AUGUST 22 - SEPTEMBER 28, 2013
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AN URBAN GALLERY for EMERGING ART
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NEW JERSEY STATE COUNCIL ON THE ARTS
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NJSCA Citations of Excellence 1998-2000, 2001-2003, 2007-2009
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Funded in part by the Prudential and Geraldine R. Dodge Foundations, the City of Newark, the American Recovery and Reinvestment Act, and through the National Endowment for the Arts, administered by New Jersey State Council on the Arts.
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For directions and more info, visit w w w. cWOW.org or call 973-622-1188.
UNSTEADY GROUND - WHAT IS DRAWING?
Hours: Wed-Sat, 12-6pm. cWOW is free and open to the public, and easily accessible by car or mass transit.
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CITY WITHOUT WALLS GALLERY 6 Crawford Street, Newark, NJ 07102
*Artists
Patrons American Recovery and Reinvestment Act The Children’s Hospital of NJ at Newark Beth Israel Medical Center City of Newark Geraldine R. Dodge Foundation Groundswell Community Mural Project Horizon Foundation for New Jersey Kessler Foundation La Casa de Don Pedro Mercedez-Benz Metal Management Montgomery Street Urban Renewal Northeast, Inc. New Jersey Cultural Trust NJ State Council on the Arts Prudential Foundation Rutgers T.E.E.M. Gateway United Way of Essex and Hudson
Benefactors
BENEFACTORS (Indiv.) Judith Brodsky, New Brunswick Stephen Burns, Maplewood Dennis Hull, Secaucus Brian McGovern
SPONSORS Lanette Beatty, Upper Saddle River Joaquin Matias, Newark Vickie J. Snoy, Keyport
Crawford Street Partners Greater Newark CONTRIBUTORS Conservancy Sonia Andrade, Union City Ironbound Community Benjamin J. Dineen, Corporation Secaucus Newark Arts Council Dan Frohwirth, Jersey City Newark Public Schools Ian Fuller, Ozone Park Partnership in Anne Hartnett, South Orange Philanthropy Madeleine Kurtz, S. Orange Pearson Education Vivian McDuffie, West Orange Vikki Michalios, Jersey City PSE&G Isimeme Omogbai, Newark Seidler Chemical & St. Amanda Van Hoesen, Clair’s Social Services Los Gatos SupplyCompany
The Benny Andrews Foundation The Centre Daryl Cormier Crawford Street Partners FOCUS Hispanic Center for Community Development
Jennifer Anderson, Monmouth Beach Caridad Aquilante, Little Falls Patricia Belfanti, New York Eva Bouzard-Hui, W. Caldwell Suzanne Burnette, W. Orange Michelle Butler, Florham Park Jean Ray Campbell, S.Orange Victor Davson, Newark Continued: Inside Back Cover
Supporters
IN-KIND
Sustainers
supporters
Continued from Inside Front Cover
Larry Dell, Maplewood Eileen Della Volle, Brick Mark S. Desveaux, Hoboken Samuel Forlenza, Rutherford Nene Humphrey, Brooklyn Ben Jones, Jersey City Pat Kettenring, Summit Ben Ko, Brooklyn Connie Kocur, West Orange Gregory Lamorte, Florham Park Eve Levy, Maplewood Anne McKeown, Secaucus Milton Medina, Newark Evelyn Murphy, Bradley Beach Susan Napack, S. Orange Alyson Nash, Linwood Oglesby, Maplewood Nell Painter, Newark Mary Puryear, East Orange Gregory Ratcliff, Kearny Michael Rees, North Bergen Joe C. Salazar, N. Bergen Allen and Bonnie Shefts, West Orange Colleen Thornton, Alexandria Joe Waks, Bayonne Joseph Waks, Caldwell Lee Whiting, Astoria Jacqueline Wickenheisser, Avon By The Sea Mark R. Wojcik, Mahwah
Friends
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Paul Belfanti* Milagros Collazo Larry Dell* Benjamin J. Dineen Nunzio G. Esposito Ian S. Fuller Ann Hartnett Eve A. Levy Leslie R. Peters Vinayak Viswanathan Joseph A. Waks* Michael Wyetzner*
Marion Farina George Ulanet Company Ironbound Community Corporation Jerry’s Artist Outlet Hiroshi Kumagai La Casa de Don Pedro Lowenstein Sandler PC NJ Department of Transportation New Jersey Devils NJ Volunteer Lawyers for the Arts Nonprofit Finance Fund Partnership in Philanthropy Pro Bono Partnership Prudential Center Rock Entertainment Management Spotlight on Girls Television & New Media Consortium Andrew Teheran Mike Tynio United Community Corporation Westside Park Community Center Urban League of Essex County Verona Industrial & Building Supply Company Yendor Productions
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Trustees
vanOs , West Orange Marcus Aviles, Newark Gwendolyn Barnes, West Orange Paul Belfanti, Warwick Alan Bigelow, Buffalo Ernest Bigelow Annie Chen, Sparta Imran Chowdhury, New York Milagros Collazo, Newark Bernice A. Conic, Linden Gina Cowins, Newark Michael Davis, Brooklyn Nunzio Esposito, Wallington Tracey Femiano, Medford Mary Flahive, Rumson Anthony Johnson, New York Olabisi Kuye, Teaneck Robert Lobe, Long Island City Brian McCormack, Bound Brook William R. Mikesell, A.I.A., Newark Owen Mitchell Donald Moore, West Orange Jennifer Morris, Hoboken Jeremy Moss, Maplewood Marshall Okin, West Orange Caren Frost Olmsted, Basking Ridge Leslie Peters, Newark Jeffrey Powell, Elmwood Park Joan Reutershan, Brooklyn Gail Rothschild, Brooklyn Ellen Sawicki, Wayne David Shaughnessy, Fords Richard Staub, Brooklyn Roger Tucker III, Bradley Beach Vinayak Viswanathan, Long Is. City Bill Westheimer, West Orange Brenda Young
Members Markam Keith Adams, Montclair Kenneth Agnello, Suffern Nissreen Almazouni, Wanaque Katelynn Altgilbers, Bordentown Timothy Applebee, Aliza Augustine, West New York Francesca Azzara, Westfield
Marianne Barcellona, New York Aileen Bassis, Jersey City Timothy Brown, Newark Jenny Casey, Tavares Imran Chowdhury, New York Deborah Christmas, Newark Rachel Citrino, Philadelphia Marieken Cochius, Wappungers Falls Santiago Cohen, Hoboken Lisa Conrad, Newark Corey Cooper, Garfield Giselle Cuevas, Pequannock Heidi Curko, Jersey City Liz Demaree, South Orange Kate Dowd, Newark Kathryn Eddy, Montclair Rodolfo Eduards, New York Diane Englander, Southampton Lauren Ennist, Hillsdale Andrea Epstein, Berkeley Heights John Erianne, Essex Fells Maggie Fehr, Princeton Abi Fellows, Budd Lake Juan Fontanive, Brooklyn Jean Foos, Jackson Heights Leslie Ford, Montclair Mikel Frank, Maplewood Jonathan French, Washington Andrea Geller, Paramus Susan Greenspan, Suffern Juan Guerra, Newark James Hamilton, West Orange Yoon Chung Han, El Cerrito Stan Harris, Wayne Ted Hayward, Chiayi County, Chiayi Jeanne Heifetz, Brooklyn Micòl Hernández, Brooklyn Allison Hugh, South Orange Patricia Huizing, Flemington Stephen Jaskowak, Roselle Park MLJ Johnson, Jersey City Ilona Kennedy, West Orange Marta Kepka, Lawrenceville Afieya Kipp, Irvington Bernard Klevickas, Long Island City Neal Korn, Union Melissa Kurtz, Lodi Mark La Rosa, Jersey City Zachary La Rosa, Hoboken Corwin Levi, Washington Abby Levine, Union City Howard Levine, Bound Brook Wendy Lewis, Union City Kim Love, Newark Nancy Mahl, Jersey City Leigh Mathews, New York Jack McGovern, Voorhees Michael Messing, Short Hills Janie Milstein, New York Uli Minoggio, New York Marshall Minshew, Newark Somina Mosaku, Morristown Alice O’Neill, Providence Janell O’Rourke, Ridgewood Kathryn Okeson, Red Bank Barbara Pearsall, Hanover Duda Penteado, Jersey City William Pfaffman, Brooklyn Patricia Ritchie, West Orange Gregg Rosen, Jersey City Suzanne Russo, Saddle River Firas Saadeh, Franklin Park Lisa Sanders, Montclair Sharon Sayegh, East Brunswick Naomi Schwartz, Tania Sen, Warren Fausto Sevila, Elizabeth Joyce Silver, Water Mill Balam Soto, Hartford Margot Spindelman, Brooklyn Leona Strassberg Steiner, Jersey City Charlee Swanson, Montclair Toni Thomas, Newark Mollie Thonneson, Jersey City Peter Tilgner, Tenafly Angela Toomer, Montclair Cortney Torres, Phillipsburg Loura van der Meule, Jersey City David Vega, New York Al Vesselli, Morris Plains Vinayak Viswanathan, New York Beth Whitney, Jersey City Michael Wyetzner, New York Herzel Yerushalmi, Springfield Susan Zwick, Summit
COVER: David Manno, Two Girls (detail), 2012, compressed charcoal on paper, 31” x 43”.
Waiting 800
Anthony Brownbill 4
Figure Studies 1200
Marieken Cochius* 4
Juan Fontanive* 4
Studio Setup - Still Life 1000 Energy Series: Beyond a Grid 3900 Omithology 7000
Will Hutnick 4
Ready for a Fall 3550
Philippe Jarry 4
Metamnesia 400
Sky Kim 4
untitled 2000
untitled NFS
Rick Klauber 4
Conversation 3500
For the Time Being 3500
Mars 2800
Neal Korn* 4
Newark-Penn, NJ 4285
Scott Lawrence 4
Study of 3D Stella 600
The Magic of Believing (Black II) 1000
Andrew Lenaghan 4
Andy Driving in Tennessee 1000
The Buick 1000
Days Inn, Madison, FL
Emabassy Suites Boca Raton Fl 1000
Ex Ramada Adam Inn aka Roach Motel II Birmingham Al 1000
Milt’s Living Room 1000
The Park Mo(tel) a.k.a. Roach Motel I Birmingham Al 1000
Vonnie’s Motel Kennedyville MD 1000
JC Lenochan 4
12 ways to end a conversation 12000
Nathaniel Lieb 4
untitled (Undiscovered Country Series) 1200
David Manno 4
Two Girls 3425
Andy Mister 4
C.L. 1400
Donald O’Finn 4
1000
Walker 1000
Janell O’Rourke* 4
Birds 1150
Rachel Phillps 4
untitled 1000
Joanna Platt 4
End of the Line 1500
Dirk Richardson 4
untitled NFS
Steven Schreiber 4
Airman 800
Fausto Sevila* 4
Richard Staub* 4
Humming Bird (projection) 4000 Humming Bird (digital print) 400 Large Net 6000
Randall Stoltzfus 4
Digital Study After Church 75
Intermediate State of the Painting Seagate, Reproduced for Use in the Studio I 350
Randall Stoltzfus 4
Intermediate State of the Painting Seagate, Reproduced for Use in the Studio II 80
Charles Tisa 4
Hoovey Groovy 400
Rebecca Welz 4
Thunder 14,000
Lee Whiting* 4
Far and Near 2500
M. Inga Wiatrowski 4
Abberationans: No. 21 4100
Stephen Woods 4
Empty Floating Vessel 3400
*cWOW Member
Large-print text is available upon request.
Price list
Prices subject to change without notice.
UNSTEADY GROUND WHAT IS DRAWING? CURATORS Michael Davis Margot Spindelman OPENING RECEPTION Thursday, August 22, 6-8 pm City Without Walls (cWOW) 6 Crawford Street, Newark, NJ DATES, LOCATION & TIMES August 22 – September 28, 2013 City Without Walls; Wed-Sat, 12-6 pm ARTISTS’ PANEL Saturday, September 7, 2-4pm ARTISTS
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Thinking 800
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Peter Bonner 4
Peter Bonner Anthony Brownbill Marieken Cochius Juan Fontanive Will Hutnick Philippe Jarry Sky Kim Rick Klauber Neal Korn Scott Lawrence Andrew Lenaghan JC Lenochan Nathaniel Lieb David Manno Andy Mister
Donald O’Finn Janell O’Rourke Rachel Phillps Joanna Platt Dirk Richardson Steven Schreiber Fausto Sevila Richard Staub Randall Stoltzfus Charles Tisa Rebecca Welz Lee Whiting Margaret Inga Wiatrowski Stephen Woods
CURATORS’ STATEMENT Perhaps the oldest drawings known to us are cave paintings. Some of these are thought to have been made during the last ice age. These drawings contain many of the same elements we still employ today, encompassing a huge variety of techniques, dimensions and attitudes towards figuration and abstraction. They can be seen as two-dimensional with the rock walls serving as flat background or foreground. Projecting out into space on rocky overhangs they can also be seen as three-dimensional, an entrance into the realm of sculpture. We can see them as installations, site specific pieces, or just marks on a stone wall, drawn in pigment, burnt on with fire and incised with tools. The perception of these ancient artworks provides a broad definition of drawing not unlike the wide variety of strategies used by artists today. Unsteady Ground is an attempt to show a group of
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Curators’ statement
artists whose work is a portion of this wide variety of drawing, the continuation of an ancient human impulse. Every child draws with a stick in the sand. Some move on to pencil and paper communicating ideas and their place in the world. For some, drawing is a way of thinking, it’s a form of writing and reading, it’s the physical manifestation of the artist’s eye, the direct expression of the artist’s hand. It is also quite often the first stage in a process: the preview, the sketch, the preperatory instruction. Ultimately we believe drawing is an emphatic act of looking. It is interesting to look at drawings because you are seeing the breadcrumbs of exploration, you are following an artist’s path across thresholds, through the magnifying glass or the telescope. This show’s title Unsteady Ground refers to an earthquake state, where physicality becomes untethered—the ground liquefying, the air seeming to be electrified, objects losing their familiar reference. Drawing treads this same ground. These artists experience this seismic disjuncture in myriad ways. Scott Lawrence stretches a mans striped shirt like a canvas and at the same time wonders what can happen when a familiar icon of striped minimalism is rendered to be looked at with 3-D glasses. Andy Lenaghan compiles a portfolio of motel rooms from an American road trip, their quick capture on the page cementing his ephemeral transit. As Juan Fontanive animates still zoological pictures of hummingbirds, we follow the line in their flight path we didn’t know existed. Process can create an extended intellectual platform for drawing, as Peter Bonner uses white tape to add “negative space,” accumulating what is supposed to be an absence. Lee Whiting builds up sheets of steel like three dimensional ink washes making decisions intuitively as the medium speaks and Andy Mister allows tracing to intervene between himself and his subject as he follows the dictate of the pre-determined plan, making a drawing without arbitrary intervention. Surprises issue from these procedures, as these artists respond to a drawing strategy. Alternately, the nimble manipulation of material and mark-making that characterizes the drawings of boh Rachel Phillips and Rick Klauber is an almost physical engagement that relies on the orchestration of touch and color and line and form. In Marieken Cochius’s grid, that mark-making extends to the frames themselves, pushing them into shapes that respond to the reach of her hand. Margaret Inga Wiatrowski uses drawing as a way of planning constructed photographs of fictive place, an inversion of the expected relationship between drawing and photography. In this way she travels from abstraction to depiction. Donald O’Finn’s video of a walking figure exists in a state that fluctuates between these same states of abstraction and depiction as his figure wavers on the
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City Without Walls (cWOW) seeks curatorial proposals for our annual calendar of group exhibitions at the ultra-modern Seton Hall University School of Law Atrium Gallery. Curators are free to propose any artists of their choosing, including their own artwork. They are not required to select cWOW members, and selected artists are not required to become members. However, curators must review all member entries, and are encouraged to ask artists whom they solicit to join. This process ensures the highest-quality independent selection, while also providing crucial support for our award-winning exhibition, education, and residency programs. Exhibitions at this venue include approximately twenty large (minimum of 36 inches or larger in any dimension), two-dimensional, framed and ready-to-hang works by five to eight artists. All exhibiting artists receive a financial stipend. Works containing nudity, offensive or controversial imagery cannot be shown at this venue. Information about and images of previous cWOW exhibitions at Seton Hall Law can be found at www.cwow.org. Proposals must include (a) the curator’s resume, (b) a brief statement and exhibition concept that include five to eight artists and twenty large two-dimensional works, and (c) sample images. Prospective curators are encouraged but not required to join to be considered for this opportunity, with a minimum annual donation of $35 for individual members or $25 for students and seniors. Your donations are tax-deductible to the full extent of the law. See other member benefits and join online at www.cwow.org. Email your complete submission to info@cwow.org with “SHL Curator” in the subject line, or snail mail the same materials to City Without Walls, 6 Crawford Street, Newark, NJ 07102.
Curators’ statement
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OPEN TO: Artists, Curators
cWOW OFFSITE EXHIBITIONS
CURATORIAL OPPORTUNITY: cWOW @ SETON HALL UNIV. SCHOOL OF LAW
screen, assembling and dissembling. And in the image of birds that Janell O’Rourke supplies, she allows her wandering lines to coalesce into just recognizable forms, barely declaring themselves present. Both Sky Kim and Randall Stoltzfus use drawing as a tool for extreme focus. We can track their looking as we examine drawings that seem to grow from the inside, out, multiplying from the first marks to dense states of elegance. And then there are artists who use the mark itself as the primary subject and object, whether in the representational images of David Manno and Anthony Brownbill, or in the quick and beautiful figure eight by Dirk Richardson. Even more explicitly, Nathaniel Lieb’s incised foam insulation presents the line as incised artifact. Will Hutnick and Stephen Schreiber gather material together to create a larger sum of parts—in Hutnick’s case painted strips of paper cohere into lines that build a structure on the page, and Shreiber collages strips of magazines to build blocks that form the picture plane. Joanna Platt assembles conduit and junction box in a way that force our eyes to see their lyricism. Drawing can also bring immediacy to storytelling, as in Neal Korn’s looming industrial architecture drawn on the most transient of materials. JC Lenochan’s 12 Ways to Initiate a Dialogue also uses material to support the story he is telling, as a narrative of race and politics and history conveyed through chalk on chalkboard/paper, a notational rapid-fire classroom. A similar chalk on black treatment is employed in Stephen Woods’ mysterious rendering of lions tethered to machine, but the story seems to be evolving, the chalk lines could vanish before the conclusion is reached. When Chuck Tisa shows us a character leaning into a wash of color, he creates a “background” that becomes part of the story with line and wash occupying the same space. And Fausto Sevilla brings us literally into his drawing and his story, which is projected onto the wall and supported by an actual object, extracted from the drawing, in the room with us. When Philippe Jarry creates a new universe in book form, we have to study his visual language in order to comprehend the place he has made. Rebecca Welz and Richard Staub use three dimensional lines of thread and welded steel to create drawings that inhabit space, perceptions fluctuating as one moves around them. In the same way that live performance brings light to the written word, drawing is invested with emotion. This heightened articulation, this deep looking that is drawing, changes a presumed space into hyper-real representation of what is hidden to the casual looker. Michael Davis Margot Spindelman
My work is primarily done from observation which reflects the landscape, interior, still life or figurative compositions. The process is a sort of passive-intense attention, gathering information with the material, drawing and painting, searching for that poetic spatial arrangement—a metaphoric moment of color, harmony and structure.
Peter Bonner & Anthony Brownbill
Anthony Brownbill, Figure Studies, 2008, pen and ink wash, 14” x 17”.
cWOW FRIENDS & SUPPORTERS
These works were made when I rejected the eraser as a tool that I could use whilst drawing. Tape was introduced as a way to edit the drawing. As I used tape I felt like I was making positive marks, as I do when I notate with charcoal, instead of taking away from the drawing, undoing or correcting, as I did when I erased. This shift, from the negative taking away of the eraser to the positive placement of tape, similar to the positive placement of mark with charcoal, was revelatory.
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Peter Bonner, Thinking (detail), 2003, charcoal and artists tape on paper, 14.5” x 11.75”.
Proud sponsors of City Without Walls With over 60,000 items in stock, Jerry’s is prepared to fulfill your artistic needs. “You provide the talent... We supply the tools.” Essex Green Shopping Plaza 495 Prospect Avenue, West Orange NJ 07052, 973-669-0995 jerrysartistoutlet.com jerrysartistoutlet.com/catalog
Opening Reception Refreshments provided by: HOBBY’S DELICATESSEN & RESTAURANT 32 Branford Pl (Corner of Halsey) Newark, NJ, hobbysdeli.com Supporting City Without Walls’ valuable arts programming for new and emerging artists
Our exhibition during Open Doors 2013: Newark, Can You Be Thus? A Creative Deconstruction
Marieken Cochius & Juan Fontanive
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cWOW FRIENDS & SUPPORTERS cWOW is honored to participate in the OPEN DOORS program.
Marieken Cochius, Energy Series; Beyond A Grid (detail), 2013, digital c-print, nine 3” x 3” pieces.
This part of the Energy Series has been a feast to make, with discoveries at every step. The ink on mylar drawings started out as a series of drawings I made (as transparencies) for a series of Solar Etches. I had cut mylar randomly and drew on it, and when I put all the drawings on the wall, I loved the way the lines interacted in-between the drawings as well.
Juan Fontanive, Omithology (detail), 2013, collage on asuka and watercolor paper, stainless steel, motor and electronics, 5” x 4” x 3.7”.
A wall-sculpture...like a motorized flip book, creating the illusion of a bird in flight by the mechanized, rapid rotation of successive drawings is what Fontanive has called ʻfilms without lightʼ. The fluttering of wings seems mimicked by the swiftly flapping pages, all accompanied by the regular shuffling sound of falling paper—a movement assisted by gravity which, paradoxically, keeps the bird forever in flight, never able to find rest and land.
I created a virtual island, Metamnesia, to chart different territories, each of which represents a particular mental space. The goal is to show how puzzle pieces can fit without having to kill yourself over the complete and final image. The artistic process is what counts, not the finish line.
Will Hutnick & Philippe Jarry
Philippe Jarry, Metamnesia (detail), 2013, digital c-print, 6.5” x 6.5”.
Taiwo Asebiomo Danielle Stevens Jaziah Stewart Bridges Saleem Mckinni Tiana Gatewood Masud Sills Jafeeah Goodson Anna Stroud Shaina Jefferson Shashamane Robertson Yanaja Joyner Adrian Welcome
cWOW SUMMER PROGRAMS
Will Hutnick’s works synthesize painting, sculpture, installation and theory. Currently, he meditates on acrylic, oil, ink, spray paint, tape, and found objects (e.g., a soda can or shred torn from his past works) on paper to form tactile constructions. Hutnick reformulates traditional painting process by manipulating recognizable media into novel visual content. His protruding surfaces contain indiscernible breaks of line and shape: paint stroke and tape strip conflate into a single line.
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Will Hutnick, Ready for a Fall (detail), 2013, acrylic, oil, spray paint and tape on paper, 106” x 60”.
City Without Walls in partnership with Lincoln Park Coast Cultural District cordially invite you to celebrate the completion of the wrap-around fence mural project created by artist Malik Whitaker and assisted by Newark Works youth and interns from Paulo Freire Charter School:
When: Tuesday, August 20th, 2013, 6-8 pm Where: City Without Walls, 6 Crawford St, Newark, NJ 07102 This project was sponsored in part by Prudential Foundation’s 2013 Summer Learning Initiative and the City of Newark’s Summer Youth Work Experience Program. FOR MORE INFO PLEASE CONTACT cWOW AT 973-622-1188 or visit cWOW.org
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Stephen Woods
MARKET YOUR ART TO THE PUBLIC: Member Spotlights and Featured Artworks
Sky Kim & Rick Klauber Sky Kim, untitled (detail), 2011, watercolor on paper, 42” x 90”.
My meticulous, labor-intensive watercolor paintings/drawings that capture the vital energy of all living beings through microscopic scanning are at once abstract, anatomical and spiritual. My work is largely influenced by the loss of my twin sister at birth on an unconscious level. My inspiration comes from my philosophical belief in “reincarnation.” Through numerous lives, we complete our life cycle and become spiritually advanced.
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It’s been over 20 years since I sat in a technical drawing class in the northwest of Ireland... Twenty boys and two girls were equipped with setsquares, a T-square, a compass, a protractor and a 2H pencil. The instructor used a large black board and in chalk demonstrated how to construct shapes using the equipment. The board was old and it had a sheen that showed the remnants of the previous classes’ lesson. In a designated area a large wooden compass with a metal tip was used. Lessons were given on perspective, the golden ratio, and scale. We were shown how to draw plans in 2 and 3-Dimensional form.
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Stephen Woods, Empty Floating Vessel, 2012, charcoal and chalk pastel on paper, 78” x 60”.
Rick Klauber, Mars, 2005, pastel on paper, 23” x 29”.
My drawings come from my chest. Then as my hand moves across the paper - space appears. Here is a screen much like the one I see when my eyes are closed. Many images move across it - some are from my earlier art, some are from art not yet recorded. There are images from life, from other artists and visions that feel like they are being born right now. Together, they inspire my drawing as I make it. I wonder who is making the decisions.
Lee Whiting & Margaret Inga Wiatrowski
For this exhibition, Scott Lawrence includes two works unified through their optical treatment of line and through their referencing of art history. Lawrence often uses common materials and inherited forms to set up a conflict of poetics and praxis; the striped dress shirt is a symbol of productivity while reading visually as pure Op Art. The study for Frank Stella’s 1963 painting, Dade City, re-imagined as a 3-D wall-drawing poses questions about art’s proximity to mass entertainment while playfully pointing to notions of flatness in modernist painting.
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Scott Lawrence, Study of 3D Stella, 2013, colored pencil, marker and photography on paper, 3D, 15” x 19 1/4”
Neal Korn & Scott Lawrence
I started drawing Icons as an excuse to leave my home—to get out and see something local or national that makes (in my opinion) an icon. First, I drew the cannon that is an iconic image in Union, NJ. Next, I went National with the Statue of Liberty, the Liberty Bell, Newark-Penn, etc. I soon discovered that this new series has brought out a revelation regarding myself.
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Neal Korn, Newark-Penn, NJ (detail), 2012, charcoal (pencils, vine, and powder), pastel, kraft paper, tracing paper/rice paper on reinforced road construction paper, 84” x 24”.
Lee Whiting, Far and Near, 2011, Steel, 16” x variable.
Far and Near uses the form of Chinese scholars’ rocks to show a tsunami wave threatening a small island. Scholars’ rocks seem to miniaturize big nature and bring it indoors to be contemplated safely, but more importantly they can be meditation aids to bring us out of ourselves and into a transcendental experience. This piece references feelings of safety and danger, and I hope challenges viewers to think about what may happen far from us and near.
Margaret Inga Wiatrowski, Abberationans: No. 21, 2012, ink on paper, 27” x 22”.
My work is an exploration of spaces, objects and moments destined to go unnoticed. Concerned primarily with themes of fragility and impermanence, these images reference traces of existence and places of transformation abundant with a sense that something intrinsically irreplaceable has been, or will soon, be lost. Rendered directly with hand-mixed lampblack ink on paper using traditional calligraphy tools, some are drawn from memory, capturing spaces that no longer exist, some are false realities that unfold abstractly, while others are impressions of actual places, caught in the midst of falling apart, on the verge of a future extinction.
Steel Nets is a body of sculpture fabricated out of round steel stock that has been formed into circular or oval loops and interlaced and welded so that they form loose, flexible structures. A number of the structures are hung in tension from hooks in the ceiling or on the wall. When disengaged from the hanging hooks the pieces will collapse into a mound of material like fishing nets on the shore.
Charles Tisa & Rebecca Welz
Rebecca Welz, Thunder (detail), 2010, welded steel, 70” x 86” x 16”.
Andrew Lenaghan & JC Lenochan
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My work originates as an autobiographical visualization of my place in the world at large as well as my immediate environment. Often my work describes a disturbed mental state brought on by inner turmoil and the unpredictability of life. The figures are portraits of different human identities that are formed and built upon by varying mentalities. These creatures stand-alone or are grouped in surreal landscapes sometimes devoid of time and space. Some figures are violent and others are victims of physical or mental cruelty. Through distorted forms and backward gestures I strive to demonstrate a failed humanism present within all of us.
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Charles Tisa, Hoovey Groovy (detail), 2011, pen and ink on archival paper, 8” x 11”.
Andrew Lenaghan, Vonnie’s Motel, Kennedyville, MD., 1998, pen and ink on paper, 10” x 12”.
These drawings were done on a month-long southern road trip in 1998. They document the many different motels and places that I stayed at during the trip as well as my friend that accompanied me and the car that we drove. The drawings were made quickly from life in pen and ink.
JC Lenochan, 12 ways to end a conversation, 2011, chalk on paper, 55” x 55”.
12 ways to end a conversation evolved over a collision of thoughts and conversations regarding pedagogy in relation to current and historical events that continue to reshape and redefine institutionalized fatalism in the process of decolonization efforts.
The lines disintegrate—the texture moves around a bit, but it’s more solid than the lines. The texture keeps the flesh on the page where the lines and hard marks fail. There are parts of the image that dissolve well. It’s too rigid an image to dissolve though, the contours too specific; there is no artist’s dancing stroke. It’s true, there is no lyrical rhythm; it’s hard and heavy and linear. It’s an image that is over-planned and impulsively destroyed, continuously, to exhaustion or boredom, and now the heads meet chaotically and purposelessly.
Nathaniel Lieb & David Manno
David Manno, Two Girls (detail), 2012, compressed charcoal on paper, 31” x 43”.
Richard Staub & Randall Stoltzfus
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Intent conceals what I reach for, leaving only the conscious picture, not the self. Often I notice the by-product of creation is more “significant” than the intended. The underlaying foam used to absorb my jigsaw blades” thrusts becomes a drawing far more engaging than the original cut ever was. This same foam elsewhere has a ring of pins encircling a small bag of screws, created as I absently pulled them from another project. These are traces of a mind at work while simultaneously reveling in a chance to play. These are the pictures of the self—the discarded clothes that reveal with Holmesian acuity the disrobed person who shed them.
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Nathaniel Lieb, untitled (Undiscovered Country Series), 2013, cut styrofoam, 10” x 16” x 2”.
Richard Staub, Large Net (detail), 2005, thread and yarn, 144” x 27”.
One continuing exploration in my work has been drawing and how to give it a strong, physical presence. Since I had sewn as a child, I was very comfortable working with thread and yarn and appreciated their linear quality. I first used thread in making sculpture, but then began to explore its qualities as a stand-alone material. That eventually led to making pieces that were composed entirely of thread and yarn. “Large Net” is the largest sewn piece I’ve made to date and explores notions of containment and revelation, ornament as expression, and descent and ascent.
Randall Stoltzfus, Intermediate State of the Painting Seagate, Reproduced for Use in Studio (detail), 2013, inkjet print of painting photographed with black masking tape with acrylic paint alteration on paper, 7” x 11”.
These three works on paper were generated in 2013 as I was working on a 6’ x 8’ canvas titled Seagate. The original idea was for the painting to feel like a giant waterfall. So I printed out Church’s Niagra Falls painting on a jury-rigged black and white inkjet in my studio. As I worked on the painting, I took photos every day. Sometimes I print out the photos to look at, sort of a rear-view mirror for the process. I’ll rework these prints to try out big moves before committing them to the canvas.
These drawings are about translation and interpretation and the perceptual shifts that occur in the process. I am specifically attentive and interested in areas where the translation does not fit the media, framework or the expectations of the translator. This interest is directly related to my constant and restless search for answers and a deep level of uncertainty. I tend to process ideas through drawing, Spanish, English, painting, performance, painting, digital imaging, and photography because each offers a different point of view.
Steven Schreiber & Fausto Sevila
Fausto Sevila, Humming Bird (detail), 2013, projection and digital print on canvas, 59” x 44”.
Andy Mister & Donald O’Finn
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Steven Schreiber is a self-taught artist and photographer living in New York City. His work incorporates advertising, industry, and geometry.
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Steven Schreiber, Airman, 2013, collage on wood, 15” x 15”.
Andy Mister, C.L. (detail), 2013, charcoal, pastel, and acrylic on paper, 18” x 13.5”.
My work is about how meaning is created and lost through reproduction. I try to blur the distinction between mechanical and physical reproduction. Most of my work involves some form of drawing, working with different media on paper. I’m specifically interested in the emotional and psychological attachment to imagery in contemporary popular culture. This is a portrait of the French singer and actress Claudine Longet, who fatally shot her boyfriend Olympic skier Vladimir “Spider” Sabich in 1976.
Donald O’Finn, Walker (detail) , 2012, digital c-print, 6.5” x 4.9”.
Since 1980 I have re-purposed, re-contextualized, effected, and weaved appropriated media samples into the dreams a television might have. I am trained as a painter, with an MFA from San Francisco Art Institute, and always have approached these constructions exactly like I would a painting, letting the process, and the material determine any final content. The work represents television both as a medium, message, and as a device of conscious and subconscious cultural significance. I consider my product much closer to poetry or painting than to film or TV.
My paintings and drawings are graphic, nearcaricature-quality images that evoke animals and animal instincts. The images might begin with a simple element such as an eye, an abstract shape or succession of marks, and the compositions develop intuitively from these beginnings guided only by the desire to visualize an animal essence. I draw on different techniques to create patterns evocative of this essence—shocks of fur, the scratch of a paw, or a jolting leap. What I want to capture is like a visual map of nature’s instinctive existence.
Janell O’Rourke & Rachel Phillps
Rachel Phillps, untitled (detail), 2012, charcoal, pastel and dry pigment on paper, 5” x 4.5”.
Joanna Platt & Dirk Richardson
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This drawing is part of a triptych of silhouetted flat figures against a swirling inky background that play with figure/ground relationships. They are luminal, spectral creatures.
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Janell O’Rourke, Birds, 2012, ink, gouache and collage on paper, 46” x 36”.
Joanna Platt, End of the Line (detail), 2010, video installation, size variable.
I am interested in how our interaction with technology has created a different type of space inside our computers and media devices, how these devices process and alter the meaning of events. In this work I have been exploring these electronic passageways by making movies of my experiences, and burying the recorded images in a piece of the electrical system of a building. Walls become the paper on which I draw vessels with steel and plastic tubing and conduit. Outside moves inside, the junction box magnifies tiny details. It alters and moves information into new territories deeper inside the circuitry.
Dirk Richardson, untitled (detail), 2008, acrylic on paper, 12” x 9”.
I was inspired by 2 cups of coffee and 2 cans of beer at 8 a.m.