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abysscontemporary · 3 years ago

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The Dais Of Our Knives

Years ago At Sotheby’s

I ran into a journalist I knew from the art scene.

They told me they’d been away For six months Traveling.

We continued chatting.

As if they’d never been away.

In March 2020, I stopped by Team Gallery to see its Petra Cortright and Will Sheldon solo exhibitions. The adventure was extraordinary.

Cortright is typically known for her paintings, which initially look handmade but then reveal themselves to have been composed electronically and fabricated on a substrate. The synergy between the two is often pleasantly confounding, and the dichotomy between the tactility and the hands-off technique is perplexingly rewarding.

At Team, Cortright fabricated each layer of a digital composition that she had printed on a one-fold tabloid. The layers were suspended from a procession of dowels, installed just below the ceiling. In doing so, she physicalized the display of layers that one might see on the computer screen of a 2D designer if such a designer were to isolate each layer on, respectively, a sequence of dedicated pages.

(Think of how Damian Ortega’s mobile of the principal components of an automobile was presented at the 2003 Venice Biennale. Here, however, Cortright presents large-scale facsimiles of every single component of her two-dimensional work.)

Some layers were pure abstractions, and other depicted landscapes. The irregularity of the shapes brought them into such sharp relief that they were rendered into still life objects. Again, in an inventive way, Cortright found a way to bewilder and delight a gallery audience.

Will Sheldon’s paintings depicted scenes of either fantasies or highly embellished realities. The artist’s gift for conflating the two prompted me to alternately take in the entire exhibition all at once and lean forward to investigate and marvel at each work’s details.

It would be simple to categorize Sheldon’s paintings as being purely Gothic because so much about them is about observations of the present and visualizations of life in the future. In the same way that one might recount about how during the course of a day they’d had a certain dream, promenaded through several neighborhoods within a town or a city, and contemplated a spectacular and speculative environment, Sheldon brings such narrative-like non-narratives to each of his canvases. Some of the spider webs, if looked upon closely, are sparkling. The scenes of the city (that arise behind the threshold of the dark forest that the viewer seems to be immersed within) exist in states of innocence – the kinds that one is unlikely to be cynical about.

As a painter, Sheldon has a remarkable touch. His craft skills can be admired, and what they deliver are sublime, modern-day, transgressive, pictorial enchantments.

Also in March 2020, I visited Foxy Production to see its solo exhibition of paintings by Srijon Chowdhury. Uncannily, many of this artist’s works feature an extraordinary surprise - a supernatural glow that emanates from the canvas as if it were both natural and fantastic (i.e., a specimen of fantasy). Chowdhury’s works appear to be simply about flowers, figures in nature, and intimate family scenes. However, through his subjects, his works are pulsating vessels – vehicles for vital forces. In this, he shares one of two things in common with Mark Rothko; the other is that Chowdhury is based in Portland, Oregon, the city where Rothko lived after emigrating from Russia.

Chowdhury’s grand tableau, “Pale Rider,” is a commanding work that was presented on the feature wall of the gallery. Measuring 7 feet high by 16 feet across, this painting has the power of a major work of medieval stained glass. “Pale Rider” depicts a nude equestrienne, riding a galloping horse through a free-form landscape of colorful flowers behind the plane of a fence of green ironwork, formed by words and geometric, abstract shapes. Here, the lady’s the one with the long mane. As a guiding force upon this equine creation-in-motion, she is riding in a streamlined, recumbent manner and holding a scythe in her left hand, beyond the plane of the horse. “Pale Rider” is other-worldly. The artist’s attention to detail makes it worthwhile to look at the painting up-close. Threads flow through and around the fence, and the lushness of the greenery in the background conjures up the most exalted of spring and summer days.

In August 2020, I returned to Foxy Production to see “Sex and love with a psychologist,” its solo exhibition of paintings by Sojourner Truth Parsons. It was like a blast from the early 1980’s, as seen through a lens of present-day thinking. Modern and graphic – as in what it is that a graphic artist produces – Parsons’ paintings depict portraits in high relief of studio interiors, and stylized cityscapes. They evoke the downtown Manhattan scene that had been brought to life by “The SoHo Weekly News” and the pre-Conde Nast “Details” Magazine. They don’t directly reference the decade, but the feeling is there. What makes them so engaging is how Parsons appears to have assumed that what was once transgressive in that half-decade is now conceptually and practically settled culture. The result is a very present symphony of beautiful technique and lively but simple colors: powder pink, black, and sky or powder blue.

Parsons’ approach to depicting studies and finished works, as installed on the walls of art studios, is fascinating. The representations of strips of artist’s tape and the works they support upon the walls where they’re displayed are endearing. The shapes are subtly but distinctively choreographed, and the process of decoding what these forms are about is very rewarding. The presence of the unseen individuals who live, work, and/or play in these environments is palpable. A viewer is never alone while engaging with Parsons’ work. Parsons’ works are rich in spirit and modernistically atmospheric.

In November 2020, I visited Hesse Flatow to see “Sincerely,” Aglaé Bassens’ solo exhibition of paintings. As a follow-up to her 2018 solo exhibition, “You Can See Better From Here,” at Crush Curatorial, it was a pleasure to see this artist move upwards and laterally, as her vision and technique has ascended, and her range of exploration of subject matter and technique has expanded in unexpected and intriguing dimensions.

What Bassens captures are moments: a burning cigarette butt, on a black surface in an ostensibly nocturnal interior; a car passenger’s view of an iced-over windshield and a dashboard on a winter day; a chaise longue and a matching chair (designed for poolside lounging), stretched out on grassy meadow, bordered by a forest, on an overcast summer afternoon. Each of her works is clearly a representation, and each is unmistakenly a painting.

Without knowing the title of the burning cigarette painting, one could marvel at its details for at least an hour. The wrinkled cigarette paper, the slightly crushed filter, the white-hot butt end, and the casually rising smoke are spectacles in themselves. The black surface upon which the cigarette rests is implicitly a table – a plinth upon which this common object is, for an instance, ennobled; it could never be anything as profane as a floor.

To see the car interior painting and the chaises longues tableau is to sense the seasons the subjects inhabit and to witness how with an economy of expression and the power of suggestion Bassens’ paint strokes bring these scenes to life and invigorate a viewer’s awareness of her actions and the works’ properties.

The body of work exhibited here hangs upon an invisible thread. Bassens’ paintings are portraits of the intangible. To encounter her interpretation of a collapsed, wind-blown beach umbrella and her partial view of a pair of blue garden chairs, outside on a rainy night is to experience the creation and manipulation of her subjects by humankind and the forces of nature that bring them to entropy. To witness Bassens’ mastery of her medium is to recognize the difference that paintings make as meaningful presences themselves.

In February 2021, I made a special trip to Marinaro Gallery to see “A Shift In the House,” a solo exhibition of paintings and works on paper by Lindsay Burke. In 2017, Burke’s dynamic paintings were stand-outs at Hunter College’s second-year, MFA group exhibition, and the provocative, semi-figurative, semi-abstract paintings she’d produced for her 2018 debut at Marinaro were subversively seductive and sophisticated. Burke’s most recent exhibition marked a turning point for the artist and, for art audiences, it represented a major highlight of the season.

Burke’s paintings revolved around the sleight of mind, eye, and hand in the conception, production, and reception of visual and physical creations. Homes, details of fixtures and studio implements, and landscapes are depicted amidst levels of abstractions that alternately draw the viewer towards the recognition of overall patterns and minute and discrete details.

Close examinations reveal brush strokes that resemble the kind that are made as test markings – what an artist daubs on an errant surface before making a commitment onto an actual work-in-progress. However, the marks that Burke makes are decisive. They are closely rendered, and they are what altogether becomes each overall work, a marvel that is astonishingly self-referential. They can remind a viewer of many things, but they are unique and exceptional unto themselves.

To compare Burke’s paintings to those of the modern pointillists would be reasonable but off-target. More aptly, one might compare the paintings from “A Shift In the House” to those of Jasper Johns; taken individually and altogether, they can enchant and impress in their entirety, and from up-close, they can truly engage the eye and the mind.

In February 2021, I visited Microscope Gallery and saw “Transmutations,” a remarkable exhibition of works of sculpture by Yasue Maetake. In its expansive location in Bushwick, Microscope succeeded in creating a grand tour of phenomena of great intrigue – highly unified works, composed of materials that existed on the surface of the mind (i.e., the recognizable) and those that existed in the deepest and most faraway galaxies of the imagination – the poetic and the unknowable.

They conjured up memories of photographs of expressionistic figurative works, produced in the mid- to late-1950’s – manifestations – as the writer of a Museum of Modern Art catalogue noted – of post-war anguish. Maetake’s works, though, are elegant and poised. Individually and collectively, they are almost baroque. More certainly, they are dynamic.

Upon learning that portions of many of the works are composed of camel’s bones, I thought of Nancy Graves’ large representations of camels in motion, and the contemporary character of Maetake’s oeuvre clicked, establishing itself into place with the great shift that occurred in art in 1970 and propelled wave after wave of innovative concepts and practices in each intervening decade. This body of work resides in the classical – owing to its profoundly pre-visualized and masterfully realized orderly character – and within the exuberantly enchanted space of the kinds of sculpture that could be made only today.

The harmony and the dissonance of each of Maetake’s works exist like movements in a symphony. Their constituent elements are too fine to be called “components,” and they often draw in the viewer without ever really calling attention to themselves. Her works are unique and exceptional, and they appear to be exotic, yet relatable and familiar. To encounter Maetake’s work in this half-kunst-kabinett and half-lair was an extraordinary and memorable experience.

In March 2021, I visited Kravets/Wehby Gallery to see Allison Zuckerman’s solo exhibition, “Gone Wild.” Consisting of wall-mounted tableaux and free-standing works of sculpture, a high-spirited galaxy of new and captivating creations was on view in the same space where Zuckerman had made her sensational debut only four years beforehand. In this new chapter of her ever-advancing journey, Zuckerman has pivoted from a variety of points and moved towards a greater sense of attention towards form and material.

The subject matter is still certainly there. Her super-metamorphosed, female figures of the fine arts reign on each planet of a painting, and they appear to be syntactically oriented further out on the ends of the branches of the greater dimensions where she’s been venturing. One of the most interesting exploratory movements observed here was the way Zuckerman intertwined “actual” painting with “virtual” painting in creating impressions that exceed each individually, and, in doing so, she enters the realm of orchestrating spectacle. Stated in a more oblique way, Zuckerman is sparking the imagination, as directors do in cinema and expanded, live theater.

Alfred Hitchcock and Jean-Pierre Melville, for example, were adept at integrating visual sleights of hand into their films. Although they deliberately showed the seams of montages in certain key scenes in their movies, they inexplicably created impressions that were undeniably effective even though they were more plausible than they should have been. In Hitchcock’s “Marnie,” the scene in which Marnie appears to be in danger while riding atop her frightened, runaway horse, the tension is oddly palpable; the mechanics of the editing of the images are unexpectedly visible, but Hitchcock succeeds in generating the suspense that’s necessary for heightening the viewer’s engagement in the story and carrying the viewer forward through the journey of the balance of the film. In Melville’s “Le Samouraï,” a nightclub owner is confronted in his office by hitman Jef Costello and is then seen pulling out his handgun first; however, in the successive montage, it is Costello who gets off the fatal shot that kills his intended target. The sequence is startling, and it jars the logic of the viewer; nevertheless, the viewer comes to not only accept the results but embrace them, as Melville chose to confound the viewer by not making the sights and sounds of the showdown conspicuous or obvious. The shock of Costello’s success and the miracle of his survival sharply impress the audience despite the visual and auditory discrepancies to which they have been presented with great suddenness.

In Cyril Teste’s stage adaptation of John Cassavetes’s film, “Opening Night,” presented at the French Institute / Alliance Française’s Florence Gould Hall in 2019, live acting is happening at the same time on the stage as video projections, many of which are sourced by the livestreaming video camera that is operated by a cameraperson who can be plainly seen by the audience but not acknowledged at all by the play’s characters. The left wing of the theater-within-the-theater of the play-within-the play is only partially visible to the audience, but the scenes there are entirely seen and heard through the technology that’s at-hand. Likewise, scenes taking place entirely behind the stage set are interpretively presented for the audience; the action and dialogue there are heard, as they may be customarily received in certain film scenes, such as those that are spasmodically illuminated by flashlights in pitch black conditions (e.g., “Le Beau Serge,” “The Blair Witch Project”). Alternately, scenes are also taking place at the center of the stage; they depict the actors playing characters in the play-within-the play and themselves, living out the challenges of their own lives as real people. The shifts from one mode to the next allow for the audience to interpret what’s happening and where. Despite it all, the performances of the actors – notably Isabelle Adjani, as Myrtle Gordon, and Frédéric Pierrot, as Maurice – brilliantly carry the audience through the play’s emotional roller coaster ride with both traditional, live stagecraft (e.g., classical vocal delivery, effective physical presence) and the enhancements that Teste’s filmic interventions convey.

In reconciling the many techniques that Zuckerman brings to a viewer, the evidence of the means and materials in the production of her works may be readily gathered and assessed, but, inexplicably, they deliver a variety of unexpected and often wondrous sensations. Each work delivers at one point or another in the viewing process a big payoff or a fireworks-show sequence of bursts of discoveries and unforeseen emotional responses.

This goes beyond the kind of examination that one might have while viewing the paintings of Giorgio Morandi or Diego Velázquez or the photographs of August Sander, as up-close and far-off perspectives of their works concern materials that are uniform throughout. The experience of regarding what was presented at “Gone Wild” was about transcending the employment of both paints and digital substrates and arriving at the harmonies that have been enchantingly realized by the artist’s generation of a succession of spectacles in at a time and place where one may be anticipating something reasonable.

In late July 2021, I went to the Metropolitan Museum of Art to see “Alice Neel: People Come First.” After viewing all of the works in the show, I circled back to its “beginning,” and, from the center of each gallery space, I saw patterns of the abstract backgrounds of Neel’s portrait works, more or less lining the room. It was something that one can only sense spatially within an actual exhibition space.

I’ve often spoken about how a painting exhibition is more than a collection of images, rendered on canvas, framed or unframed. It’s the deployment of the works within a physical space that an exhibitor is presenting to an audience – and, by “presenting,” I mean gifting, treating, and delivering something special.

I’d been away from the Met for two years.

In seeing this Neel retrospective, it was as if I’d never been away at all.

Team Gallery “Petra Cortwrigth: borderline auroroa borealist” 5 March - 2 May 2020 “Will Sheldon: Trouble After Dark” 5 March - 6 June 2021

Foxy Production “Srijon Chowdhury” 5 March - 31 May 2020 “Sojourner Truth Parsons: Sex and Love With a Psychologist” 9 July - 22 August 2020

Hesse Flatow “Aglaé Bassens: Sincerely,” 22 October - 21 November 2020

Marinaro Gallery “Lindsay Burke: A Shift In the House” 28 January - 28 February 2021

Microscope Gallery “Yasue Maetake: Transmutations” 29 January - 19 March 2021

Kravets | Wehby Gallery “Allison Zuckerman: Gone Wild” 27 February - 2 April 2021

The Metropolitan Museum of Art “Alice Neel: People Come First” 22 March - 1 August 2021

Barry N. Neuman

New York August 2021

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nyfacurrent · 7 years ago

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Artist News | December

End your year on a high note by viewing and enjoying works by NYFA Affiliated Artists.

Whether you're looking for something to do on your holiday break or just need some food for the soul amid one of the busiest times of the year, here’s a round-up of exhibitions, performances, screenings, and more by NYSCA/NYFA Artist Fellows and NYFA Fiscally Sponsored Projects. And if you attend or enjoy any of them, make sure to tag us on Twitter, Facebook, and Instagram using the handle @nyfacurrent.

Things to do & see in NYC:

Jarrod Beck (Finalist in Crafts/Sculpture ’17) Joanne Howard (Fellow in Architecture/Environmental Structures ’17) Janelle Iglesias (Fellow in Sculpture ’11) Take advantage of the last few days to see Call & Response, a group exhibition of site-specific works in the Glyndor Gallery at Wave Hill. When: Now through December 3, 2017 Where: Glyndor Gallery, Wave Hill, West 249th Street, Bronx, NY 10471

Robert Marshall (Fellow in Printmaking/Drawing/Artists’ Books ’05) Passing Through is comprised of works which explore the shifting and relational nature of perception. When: Now through December 17, 2017 Where: Studio10, 56 Bogart Street, Brooklyn, NY11206

Mildred Beltre (Fellow in Printmaking/Drawing/Artists’ Books ’03) Dan Ford (Fellow in Painting ’02,’10) Seamus O’Brien (Fellow in Printmaking/Drawing/Artists’ Books ’14) Ellen Grossman (Fellow in Printmaking/Drawing/Artists’ Books ’11, ’17) Jill Sigman (Fellow in Architecture/Environmental Structures/Design ’16) Mie Yim (Fellow in Painting ’15) Open (C)all: TRUTH is an exhibition of works from over 125 artists exploring the current political climate. When: Now through December 17, 2017 Where: BRIC House Gallery, 647 Fulton Street, Brooklyn, NY 11217

Yasue Maetake (Fellow in Sculpture ’11) There's still time to see Maetake’s sculptural installation work in Reverse Subterrestrial. When: Now through December 17, 2017 Where: The Chimney, 202 Morgan Avenue, Brooklyn, NY 11237

Susan Leopold (Fellow in Architecture ’98) Hannah Smith Allen (Fellow in Photography ’10) School of Visual Arts presents Street Smart: The Intersection of Art and Design in the City, a multimedia group exhibition of work from SVA alumni. An artist panel discussion will be held in conjunction with the show. When: Now through December 20, 2017; Panel: December 13, 2017, 6:00 PM - 8:00 PM Where: SVA Chelsea Gallery, 601 West 26th Street, 15th Floor, New York, NY 10001

Debi Cornwall (Sponsored Project) Debi Cornwall’s solo exhibition on Guantanamo and its global diaspora, Debi Cornwall: Welcome to Camp America is now on view at Steven Kasher Gallery. When: Now through December 22, 2017 Where: Steven Kasher Gallery, 515 West 26th Street, New York, NY 10001

Ryan Sarah Murphy (Fellow in Crafts/Sculpture ’14) The recently opened group show Echoes features works related to the idea of loss. When: Now through December 23, 2017 Where: Kathryn Markel Fine Arts, 529 West 20th Street, Suite 6W, New York, NY 10011

Paolo Arao (Fellow in Printmaking/Drawing/Artists’ Books ’05) Ryan Sarah Murphy (Fellow in Crafts/Sculpture ’14) Works by Arao and Murphy are on view at The Flat File: Year Five, a group exhibition launching the 2018 Flat File program at the TSA gallery. When: December 1 - 17, 2017; Opening Reception: December 1, 6:00 PM - 9:00 PM Where: Tiger Strikes Asteroid, 1329 Willoughby Avenue #2A, Brooklyn, NY 11237

Judith Sloan (Fellow in Music/Sound ’13) Sloan invites you to participate in the development process of her artist commission It Can Happen Here, a theatrical performance influenced by stories of anguish and defiance in the face of xenophobia and repression. When: December 2, 2017, 3:00 PM - 4:30 PM Where: York College, Fine Arts Gallery 1B01, 94-20 Guy R. Brewer Boulevard, Jamaica, NY 11451

Parthenia (Sponsored Organization) Parthenia, a dynamic string ensemble including Lawrence Lipnik, Rosamund Morley, Beverly Au, and Lisa Terry, will perform for the release of their new CD, Nothing Proved. Tickets are $35. When: December 3, 2017, 4:00 PM Where: Picture Ray Studio, 245 West 18th Street, New York, NY 10011

Fiona Templeton (Fellow in Inter-Arts ’85, Performance Art/Emergent Forms ’89, Playwriting/Screenwriting ’00) The Triumph of Crowds, a play directed by Templeton, will be premiering at Downtown Art. Buy tickets here. When: December 6 - 9, 2017, 7:30 PM Where: Downtown Art, 70 East 4th Street, New York, NY 10003

Erika Ranee (Fellow in Painting ’96) Join in the closing of Elsewisely, a group exhibition of four painters. When: Closing Reception: December 9, 2017, 5:00 PM - 7:00 PM Where: Centotto, 250 Moore Street #108, Brooklyn, NY 11206

Michele Brody (Fellow in Architecture/Environmental Structures/Design ’00) Brody will have work in the group show Excessive Frugality. An artist talk will be held at 3:00 PM on December 17, 2017. When: December 15 - 30, 2017; Opening Reception: December 15, 6:00 PM - 8:00 PM Where: ODETTA Gallery, 229 Cook Street, Brooklyn, NY 11206

Leigh Davis (Sponsored Project) Leigh Davis: Inquiry Into the ELE will be on view at BRIC House. Working in a variety of media, Davis creates an archive of End-of-life Experiences (or ELEs) and accumulates assemblage of images and oral and written accounts that bridge the mystical gap between the earthly realm and that of the spiritual. When: Now through January 7, 2018 Where: Project Room at BRIC House, 647 Fulton Street, Brooklyn, NY 11217

Get out of town to see:

Francis Cape (Fellow in Architecture/Environmental Structures/Design ’13) Mark Dion (Fellow in Printmaking/Drawing/Book Arts ’17) Deborah Kass (Fellow in Painting ’91) Donald Moffett (Fellow in Performance Art/Emergent Forms ’89) Shirin Neshat (Fellow in Photography ’96) Martha Rosler (Fellow in Video ’85) Hank Willis Thomas (Fellow in Photography ’06) Nari Ward (Fellow in Poetry ’86, Sculpture ’07) There’s only a few more weeks left to catch the group exhibition OCCUPY MANA: Artists Need to Create on the Same Scale That Society Has the Capacity to Destroy (Year 1), focusing on artists whose work engages with and interrogates the contemporary social climate. When: Now through December 16, 2017 Where: Glass Gallery, 10 Senate Place, Mana Contemporary, 888 Newark Avenue, Jersey City, NJ 07306

Liliana Porter (Fellow in Graphics ’85, Film ’99) This is the last month to see Porter’s work in the exhibition, Radical Women: Latin American Art, 1960-1985 at the Hammer Museum. When: Now through December 31, 2017 Where: Hammer Museum, 10899 Wilshire Boulevard, Los Angeles, CA 90024

Michelle Jaffé (Sponsored Project) Jaffé’s video and sound installation, Soul Junk, places the viewer inside a metaphoric mind at work. Mimicking synaptic circuitry firing in the brain, the installation explores raw emotions as conveyed and betrayed by the human voice and facial expressions. When: Now through January 6, 2018 Where: Milton Art Bank, 23 South Front Street, Milton, PA 17847

Francisco Alvarado-Juarez (Fellow in Painting ’00) This is the last month to see Alvarado-Juarez’s work in Into The Weeds, an exhibition of artworks highlighting the exuberance, vigor, and abundance of weeds. When: Now through January 10, 2018 Where: North Dakota Museum of Art, 261 Centennial Drive Stop 7305, Grand Forks, ND 58202

Ben Altman (Sponsored Project) Altman’s photographic project, "The More That Is Taken Away," is included in the exhibition Artificial Things at Art at the ARB at the University of Cambridge. When: Now through January 19, 2018 Where: Art at the ARB, Alison Richard Building, 7 West Road, CB3 9DT Cambridge, Cambridgeshire, UK

Jennifer Karady (Sponsored Project) Karady’s photographs from "Soldiers’ Stories from Iraq and Afghanistan" is a part of the exhibition Aftermath: The Fallout of War - America and the Middle East. When: Now through January 21, 2018 Where: The Ringling, 5401 Bay Shore Road, Sarasota, FL 34243

Asiya Wadud (Finalist in Poetry ’17) Wadud will be doing a poetry reading from her forthcoming book crosslight for youngbird. When: December 1, 2017, 6:00 PM Where: Institute of Contemporary Arts, University of Pennsylvania, 118 South 36th Street, Philadelphia, PA 19104

New releases to enjoy at home:

Roberley Bell (Fellow in Crafts ’93, Printmaking/Drawing/Artists’ Books ’01) Bell is pleased to announce the release of her book Do you know this tree?, which documents a five-year project in which Bell photographed particular trees in the city of Istanbul. Where: Buy online through Visual Studies Workshop

Dread Scott (Fellow in Sculpture ’01, Performance ’05, Interdisciplinary ’12) Check out Dread Scott Reenacts a Slave Revolt to Radically Reconsider Freedom, an article and interview discussing one of his recent projects. When: Published on November 17, 2017 Where: Online at Hyperallergic

Inbal Abergil (Sponsored Project) Abergil’s new book of photography and testimonials, N.O.K. - Next of Kin, examines the ways in which American families memorialize their relatives killed in military conflict. When: On sale now Where: Buy here at Daylight Books

Flavio Alves (Sponsored Project) Alves’ fictional film, Tom in America, explores life, love, happiness, and desire after 50 years of marriage. Tom in America was a fiscally sponsored project. When: Now streaming Where: Available now on Amazon Prime

NYFA congratulates:

Analia Segal (Fellow in Architecture/Environmental Structures ’04) Segal is a recent recipient of the 2017 Joan Mitchell Foundation Painters & Sculptors Grant! Read more about the award online.

Michelle Stuart (Fellow in Painting ’87) Nancy Bowen (Fellow in Sculpture ’89) Martha Diamond (Fellow in Painting ’85) We congratulate these Fellows in receiving a 2017 Anonymous Was a Woman Award, an unrestricted grant enabling women artists over the age of 40, and at a significant juncture in their lives and careers, to continue to pursue their work.

Mattia Casalegno (Finalist in Digital/Electronic Arts ’17) Congratulations to Casalegno for receiving a 2017 Chronus Art Center Research/Creation Fellowship, designed to support artists employing scientific and technological components in their practice.

Svea Schneider (Sponsored Project) Svea Schneider, founder of INSITU Site-Specific Dance Festival, was honored with the TimesLedger Queens Ambassador Award for her work in promoting the artistic community in Queens, New York.

Yin Mei (Sponsored Project) Yin Mei was selected as a Hermitage Artist for 2018. This prestigious Florida retreat invites world-class artistic creators and Yin Mei will user her time in the creative residency to hone Peony Dreams.

Sophie Hirsch (Fellow in Crafts/Sculpture ’17) Hirsch is included in Cultured Magazine’s “30 Young Artists to Watch in 2018″ feature. Read more here.

Follow us on Twitter and Instagram for more events with NYFA affiliated artists. Also, don’t forget to like us on Facebook to see what current fiscally sponsored projects are up to! To receive more artist news updates, sign up for our bi-weekly newsletter, NYFA News.

The NYSCA/NYFA Artist Fellowship Program awards $7,000 grants to individual artists living and working in New York State. The 2018 award cycle is currently open, with applications being accepted through January 24, 2018. NYFA Fiscal Sponsorship enhances the fundraising capabilities of individual artists and emerging arts organizations. The next quarterly no-fee application deadline is December 31, 2017.

Image: Jennifer Karady’s installation of Soldiers’ Stories from Iraq and Afghanistan, an exhibition at Slusser Gallery, University of Michigan, 2014. Installation photograph by Tim Thayer.

#artist news #fiscal sponsorship #nyfa fiscal sponsorship #nyscanyfafellows #artist fellowships #instagram

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