ledger, 2022 oil on linen 13 x 16 in.

Rhys Ziemba

Rhys Ziemba is an artist and musician in New York City

As part of his practice, Ziemba collects various objects, such as medical skeleton models, traffic cones, paint buckets, inflatable flamingos, or kettlebells, and assembles them in his basement studio. The basement serves as a stage for his paintings which in turn become documentation of the arranged eclectic elements. His works are carefully rendered with consideration to the objects and the space which surrounds them. Balancing between Ziemba’s close observation and saturated imagination, his paintings record time.

On view at Art Cake is a selection of intimately scaled oil paintings made by Ziemba. Many of the paintings illustrate urban environments or landscapes in Florida created from direct observation, en plein air, or photographs taken by the artist. Other paintings were developed from drawings the artist made during a recent trip to Crete, Greece.

Each of the paintings, measuring eight by ten inches, illustrates scenes within nature and contains a prominent horizon line and vast depth of field to emphasize the nature of light as it travels through space. Like his earlier works, Ziemba introduces inconsequential ephemera that disrupt the harmonious landscape. For the artist, the addition of these elements, whether it is a suggestion of an emotional pair of eyes, a finger pointing, a piece of trash, or a referential object, is partly a graphical device meant to draw the viewer’s eye across the composition and partly a way to allow each element to reify itself in a way that is meant to surprise even the artist. In some paintings, such as Beach Hat (2022), however, the element is so prominent within the detailed landscape that it becomes the subject of the painting.

The solo exhibition at Art Cake is on view, September 1 through October 8th, 2022, will be a selection of the artist’s most recent paintings.

I was wrong, 8 x 10, 2022 oil on panelMother Courage at the height of her business career, 24 x 36, 2020, oil on panelThey were those from the wilderness of stars that had expected more, 24 x 18, 2022, oil on panel