It’s Not Old Jersey: “The New Jersey Show” of the Art Students League of New York
Jersey City, N.J. –Works from more 30 New Jersey artists will be featured June 12-14 at the “The New Jersey Show,” at the 113 Design Co., 930 Newark Avenue, Loft #6 in Jersey City. Organized by the Exhibition Outreach program of the Art Students League of New York, the show includes traditional and contemporary work in all media and demonstrates the range of art-making happening both in Jersey and at the League.

Curated by the League’s John Baber, the show features works by Tim Anderson, Konstantine Angelopoulos*, Sherwin Banfield *, Marlene Bloom*, Elizabeth Bolden*, Dave Bruno, Sauman Choy*, Carole Dakake*, C.L. DeMedeiros*, Ricardo Devia*, Julieanne Dellert*, Christian Dobish, John Doyle*, George Ebbinghousen*, Lilian R. Engel, Mitsuko Finkelstein, Gordon Fraser*, Alex French*, Ed Giorgano*, Jean Graham*, Akihiro Ito, Jaine Jacobs*, Sharon Kendrick*, Joan Lesemann*, Tony Loftman*, John Mandile, Carole McDermott*, Laura Mae Noble, Berto Noso*, Satoshi Okada*, Adina Padden*, James Renzie Prater*, Louise A. Reid*, Cristian Ramirez, Ed Rochat*, Allon Schemool, Geoff Schmit, Brent Scowden*, Hanna Seiman*, Ella Sherman*, Margie Steinmann, Yoko Suetsugu, Tom Tacik*, Josh Torin*, Edward Vander Veld*, Matt White*, and Juan Gabriel Zorilla*.
(* Denotes New Jersey artists.)

Hours June 12-14 are: Friday reception: 6-10pm (free shuttle bus from the show to Journal Square PATH station); Saturday: 12-5 pm, and Sunday: 12-4 pm.

This exhibition is generously supported by the George A Ohl, Jr. Trust Foundation.

About the Art Students League
Founded in 1875 by artists, for artists, the Art Students League of New York provides affordable, studio-based art education of the highest quality to anyone with the interest in making art. Great artists have trained, taught, and exhibited at the League and enriched its community. Apprenticeships, classes, lectures, workshops, exhibitions, and residencies uphold the League’s commitments to support “artists and students who intend to make art a profession” and to cultivate “a spirit of fraternity among art students.”

Google Map:
930 Newark Ave, Jersey City, NJ 07306

I’ll have four pieces in the show…sneek peak here

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Katy Moran / Carla’s Garden  / 2007

Coming back to a contemporary abstract painter I have written about before, and whose work I was struck by back in the spring at the Andrea Rosen Gallery, I was google-stalking the London based painter Katy Moran. Hoping to find some new work or upcoming shows or something, I came across a video interview on the Tate website for an exhibition back in Feb-April 2008 called Strange Solution. Anyway, I thought Katy had some interesting comments on abstract painting, issues that Paul Ching-Bor and I, along some other painters, have been discussing recently at the Art Students League, particularly working from photos and images and pushing toward abstraction. Around the 1:05 mark she comments that for her it is about finding an image that is interesting enough to get started and then leaving that image at the right point. Check out the video here since I can’t post it to the blog. Below is a snippet of what she had to say.

‘They’re finished when I can see a figurative element in them … through the paint I’m searching for the thing it reminded me of, or suggested to me, and trying to get close to that thing.’ The exuberant spontaneity of the gesture is genuine rather than contrived, Moran comments, ‘When I’m making a painting, I get quite excited by how close to awful I can push it, while getting something quite lovely from it as well’.  {Read More…}

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Frank O’Cain who I studied with at the Art Students League talks about this idea of colour as light. As he likes to say,

The palette is chosen to create an effect of light, to be able to develop a spatial reality, and also to penetrate through the surface a painter’s needs and rejections. Some colors will be likeable, and others distasteful. Through this preparation, a painter has chosen to have color reflect light, light to relate to color, and energy to take form in shape. Wat it comes down to is this: every color you choose responds to another color so that it creates light for the eye. We react to both the responses of the colors to each other as well as to the surface, to light as it bounces off color. {Read More…}

Anyway, I’ve been thinking a lot about colour lately and expecially this idea of colour as light. I don’t have any profound insights or revelations to share, but I have been thinking about how we develop our colour sense and how our experiences shapes our responses and uses of colour. In my own case I began to think about the effect of staring at boxes of light (computers and teevee screens) for hours everyday for 3 decades has had an effect on my colour sense. In particular, I have been thinking about the Chuck Jones animations I used to watch as a kid and how flat transparent colour on celluloid illuminated, filmed, projected and then transmitted and projected again through the pixels of a teevee influences my  choices of colour as a painter. I don’t have any conclusions, but it is interesting to think about. Anyway, a quick google search revealed all these great Tom & Jerry and Bugs Bunny stills, which among other things (content & composition), are full of rich colours.

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I know Kentaro from the Art Students League, definitely check out his upcoming exhibit at Local Project in Long Island City opening on Dec. 6th.

Kentaro Fujioka / Untitled / Kentaro Fujioka / Acrylic, paper and burlap on canvas / 56 by 50 inches / 2007  / kentarofujioka.com

In this series Colors in Destruction, I’m most interested in the tension between ‘Destruction’ and ‘Construction.’ Everything is impermanent. There is the effort I make in constructing something; there is also beauty in destroying it.

Beauty appears where there is a lot of energy, no matter whether it is from something negative or positive. I have discarded the idea that destruction is negative. In fact, the act of destruction is the main method of my working on this series. Destruction simply cuts through dimensions and time. It reveals the relationship between colors which have been applied in different times and contexts. It does destroy the relationship in the present composition, but it discovers other possibilities of existence.

In the process of my work, the act of ‘Destruction’ entails the act of ‘Construction’. I start my painting with stretching raw canvas on the stretcher, then I stain the canvas and prime it. After the base structure is made, I repeat the process of layering on the surface with paint, strips of wood, paper and fabric. The choice of the color and the order is carefully made, not so much by planning, but rather by intuitive selection after a long observation on the recorded images of the previous state. The stronger the wood or paper or fabric is applied on the canvas, the higher the tension between layers becomes, it makes the effect of the torn surface more interesting. After days or sometimes weeks of layering, I intuitively stop layering. (the number of layers depends on the process of each painting, usually 20 to 30.) Then I start tearing off. This is also an intuitive process. Some part of the layers is left, while most is removed. This act of tearing off is an essential part in the process. It reveals the layers underneath, exposing colors which have been applied previously in another composition. It makes the process far more complicated so the result would never be anything I expect. Occasionally I find that I have to get rid of the canvas entirely by completely destroying it. {Read More…}

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David Antonides / Transcoded / Watercolour on Paper / 49.75 x 38.5 inches / www.davidantonides.com

I’ve had the opportunity to work in the studio with David on a number of occasions and have learned a lot by watching him work.

Water for me is a medium which intermediates the tangible with emotion and spirit. It flows between my intention and its own laws of nature and serendipity – its a collaboration of sorts. I explore the contrast between the subtlety of complex colour transitions and the strength of dense, robust marks. Watercolour can make a strong statement and be monumental. It can have weight and gravity. [Read more...]

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A little slide show presentation of by my studio partner. In his work, Jimmy transforms observed objects into dynamic and energetic shapes and forms. He excites the surface and creates a pulsating rhythm and movement that feels very animated.

© Courtesy of James McDonough. www.myartspace.com/JamesMcdonough/

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