September 18, 11:30 AM, Main 110
Eve Aschheim is Senior Lecturer in the Visual Arts Program, Lewis Center for the Arts, Princeton University. She received her B.A. from the University of California-Berkeley and her M.F.A. from the University of California-Davis.
Aschheim is a painter who works improvisationally, painting and repainting, in order to invent energetic new pictorial constructions. She uses a geometric vocabulary of planes and lines, but subverts its conventions until aberrant lines create virtual forms and recombinatory possibilities. Her recent paintings engage an unpredictable range of color used with a freedom and inventiveness that is characteristic of her pictorial constructions.
Color planes engage linear networks that seem to be in a state of motion. Structures fall apart and reconfigure. The painting is a field in which the artist contrasts, intersects, and overlaps different kinds of spaces. Expansive, fractured, and compressed spaces and planes interact. One of the signature features of Aschheim's recent work is her ability to keep everything in a state of flux that is at once fragile and bold. Each painting arrives at a different and particular resolution. Working in a modest scale, she fills her paintings with a hard-earned visual complexity that is rare among contemporary painters.
Aschheim's paintings and drawings have been exhibited at museums and galleries nationally and internationally. She has had recent solo exhibitions at Lori Bookstein Fine Art, New York City; Some Walls, Oakland, CA; Galleri Magnus Aklundh, Malmo, Sweden; Galerie Inga Kondeyne, Berlin; and the Weatherspoon Museum of Art, Greensboro, N.C. Her work is represented in museum collections including MoMA, N.Y.; The National Gallery, Washington, D.C.; Yale University Art Gallery; The Sackler Museum, Harvard University; the Hamburger Bahnhof, Berlin, and other museums in the U.S. and Europe. Her awards include the John Simon Guggenheim Fellowship 2012.
September 19, 12 noon, Br 320
Greg Lindquist is a New York-based artist who earned a dual masters degree in fine arts in painting and art history from Pratt Institute in 2007. His work examines the fictive distinctions of nature and culture dissolved in painting. Some of Lindquist's paintings depict enigmatic objects in the landscape, while others compose the landscape through framing that recalls digital technologies that mediate how we experience the world. Broadly, his work views the landscape impressionistically through the artificial environment of mechanical reproduction. In his work, the splatter is the dot is the screen. Richly layered surfaces of drips, splatters and removal, suggest various screens, veils or scrims of light through which images are viewed.
Recently, Lindquist has participated in the group shows "Planet of Slums," co-curated by La Toya Ruby Frazier and Omar Lopez-Chahoud and "No One is an Island" at LMCC's exhibition space on Governor's Island curated by Omar Lopez-Chahoud. He is the 2009-10 Pollock-Krasner Foundation Grantee and the Sally & Milton Avery Arts Foundation Grantee for the 2009, as well as Art Omi International Artist Residency. His work has been featured in various publications, including Art in America, ARTNews, Frieze, Harper's Magazine, The New York Sun, The New York Observer, The New York Press and Sculpture. His work will appear in the 2012 Art on Paper Biennial at the Weatherspoon Art Museum in Greensboro, NC. Lindquist also writes about art for ARTnews, The Brooklyn Rail, artcritical.com, and Beautiful/Decay. He is also the Art Books in Review co-editor at The Brooklyn Rail and teaches at Bergen Community College, Parsons, and the Museum of Modern Art.
September 25, 11:30 AM, Main 110
Hanneline Røgeberg was born in Norway and lives and works in Brooklyn, NY and Oslo, Norway. She is a painter whose work mines the paradoxes of representation and language. Siri Hustvedt, a Norwegian colleague writes about Røgeberg:
It is the mysterious quality of Hanneline Røgeberg's work that attracts me, and where there is mystery, there is the possibility of genuine dialogue. I have never been interested in works of visual art that I fully understand. In Hanneline's painting, I recognize a quality that I myself am obsessed with - a sometimes agonizing drive to break down conventional perceptual boundaries, to resist the categories we find ourselves inside. And because we share this desire, the two of us are, at the very least, artistic cousins, two people immersed in the pleasures and pains of continual ambiguity.
Hanneline Røgeberg's work has been shown in solo shows at the Contemporary Art Center in Cincinnati, the Vancouver Art Gallery, the Henie-Onstad Kunst Center and most recently at Dortmund Bodega, Oslo, Norway in 2011, and in groups shows such as the MIT List Center, the Whitney Museum of American Art, the Aldrich Museum of Contemporary Art, the American Academy of Arts and Letters and the Richmond Museum, VA. She has received an NEA grant, a Guggenheim fellowship, an Anonymous Was A Woman grant, and an OCA grant for a catalog publication in 2009. She is an associate professor of art at Rutgers University and has previously taught at University of Washington, Cooper Union, and Yale University. She was a visiting artist at Skowhegan in 2009.
October 9, 11:30 AM, Main 110
David Humphrey is a New York artist, born in 1955, who has been showing his paintings and sculpture internationally since the 1980's. Occasionally called a Pop Surrealist, his work hybridizes a variety of depiction schemes and idioms to make works charged with psycho-social content and narrative potential. "Working in the studio was like building an empire inside your head that resonated into the world; that could function like a lens to the outside."
Blind Handshake, an anthology of his art writing, was published in 2010 by Periscope Press and includes a wide variety of reviews, essays and curatorial statements. Humphrey has won the Rome Prize, a Guggenheim fellowship and a variety of grants including an NEA and the New York State Council for the Arts among others. Humphrey has done numerous solo exhibitions in New York at the McKee Gallery and Sikkema Jenkins and Co. and is currently represented by Fredericks & Freiser, where he will be having an exhibition in the fall of 2012. He received his BFA from MICA and his master's degree from NYU.
October 23rd, 11:30 AM, Main 110
Stephen Westfall (b. 1953) received his MFA in 1978 from the University of California, Santa Barbara. His work has been exhibited regularly in the United States and abroad and has been widely reviewed. He currently lives and works in New York City and is represented by Lennon, Weinberg Gallery in New York.
Stephen Westfall received a fellowship from the American Academy in Rome, living and working there in 2009 and 2010. During his year there, he completed a series of paintings that while predicated on structures already emerging in his recent work address the extended history of geometric imagery that he set out to explore in his Rome project, "New Paintings for an Old City." He writes:
I think a lot about the relationship between painting and architecture. If all painting is in part a mediation between the imagination and the walls of a room, then abstract painting tends to make this relationship explicit. Instead of opening up to a view that in effect dissolves the room, abstract painting often acts as another body in the room. The imagined space is there too, but somewhat de-emphasized as the sole vehicle for content. Ah, content. I would like my paintings to be regarded as expressions of energy and place. I suppose I think of them as beings. Probably most artists in all media attribute consciousness to their discrete works, at least in their own reveries. What does this say about authorship, or consciousness?
Westfall was recently awarded the Rome Prize Fellowship, and previously the Guggenheim Foundation Fellowship and the Nancy Graves Foundation Grant. His work is included in the collections of the Louisiana Museum in Denmark, the Albertina Museum in Vienna, the Baltimore Museum of Art, and the University Art Museum, Santa Barbara. He teaches in the MFA program at Bard College, NY and Rutgers University, NJ. A respected critic as well as painter, Westfall's articles appear in Art in America, Flash Art, and other publications.
November 6, 11:30 AM, Main 110
Carrie Moyer is a painter and writer based in Brooklyn, NY. She grew up in the Pacific Northwest and attended Pratt Institute (BFA, 1985), New York Institute of Technology (MA, 1990), Skowhegan School of Art (1995) and Bard College (MFA, 2001). Grants and honors include Joan Mitchell Foundation Grant, Anonymous Was a Woman Award, Creative Capital, National Studio Program @ PS1, Art Matters Fellowship among others. Moyer serves on the board of the Skowhegan School of Art. She is an Assistant Professor in the Art Department at Hunter College.
Since 1994, Moyer has exhibited extensively in both the US and Europe. Her first solo museum exhibition, "Carrie Moyer: Interstellar," was held at the Worcester Art Museum in 2012. Next spring the Tang Museum will present "Opener 24: Carrie Moyer," a solo exhibition of new paintings accompanied by a catalog. She is represented by CANADA Gallery in New York City.
Moyer's own writing has appeared in Art in America, Artforum, the Brooklyn Rail and Modern Painters. Recent writing projects include essays on Nancy Grossman and Louise Fishman. In addition to an active painting and writing career, Moyer co-founded one of the first queer interventionist public art projects, Dyke Action Machine!, with photographer Sue Schaffner. The project ran from 1991-2008.
Critic Martha Schwendener has written about Moyer's paintings:
"Painting is a neurotically self-conscious medium-it's always looking over its shoulder, responding to earlier eras and earlier ideas. Carrie Moyer puts that self-consciousness at the center of her work. But where mash-ups of different periods and styles have become popular with post-postmodern painters (and often end up looking like conceptual train wrecks), her canvases are cool, seamless-almost alchemical. Slipping between abstract and representational, [Moyer's] raw canvases are built up with strata of translucent and opaque color, positive and negative shapes, and solids and silhouettes that reference different historical periods: ancient fertility figures with bulging hips; vases with breasts circling their perimeters; murky blobs that recall the paintings of biomorphic Surrealism. But there's an unsettling subtext here, a suggestion of the way women have served as talismanic muse-objects in past art instead of intelligent innovators..."
For more information: www.carriemoyer.com
November 13, 11:30 AM, Main 110
Claire Sherman was born in 1981 in Oberlin, Ohio and now resides in New York, NY. She received her BA from The University of Pennsylvania, and her MFA from the School of the Art Institute of Chicago in 2005. Claire is represented by Kavi Gupta Gallery in Chicago, and has had solo shows at Kavi Gupta; DCKT, NY; Houldsworth, London; and Hof and Huyser, Amsterdam. She has completed residencies at Yaddo, the Terra Foundation, MacDowell Colony, and the Marie Walsh Sharpe Art Foundation. Recent press includes the The New York Times, Art Ltd., Art Agenda, and Flash Art. Claire is an Assistant Professor at Drew University in New Jersey.
In a recent review for Art Ltd. of her 2011 show at Kavi Gupta, James Yood writes, "At times, her paint handling seems diffident and perfunctory then seems to erupt in a frenzy of slathering pigment. This continual process of reconsideration is just disorienting enough to keep things fresh. Nature is a big thing, after all, and Sherman never presents it as Eden or Hell or some neutral vessel to be filled with human anxieties, hopes or fears, but rather as a complex and fundamental ur-motif that we just have to return to again and again, acknowledged and respected, though never to be solved."
November 27 Main 110 11:30 AM
Thomas Eggerer was born in 1963 in Munich and is based in Los Angeles. After graduating from the Art Academy Munich in 1994, he received a DAAD grant to work at Vermont College.
A former member of the collaborative Group Material in New York, he initiated conceptual projects in collaboration with Jochen Klein, focusing on identity and gender issues in public space. In his current paintings and drawings, Eggerer continues this discourse with other means.
Eggerers' shows often consist of a variety of different media: drawings, small and large-scale collages, non-representational paintings and figurative paintings are grouped together in multifocal installations.
"How can one make a work on canvas today without, in some way, addressing the mobility that now characterizes our most familiar sources of representational surfaces - the television or computer screen with their profusion of data, succeeding, interrupting and, through the hyperlink, opening gaps within one another? Thomas Eggerer's anti-gravitational paintings address these conditions in a variety of ways, all of which cause a vertiginous loss of grounding." - David Joselit
His work is in the collections of Dallas Museum of Art, Dallas, Texas, MOCA, Los Angeles, Museum of Modern Art, New York, San Francisco Museum of Modern Art, UCLA Hammer Museum, Los Angeles, Wadsworth Atheneum, Hartford, Connecticut, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany