Wolf (a commission for the Seraganian/DeSimone family) 2012 3′x3′ private collection

Security Horizon #9 2012 20” x 27” $800 not framed

Security Grass #5 2012 $950 not framed

Security Grass #6 2012 15″ x 18″ $650 not framed

Tuesday, September 20th 2011, 4:00 AM

Hearth 2011 15″x11″ 3-color screen print edition: 26 $120

ATM / Outhouse 2011 22″ x 15″ 4-color separation screen print edition: 15 $240

Catalog Lens #1; Red Eye 2011 7.5″ x 10″ 4-color separation screen [...]]]> I’ve been busy during my one-month residency at The Wassaic Project in Wassaic, New York.

Hearth
2011
15″x11″
3-color screen print
edition: 26
$120

ATM / Outhouse
2011
22″ x 15″
4-color separation screen print
edition: 15
$240

Catalog Lens #1; Red Eye
2011
7.5″ x 10″
4-color separation screen print
edition: 25

Fee: $395 Register for the class here (you will be leaving this site)

This comprehensive workshop will introduce you to one of the most liberating forms of printmaking, with [...]]]>

MONOTYPE @ The Lower East Side Printshop
with Sarah Nicole Phillips
6 weeks, Mondays 6-9 pm
September 26 – October 21

Fee: $395
Register for the class here (you will be leaving this site)

This comprehensive workshop will introduce you to one of the most liberating forms of printmaking, with an emphasis on experimentation and creativity. Learn to create innovative one-of-a-kind prints using drawing, painting and collage. Explore color mixing, brushwork, ghost images, chine colle, stencils and unique tools to create unique prints. We will pull highly developed monotypes by hand and with the aid of a press.  

*This class uses only Akua Water-based non-toxic inks.

Tazeene is creating a suite of prints using two stencils of the Manhattan grid.

She's created many effects by [...]]]>

I'm currently teaching a Monotype class at the Lower East Side Printshop (in Midtown). Once again a wonderful group of enthusiastic artists is taking the course. Below are images from last week's class.

Tazeene is creating a suite of prints using two stencils of the Manhattan grid.

She's created many effects by printing the same shapes in different ways.

Bindu cutting out shapes that have been treated with dry-mount adhesive.

She found all kinds of paper ephemera at a flea market.

Heidi contemplates a print she just pulled. The print is on the right, the plate with leftover ink on the left.

Gold leaf stuck to the plate and did not adhere to the paper as planned.
Fear not! Heidi will figure out a way to make this work.

Heidi figuring out which collage elements to integrate into her prints.

Heidi's big pile-o-prints.

Please join us for a reception for the artists from 6 to 9 p.m. Saturday, May 14. The exhibition is co-curated by John Gilvey and Jennifer Mackiewicz and features selected emerging and established artists that [...]]]> The Wassaic Project
May 14 to June 19, 2011
Hudson Beach Glass Beacon, 162 Main St., Beacon, NY

Please join us for a reception for the artists from 6 to 9 p.m. Saturday, May 14.
The exhibition is co-curated by John Gilvey and Jennifer Mackiewicz and features selected emerging and established artists that are participating in the Wassaic Project's artist residency program.

About the Wassaic Project
The Wassaic Project is an artist-run, multidisciplinary arts organization founded by Bowie Zunino, Eve Biddle, and Elan Bogarin, finding home in a refurbished grain mill in Wassaic, NY. In the summer of 2008, this picturesque little hamlet became the site of a week-long arts festival with the mill serving as venue for 40 artists, 15 musicians and 500 visitors. Riding on the success of their previous year, the 2009 festival hosted 100 artists and 2500 visitors. Jeff Barnett-Winsby joined as co-director in 2008.

Participating Artists:
Ben Bigelow, Disorientalism, Ghost of a Dream, Janine Iverson, Karl LaRocca, Amanda Lechner, Corina Reynolds, Sarah Nicole Phillips, Tomie Seo, Amanda Tiller, Breanne Trammell, Brindalyn Webster, Leah Wolff and Jing Yu.

John Gilvey is a partner in Hudson Beach Glass and glass artist. Jennifer Mackiewicz is an independent arts consultant and curator living in Beacon. She recently curated the show “small” at Hudson Beach Gallery.

For more information on the Wassaic Project, the festival and residency opportunities, please visit their website at www.wassaicproject.org.
http://www.hudsonbeachglass.com/calendar.html#banner2

Artists in DEEP/SHALLOW have created artwork in response to GSS library references which have already been used as visual resources for other artists. The appropriation of these resources forces a continuity (which normally occurs organically and over time) across disciplines, content and processes.

INSTALLATION/PERFORMANCE BY ROB ANDREWS

OPENING EVENT [...]]]>

Artists in DEEP/SHALLOW have created artwork in response to GSS library references which have already been used as visual resources for other artists. The appropriation of these resources forces a continuity (which normally occurs organically and over time) across disciplines, content and processes.

INSTALLATION/PERFORMANCE BY ROB ANDREWS

OPENING EVENT APRIL 29TH 7:00PM – 10:00PM

http://gowanusstudio.org/wp/

The Library collects published references recommended by artists in The Gowanus Studio Space’s immediate and greater community; to compile a physical and online database of pamphlets, manuals, exhibition catalogs, books, newspapers, magazines, etc. which have visually influenced artists.

The Gowanus Studio Space and EyelevelBQE Gallery have collaborated on partner exhibitions at their Brooklyn spaces to activate and launch this new project. Exhibiting artists in High/Low deal with ideas surrounding libraries and shelving, while artwork in Deep/Shallow responds to sources in the Library’s collection.

At The James New York, a new art-centric hotel in Manhattan's Soho, the permanent in-house collection was assembled by an independent curator, Matthew Jensen, in collaboration with Artists Space, a neighbourhood artists' collective; each of the hotel's 14 guest room [...]]]>

At The James New York, a new art-centric hotel in Manhattan's Soho, the permanent in-house collection was assembled by an independent curator, Matthew Jensen, in collaboration with Artists Space, a neighbourhood artists' collective; each of the hotel's 14 guest room floors is dedicated to the work of a single New York-based artist. Public areas are also prime exhibition space: _QWERTY 5_, a mosaic of thousands of recycled keyboard keys, is installed on one wall of the entrance foyer, custom-created for the hotel by the artist Sarah Frost. Constructed entirely from scavenged materials, Frost’s pieces examine the remains of consumer culture and – fittingly for a hotel installation – the imprints of users left behind.

“The sculptural work and the outdoor work in the hotel is unified by the fact that the artists are using reclaimed materials,” says Jensen. Other public art installations in the building include Elevator, by Korean artist Sun K. Kwak, a striking, graphically patterned piece that utilises cut black vinyl to create a design in the white elevator shaft, visible as the hotel’s glass elevator moves up and down between the first-floor foyer and the third-floor sky lobby. “I like the fact that it references the motion of water and a gyre,” says Jensen. He adds that it is also probably the most adventurous piece in the hotel – the artist worked in the elevator shaft with the elevator hanging above her.

Jensen envisioned the hotel as “a series of halls in a tall, narrow museum” to display the show, titled Stand Here and Listen, 14 floors of new paintings, prints, photographs and works-on-paper by emerging artists who are using landscape as a conceptual element in their work. The corridors of each floor function as dedicated gallery space, and informational placards by the elevator include barcodes that are scannable by smartphone, so that viewers can find out more about the artists-in-residence.

During a recent stay, I found myself on the 16th floor admiring the blurry, ephemeral oil paintings by Christopher Saunders, a 2010 Fellow in Painting from the New York Foundation for the Arts. His paintings have a perfection about them – Jensen says that Saunders labours to get an inkjet-print precision – but there’s an abstraction, too, with floating houses and dappled reflections; his artist's notes show a concern with the transience of landscape: "Landscape can be used as a medium with which we are creatively involved, a locus for the interplay of orientation, identity, memory, and the poetic possibilities of misrecognition." Since my room was on the 16th floor, I got to see Saunders’ work more frequently, and every time I embarked and disembarked from the elevator, I had the opportunity to become more familiar with it. 

The shape of the hotel and its configuration influenced Jensen’s choices and his take on the idea of art in residence. “Because you stay on the floor, you get to know an artist’s stuff a little bit better, and I like that,” Jensen says. He intends each floor to be its own exploration of the notion of public and perceived landscapes, playing with the idea of a dedicated “viewing spot” that occurs in popular tourist destinations. “Because of the tight confines of the halls, you’re pretty close to the work, and it’s quiet and intimate. And despite the difference in medium and theme between the artists, there’s a horizon line in almost every work. There’s always a place to stand.”

Bonnie Tsui lives in San Francisco. She is a regular contributor to The New York Times and the author of American Chinatown.

A hotel guest (Gillian) checking out the work.

She's using the smart phone bar code to learn more. This is what she sees.

Three etchings from the Brooklyn College days.

All [...]]]>

In 2010 The James Hotel New York bought ten pieces plus commissioned a 4'x4' security envelope collage.

A hotel guest (Gillian) checking out the work.

She's using the smart phone bar code to learn more. This is what she sees.

Three etchings from the Brooklyn College days.

All the Benefits, All the Rewards
2010
4' x 4'
collage made with discarded security envelopes

This commission is the first thing you see as you walk out of the elevator.