#Painters in Brooklyn NY

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"The Sculptor", c.1964 by John Koch (1909-1978). American painter and teacher. Brooklyn Museum, NY. oil on canvas

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[eddy25960]

"The Sculptor", c.1964 by John Koch (1909-1978). American painter and teacher. Brooklyn Museum, NY. oil on canvas

[image-junkie]

The jaw-dropping, monumental work of Didier William. Didier William is originally from Port-au-Prince, Haiti. He earned an BFA in painting from The Maryland Institute College of Art and an MFA in Painting and Printmaking from Yale University School of Art. His work has been exhibited at the Bronx Museum of Art, The Museum of Latin American Art in Long Beach, The Museum at the Pennsylvania Academy of Fine Arts, The Carnegie Museum, Crystal Bridges Museum of American Art and The Figge Museum Art Museum. He is represented by James Fuentes Gallery in New York and M+B Gallery in Los Angeles. William was an artist-in-residence at the Marie Walsh Sharpe Art Foundation in Brooklyn, NY, a 2018 recipient of the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, a 2020 recipient of the Joan Mitchell Foundation Painters & Sculptors Grants and a 2021 recipient of a Pew Fellowship from the Pew Center for Arts & Heritage. He has taught at several institutions including Yale School of Art, Vassar College, Columbia University, UPenn, and SUNY Purchase. He is currently Assistant Professor of Expanded Print at Mason Gross School of the Arts at Rutgers University.

[mybeingthere]

Haley Hughes was born in Paradise, CA in 1984, and is a self-taught painter, sculptor, performer, and playwright.

Her work is in the Watermill Collection and has been published in the Nation, W, Wallpaper, title-magazine and The Huffington Post. She has shown at the Cantor-Fitzgerald Gallery at Haverford College, MoMa PS1 Art Book Fair, Flux Factory, EFA Project Space, Sunview Luncheonette, Gigantic ArtSpace, Columbia College, and The Whitney Houston Biennial, NYC. 

She is a former I-Park resident and an acting member of Dome Theatre, and has performed at SpringBreak Art Fair, Scope Art Fair, Saint Mark’s Church, Dixon Place, Zebulon, The Church of the little green man and at numerous other venues in the US and abroad. Hughes has lived and worked in Brooklyn, NY for the past fifteen years.

https://haleyhughes.us

[hollyqueue]

"There really was something essential in Rob and Fab — they were a perfect conduit to bring out qualities in the music that wouldn’t have been detectable without them." - writer Michael Thomsen, interviewing David Levine, Director and cocreator of Wow, a Milli Vanilli opera, 2014

"Wow" was a work-in-progress experimental opera about the rise and fall of Milli Vanilli. It had a ten day run in 2014 at the BRIC House performance space in Brooklyn, NY, and as far as I can tell it didn't move past the workshop stage, despite the fact that it got a lot of buzz. The opera utilized three spaces: a rehearsal space, an art gallery, and a theater with stadium-style seating.

The art gallery was used to focus on the fictional but fitting narrative from the "Girl I'm Gonna Miss You" video, in which Fab plays a yachtsman who is in love with an art gallery curator who uses her position to have sex with Rob's aspring painter character, leading to a coveted solo art exhibition for the painter. On opening night, the painter unveils a new work that exposes it all in front of the betrayed yachtsman. Honestly don't get me started on the GIGMY video. Epic, opera-worthy.

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NY / &&&2

&&&2 January 6, 2024 – February 18, 2024  Opening Reception: Jan 6, Saturday 6-8PM  A talk with the artists will be scheduled in February

Tiger Strikes Asteroid New York is pleased to present &&&2, a bi-coastal exhibition that serves as both a survey and sequel to the collaborations of Ethan Greenbaum, David Kennedy Cutler and Sara Greenberger Rafferty.

Ten years ago, the artists initiated a series of meetings to talk about materials and techniques, based on their mutual interest in using photographic imagery to destabilize traditional art categories like painting, printmaking and sculpture.

The meetings resulted in an artist’s book titled &&&, in which the three artists imagined themselves as a fictional industrial supply firm. For Greenberger & Greenbaum & Cutler &, the fictional company had a veneer of prestige. For these capitalist outsiders, a corporate symbol of joint commercial enterprise was almost tantamount to success.

The book was released at Printed Matter’s NY Art Book Fair in 2013 in both a mass market paperback and a boxed, limited special edition print series based on swatch sample catalogs. The intention of the project was lost on nearly everyone, but a few key people became aware of the artists’ positioning themselves as a small movement.  This included the photography curator Dan Leers, who organized a show and catalog of their work, Beyond The Surface: Image as Object, at the Philadelphia Photo Arts Center in 2014. 

To commemorate the 10th anniversary of &&&, Sun You has invited Greenberger & Greenbaum & Cutler to mount an exhibition at TSA in Brooklyn, NY. There will also be a simultaneous version of the show at Ditch Projects in Springfield, OR.  The exhibitions at both artist-run spaces feature a backdrop that wraps the gallery with deconstructed pages from the original &&& book, over which the artists have installed works from 2013 and 2023.  The original book is also exhibited, as well as a new portfolio of prints (&&&2) to celebrate ten fruitful years of collaboration, hand wringing and friendship 

Ethan Greenbaum is a New York based artist. Selected exhibition venues include KANSAS, New York; Derek Eller Gallery, New York; Hauser and Wirth, New York; Marlborough Chelsea, New York, Higher Pictures, New York; New York; Marianne Boesky, New York, Circus Gallery, Los Angeles; Steve Turner, Los Angeles; The Suburban, Chicago; Michael Jon & Alan, Miami, The Aldrich Museum, Connecticut; Socrates Sculpture Park; Long Island City and Stems Gallery, Brussels. Recent projects include a solo presentation with Lyles & King and solo exhibitions at Galerie Pact, Paris and Super Dakota, Brussels.

His work has been discussed in The New York Times, Modern Painters, Artforum, BOMB Magazine, ArtReview and Interview Magazine, among others. Ethan is a co-founder and editor of thehighlights.org and his writings have appeared in the Brooklyn Rail, Wax Magazine, BOMB, Paper Monument and others. He has also curated and co-curated multiple exhibitions at venues including The Suburban, Chicago; Lyles & King, New York and Super Dakota, Brussels. Greenbaum is the recipient of the Queens Art Fund New Work Grant, the Silver Art Residency, The Keyholder Residency at the Lower East Side Printshop, Dieu Donne’s Workspace Residency, LMCC’s Workspace Program, The Robert Blackburn SIP Fellowship, The Socrates EAF Fellowship, The Edward Albee Foundation Residency and The Barry Schactman Painting Prize. He received an MFA in Painting from Yale School of Art.

David Kennedy Cutler is an artist, writer and performer who lives and works in Brooklyn, New York. Cutler received his BFA from The Rhode Island School of Design in 2001. He has had solo exhibitions at Derek Eller Gallery, New York; Halsey McKay Gallery, East Hampton; Essex Flowers, New York; The Centre for Contemporary Art, Tallinn, Estonia and Nice & Fit, Berlin, Germany. Cutler has performed in various spaces in New York including Klaus von Nichtssagend Gallery, Essex Flowers, Printed Matter, Halsey McKay, Derek Eller Gallery, and Flag Art Foundation, and internationally at the Center for Contemporary Arts Estonia, among others. His works are included in the permanent collections of the Wellin Museum at Hamilton College and The RISD Museum, and his artist’s books are included in the libraries of the Whitney Museum and the Brooklyn Museum. He has been reviewed and featured in The New York Times, Artforum, Art in America, The New Yorker and Modern Painter, among others. Cutler is represented by Derek Eller Gallery, NY and Halsey McKay Gallery, East Hampton. 

Sara Greenberger Rafferty produces image-based works in paper, plastic, glass, metal, fabric, and video. Her work is driven by an ongoing examination of contemporary and mid-20th century visual culture and considers the ever-changing implications for photographic images in the digital era. She’s also into comedy. 

Ditch Projects is a nonprofit artist-founded, artist-run studio, exhibition, and performance space providing contemporary art experiences in Springfield, Oregon. As a collective of artists and professionals committed to exhibiting experimental artists from diverse backgrounds, Ditch Projects provides opportunities for cultural exchange between experimental contemporary art and our local community, acting as an integral voice within contemporary art discourse in the Pacific Northwest. Since its founding in 2008, Ditch Projects has featured over 145 exhibitions and 275 artists. Growing organically out of the concerns of its artist members, Ditch provides contemporary visual arts practitioners with an opportunity to test out new ideas, processes, and approaches they might not otherwise attempt in a comparable urban center. Over the past decade, the primary focus of the artist collective has been on the production and presentation of new works by regional, national and international artists, with a consistent 10-12 solo, two-person or group exhibitions per season. Past exhibiting artists have included internationally renowned practitioners such as Amy Yao, Diana Thater, Scott Reeder, Laura Owens, Jessica Jackson Hutchinsons, and Vito Acconci, along with regionally acclaimed artists such as Ralph Pugay, Amy Bernstein, Lisa Radon, Tannaz Farsi, James Lavadour, and Kristen Kennedy. Exhibitions at Ditch Projects have been reviewed in Art Forum, Frieze, Art in America, and the New York Times. Ditch Projects has received grants from the Andy Warhol Foundation, The Miller Foundation, the Ford Family Foundation, the Oregon Arts Commision, the Oregon Cultural Trust, Oregon Community Foundation, and the WLS Spencer Foundation.

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NEW FROM FINISHING LINE PRESS: Entangled by Emily Church

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Entangled is a collection of #poems by visual artist and poet Emily Church that examines the in-between state of being a daughter and a mother while maintaining autonomy as an artist. Church utilizes metaphors from the #natural world to guide us back and forth through time, recalling memories of growing up in Kentucky to raising children in present day post-Pandemic Brooklyn. The poems examine themes of loss, growth, change, and what it means to let go. We are consistently reminded, when reading these words, that the writer is a trained painter, accustomed to sensing the world in a heightened visual way. Color and light permeate the work, and interspersed within the poems are ink paintings created during the early months of pandemic isolation. The drawings of trees and roots enhance the idea that the author is both grounded in her past, while reaching toward a future.

Emily Church is a multi-disciplinary artist working in the mediums of painting, drawing, book making, and poetry. Her work takes recognizable experiences—particularly of nature within the urban environment—and transforms them into poetic events. She holds a BFA in sculpture from Washington University in St. Louis and an MFA in painting from the New York Studio School and has attended artist residencies at the Cité Internationale des Arts in Paris, France, the Vermont Studio Center in Johnson, VT, and Yaddo in Saratoga Springs, NY. Church lives with her spouse and two children in Brooklyn, NY.

PRAISE FOR Entangled by Emily Church

To read Emily Church’s poetry collection Entangled is to be reminded — gloriously — that we are, each of us, not alone, but part of something larger than ourselves. Just as the poems acknowledge, and deftly negotiate, the limits of language, so does the poet, and the artist, now a mother of two small children, negotiate the various and manifold demands of motherhood, its states of completeness and vulnerability heightened by a world in pandemic shutdown.

By allowing us to share in the discoveries that these poems — and the paintings with which they are interwoven — hold and reveal, the poet and artist offers us nothing less than the experience itself: Here is the line in constant motion and at rest; never fixed, never slack. Here is the self, recalling itself to itself, expansively resilient, and full of wonder — a voice with a million things to say.

I urge you to cross this threshold, to open Entangled, and partner with its elements, both earthly and cosmic.

–LISA ANDREWS, poet

The vivid observations in Emily Church‘s debut collection Entangled reveal an honest account of what it means to be a mother, a daughter, and an artist during the crisis of a pandemic and beyond. These poems and images will delight readers with the beauty Emily uncovers in the mundane.

–SARAH YOST, poet, educator

Emily Church’s lovely chapbook Entangled explores a coming-into motherhood, filled with what Virginia Woolf called “moments of being” — tender shocks and initiations into wonder, such as a child’s new name, Orion, “three stars upon your cheek/ calling through the universe/ to be born again in your body.” These are poems of “reckoning” and careful attention. No matter the place or season, at every step the poet, who is also a long-time visual artist, sees: “…a tiger swallowtail with a torn wing/…/ nursed on a wedge of orange”; ginkgo berries that “form a peach flesh mess/ on the glass studded paths in the park…”; roses that “will gather against the wall/ adding a deep magenta hue/ among the shades of green.” These details of light, color and shadow become, in Church’s poems, expressions of love—not just for her children but for the world itself, from “fungi softly sifting underfoot” to “the infinity/ of a New York blue morning.”

–MERLE BACHMAN, poet, translator

Please share/repost #flpauthor #preorder #AwesomeCoverArt #read #poems #literature #poetry

[cast200x]

Studio Project 2: Self-Directed Research

Artist Research

Francesco Clemente

Often classified as a Neo-Expressionist, Francesco Clemente makes rich gouache paintings and pastel drawings that range from distorted portraits to dreamlike scenes of violence and eroticism. Throughout his strange figurations, Clemente depicts corporeal details such as mutilated limbs, floating eyes, and intertwined bodies with a surrealistic detachment and sense of sublime symbology: Clemente, who splits his time between New York and Varanasi, India, is particularly inspired by Indian mysticism, art, and culture. The artist has exhibited in New York, Milan, Rome, London, Amsterdam, Madrid, and Zürich. Clemente’s work has sold for up to six figures on the secondary market and belongs in the collections of the Art Institute of Chicago, the Centre Pompidou, the Guggenheim Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Rubell Museum, the Stedelijk Museum, and the Tate.

Air, 2021

Watercolor on paper

60 × 80 in | 152.4 × 203.2 cm

Air, 2007

Twenty-seven color Ukiyo-e woodcut hand-printed from 21 woodblocks

24 × 18 in | 61 × 45.7 cm

Edition 1/51

Inka Essenhigh

Inka Essenhigh (b. 1969, Bellefonte, PA) received her Master of Fine Arts from School of Visual Arts, New York, NY and her Bachelor of Fine Arts from Columbus College of Art & Design, Columbus, OH.

Inka Essenhigh, "Bleeding Hearts" (2021), Enamel on semi-rigid canvas, 121.9 x 96.5 cm, 48 x 38 in

Inka Essenhigh, Blue Field, 2021

Inka Essenhigh, Purple Pods, 2019, Enamel on canvas, 34 x 32 inches

She paints a fluid, dreamy, fantasy landscape of animated, human-like trees and biomorphic beings – almost always women – veering towards a narrative art.

Chris Ofili

Introduction Christopher Ofili, (born 10 October 1968) is a British painter who is best known for his paintings incorporating elephant dung. He was Turner Prize-winner and one of the Young British Artists. Since 2005, Ofili has been living and working in Trinidad and Tobago, where he currently resides in the city of Port of Spain. He also has lived and worked in London and Brooklyn. Ofili has utilized resin, beads, oil paint, glitter, lumps of elephant dung and cut-outs from pornographic magazines as painting elements. His work has been classified as "punk art." WikidataQ1077608

Chris Ofili, The Great Beauty, 2020-2023, oil and charcoal on linen, 200 x 310 cm, 78 3:4 x 122 in © Chris Ofili. Courtesy the artist and Victoria Miro

"The Seven Deadly Sins are paintings in constant transition: between surface and depth, figure and foliage, light and dark; between mythology and religion, the sacred and profane."

"Nicholas Serota, who recently retired from his twenty-nine-year reign at the Tate, told me that Doig’s paintings “have a kind of mythic quality that’s both ancient and very, very modern. They seem to capture a contemporary sense of anxiety and melancholy and uncertainty. Lately, he’s gone more toward the sort of darkness we associate with Goya.”

"Ornamentation and visual excess have always featured in Ofili’s art"

Almost medieval … Chris Ofili, Requiem, 2023 (detail) commissioned for Tate Britain’s north staircase. Photograph: Thierry Bal/© Chris Ofili. Courtesy the artist

Emily Eleveth

Emily Eveleth is widely known for her paintings of jelly doughnuts. In fact, The Boston Globe wrote about this fascination in a 2008 article called “It’s time to paint the doughnuts.” She has had over 20 solo shows in museums and galleries on the East Coast, and received masters’ degrees from Smith College and the Massachusetts College of Art.

Spanning the boundaries between portrait, landscape, and object of projected desire, Emily Eveleth’s paintings form a genre unto themselves. Her ongoing series of paintings of doughnuts invests this unlikely subject with unexpected presence and identity. "Eveleth's paintings restlessly shift across a spectrum of meanings, covering along the way all the distances between opposing significances; prosaic and profound, profane and sacred, banal and intriguing, to say nothing of the axis between cool asexuality and gushing, if veiled, sexuality." *

In her concurrent series of figurative images lone figures stand in enigmatic isolation. Lost in private worlds the figures "seem to invite the viewer's gaze, acknowledge it, and then absorb it, folding it into their own particular dramas." ** These figurative projections of doubt and uncertainty appear paradoxical to their central declarative placement and openness. The dramatic lighting's interdependence on the rich enveloping darkness allows the figures to simultaneously emerge from and be enveloped by the inky space, projecting a quiet vulnerability.

Rashid Johnson

My works for the self-directed project depict a series of nightmares stemming from pain, anxiety, trauma, and several other mental health disorders. With the use of Vanitas Symbolism – the kind of painting that was popularised in the 17th century, often featuring still-life arrangements, including fruits, flowers, and other objects as symbols of the transience of life and the inevitability of death, I incorporate symbols of decay, such as wilting flowers or rotting fruits to convey the idea that even the most beautiful and vibrant aspects of life are subject to decay and eventual demise, suggesting a connection to human anguish and the fragility of existence. Moreover, I place decaying or withering fruits or flowers alongside depictions of human suffering or anguish to create a parallel between the ephemeral beauty of nature and the transient nature of human existence. The alignment between the fragile blooms and the sombre or distressed subject matter can evoke feelings of sorrow, mortality, or the fleeting nature of happiness. Plus, fruits and flowers are used metaphorically to represent human emotions and experiences. The work depicting a wilting flower or a bruised fruit symbolises a person's fading or wounded spirit undergoing emotional distress or pain. Similarly, an arrangement of fruits cut open or damaged serves as a metaphor for a human subject's inner turmoil or vulnerability. In terms of the colour palette, the one chosen for the fruits and flowers in a painting contributes to the depiction of human anguish. Dark, muted, or desaturated colours are used to represent sadness, despair, or suffering, while various parts are depicted with sharp contrasts between vibrant and sombre hues can create a sense of tension or conflict.

Georgia O'Keeffe: Known for her large-scale close-up floral paintings, Georgia O'Keeffe often explored the sensual and symbolic qualities of flowers. While her works are not explicitly focused on human suffering, they often evoke a sense of introspection, vulnerability, and emotional depth. Her magnified flower paintings, such as "Black Iris" or "Calla Lily Series," can be interpreted as metaphors for the human experience, including anguish and desire.

Mind Vomit

‘This represents the daily conversation within my mind. Anxious thoughts, depressive thoughts, sub-thoughts, thoughts about the thoughts, a constant critical commentary and a tornado of darkness, numbness and complete inner turmoil.’

Goya’s disasters of War

Jake & Dinos Chapman

destroyed bodies | Otto Dix

George Grosz

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Tips For Choosing The Perfect Paint Color For Smaller Rooms

When it comes to house painting in Brooklyn, NY, one of the most important factors to consider is color selection. Choosing the right colors can completely transform a room, but it's especially crucial in smaller spaces where the wrong choice can make the room feel even more cramped and claustrophobic. This blog post will review tips for selecting the best colors for smaller spaces.

Light Colors

When it comes to smaller rooms, light colors are your best friend. Light colors reflect natural light, making a room feel brighter and more open. Lighter shades of beige, gray, blue, and green are great options for creating a spacious and airy atmosphere.

Monochromatic Color Scheme

Another way to make a small room appear larger is by using a monochromatic color scheme. This means choosing one color and using different shades and tones of that color throughout the room. This creates a cohesive look that helps the eye move seamlessly from one area to the next, making the space feel less cluttered.

Accent Walls

While light colors are generally the best choice for small rooms, you can also consider adding an accent wall in a darker shade to add depth and interest to the space. However, make sure to choose a wall that isn't the focal point of the room, as this can make the room feel even smaller.

Neutral Colors

Neutral colors are another great option for smaller rooms. Shades of white, beige, and gray can create a calming and relaxing atmosphere, making the space feel more open and inviting. Plus, neutral colors are versatile and can work with a variety of decor styles.

Bold Colors

While it may seem counterintuitive, using bold colors in a small room can actually work if done correctly. Consider using a bright or dark color on one wall or for an accent piece, such as a rug or piece of artwork. Just make sure to balance the bold color with lighter shades and neutral tones to prevent the room from feeling too overwhelming.

In conclusion, choosing the right colors for smaller rooms is crucial to creating a spacious and inviting atmosphere. Light colors, monochromatic schemes, accent walls, neutral colors, and even bold colors can all work, depending on the space and personal style. When it comes to house painting in Brooklyn, NY, be sure to work with a professional painter who can help you choose the best colors and finishes for your home.

[mybeingthere]

Didier William (b 1983) is originally from Port-au-Prince, Haiti. He earned an BFA in painting from The Maryland Institute College of Art and an MFA in Painting and Printmaking from Yale University School of Art. 

William was an artist-in-residence at the Marie Walsh Sharpe Art Foundation in Brooklyn, NY, a 2018 recipient of the Rosenthal Family Foundation Award from the American Academy of Arts and Letters, a 2020 recipient of the Joan Mitchell Foundation Painters & Sculptors Grants and a 2021 recipient of a Pew Fellowship from the Pew Center for Arts & Heritage. 

He has taught at several institutions including Yale School of Art, Vassar College, Columbia University, UPenn, and SUNY Purchase. He is currently Assistant Professor of Expanded Print at Mason Gross School of the Arts at Rutgers University. 

http://www.didierwilliam.com/