tHIrTEEn
NEW CONTEMPORARY ARTISTS
Justin Steinburg
forEWard "Art depends on talent and luck" - Frank Sinatra Thirteen is a very unlucky number in many cultures. Being a successful artist takes talent, dedication, skill and most of all luck. The most important part of being a successful artist just might be luck. Some say that the most relevant part of the word contemporary is the word 'temporary'. With the art market constantly changing and new artists receiving gallery representation, no one ever knows what the next big thing will be. This is where luck comes in. This book aims to help the artists chances of getting their big break. The promotion of these artists will hopefully beneďŹ t them in one way or another but at the same time aims to inform young collectors, investors or just art savvy people about the incredible talent of new artists. These thirteen artists have been curated as being the producers of some of the most visually appealing and conceptually challenging works from today's emerging artists. These artists work in a variety of mediums that include oil painting, sculpture, and printmaking. Their unique approach to their medium truly features their talent, dedication and skill. Luck? That would be this book.
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table of contents
lIsa solbErg angEla fralEIgH grEgory THIElkEr kEvIn cry ofra lapId kEncHI yokono mElanIE auTHIEr JulIa randall andErs krIsTar JEn sTark JEnny morgan Tara donavan carly WaITo
Jedi 2010 acrylic, china marker, oil, pencil 66" x 96",
paInTEr
lisa solberg
1983 cHIcago, usa bfa, unIvErsITy of colorado aT bouldEr 2005 2011: group ExHIbIT, carmIcHaEl gallEry, ”noW noT nEvEr”, los angElEs, ca 2011: group ExHIbIT, THIs gallEry, ”THEsE frIEnds TWo”, los angElEs, ca 2010: group ExHIbIT, monsTEr cHIldrEn gallEry, ”THE Happy TrEE”, sydnEy, ausTralIa 2010: group ExHIbIT, arT of ElysIum arT aucTIon, ”pIEcEs of HEavEn”, los angElEs, ca Lisa Solberg is not your usual (L.A.) suspect. She prefers walking to driving a car and relies on the bus for crosstown travel. Since leaving her hometown of Chicago 4 years ago, Lisa has lived and worked in downtown L.A., the heart of the sprawling city where art is alive and well. A vigorous and fluid painter, Solberg has exhibited widely in the U.S. with solo and group shows from Los Angeles to New York. Lisa holds a BFA from University of Colorado, Boulder. What can be said about Lisa Solberg? If youʼve seen her work, or if youʼve seen her working, there is really no introduction needed. Lisa is intense. Fans describe her as “totally rad” love the energy and excitement she exudes when talking about her creative process, taking risks, overcoming challenges as an artist, and life in general. LISA SOLBERG: I didnʼt really have any self-reflective moments where I contemplated if being an artist was really what I was meant to do. Itʼs always been very natural. Iʼve painted and drawn since I can remember. I think I have a hard
time with commercial work because I donʼt enjoy having commissions. I donʼt enjoy trying to create something based on what other people want. Thatʼs just not how I work. Iʼm an extremist in that sense. I aim to always be 100% honest with where I am in the moment. Everything for me happens when I have my paintbrushes in my hands and Iʼm standing in front of the canvas- itʼs all proactive, driven, fleeting, and agonizing moments after that. My work is purely expression- what it “expresses” is nothing but me and my experiences and what I see. I believe things are the most powerful in first person. The most important thing for me after the canvas leaves my studio is to reach people on an emotional level that affects them physically.
WELCOME CASTLE 1 acrylic, china marker, oil, pencil 72" x 107"
WALCOME CASTLE 2 acrylic, china marker, oil, pencil 72" x 107"
SLight. 2007 Oil on Canvas 96 X 192”
paInTEr
angela fraleigh
1984 nEW HavEn, connETEcuT, usa mfa, paInTIng/prInT yalE unIvErsITy 2003 2011 Inman gallEry, HousTon, Tx 2011 far as my EyEs could sEE, unIvErsITy of THE arTs, pHIladElpHIa, 2008 and I Would sHInE In ansWEr, ppoW gallEry ,ny 2007 noT onE gIrl IT THInk, Inman gallEry, HousTon, Tx Angela Fraleigh has a BFA in painting from Boston University and an MFA in painting and printmaking from Yale University. In 2003 she was awarded the Alice Kimball English Travel Grant which enabled her to take a research tour around Europe. Subsequently, she was awarded a two-year CORE Artist-in-Residence Fellowship through the Museum of Fine Arts Houston and the Eliza Randall Prize (2003-2005). She has been nominated for the Louis Comfort Tiffany grant, has received a CACHH grant, and was invited as an artist in residence at the Kemper Museum of Contemporary Art in Kansas City, Missouri. Her work has had solo exhibitions in galleries in New York, Houston, Seattle, Los Angeles, and at Sarah Lawrence and Moravian Colleges and been displayed in group shows in New York, Boston, Turin, Italy, and many others. She has lectured widely and now teaches Painting, Drawing, and Advanced Studio Seminar at Moravian College. She is currently working on a course for the spring semester of 2009, which confronts and questions
issues of gender in art and art history. In 2008, she will be Artist in Residence, Frans Masereel Centrum, Beligum and CanSerrat in Spain. She will have her ďŹ rst New York solo exhibition this June at PPOW gallery. ANGELA FRALEIGH: These tensions are heightened as paint itself becomes a tool for the disturbance; a main protagonist in the story and a carrier of meaning. Violent and seductive, threatening and unpredictable it complicates the image leaving us unsure if the ďŹ gures are being birthed or eaten away; if the paint is taking control, acting as savior, interrupting, manipulating or providing the stimulus for the relationship.
The QUietest sounds on earth Oil On Canvas 96 X 192
far as my eyes could see. 2011 oil on canvas 66 x 90 until this 2007 oil on canvas 66 x 90
Coming to a complete stop 2008 Oil on canvas 36 x 48
paInTEr
gregory thielker
1979 nEW JErsEy, usa mfa WasHIngTon unIvErsITy, sT. louIs 2005 2011 drIvE by, proJEcT 4 gallEry, WasHIngTon dc 2011 on THE road, arlIngTon arT cEnTEr, arlIngTon, vIrgInIa 2010 sprIng solos, arlIngTon arT cEnTEr, arlIngTon, vIrgInIa 2010 THE roads THEy TravElEd, arTHuna TEmplE sITE, arTHuna, raJasTHan, IndIa Gregory Thielker's art is so unique not only because the viewer can't believe they're actually paintings and not photographs, but also because he can transport the viewer into another time and place. When looking at his paintings, Thielker wants the viewer to experience those moments when driving in a car on a cold and rainy day. He aims to depict the thoughts that go through our heads, how on one hand we feel safe and warm but on the other we're trying to navigate through an uncertain environment. It is a strong metaphor for life. GREGORY THIELKER: My most recent paintings and drawings explore the sensation of seeing from a car while driving through the rain. I am fascinated with the constantly changing, yet particular landscapes seen from the car and also the way that the water on the windshield interacts with that landscape. The water creates a shifting lens for the way we see the environment- both highlights and obscures our viewing. Perspectives slip and compress, while shapes and colors merge into one another. I also
work with relationships between surface and depth, between flatness and illusion. These works are born out of real experience and have a close relationship with the medium of painting- its fluidity, transparency, and capacity for layering, mixing, and blending. I draw upon a lineage of painters from Caspar David Friedrich to Gerhard Richter.The paintings themselves are compiled from hundreds of photographs taken while driving in rainstorms with the windshield wipers turned off. While these moments are commonly ignored or deemed a necessary part of reaching our desired destination, they are powerfully charged with weather, light, and color- all experienced at a great velocity. This combination of speed and subdued calm, as the world goes past, creates a kind of transcendental moment that I hope to tap into with the fluidity of the painting medium.
VORTEX Oil On Canvas 24 x 24 Above and Below oil on canvas 24 x 24
Under Mountain Road oil on canvas 66 x 90
Russel Oil On Canvas 36" x 60
paInTEr
kevin cyr
1976 EdmundsTon, canada bfa, massacHusETTs collEgE of arT 2000 2011 941 gEary, san francIsco, calIfornIa 2010 sHoW & TEll gallEry, ToronTo, onTarIo 2010 parTnErs & spadE, nEW york, nEW york 2010 941 gEary, san francIsco, calIfornIa Kevin Cyr was born in Edmundston, NB, Canada, in 1976 and grew up in the paper mill town of Madawaska, Maine. Cyr received his BFA from Massachusetts College of Art in Boston and now lives and works in Brooklyn, New York. His work has been included in numerous group exhibitions both nationally and internationally and also featured in New American Paintings. Notably, Kevin's ongoing Camper Kart project earned him the 2010 West Prize for "providing a unique and challenging viewer experience."Kevin Cyr has always been interested in the industrial landscape and vehicles that have defined America. For the past couple of years, Cyr's work has been focused on vehicles he has encountered on the streets of his neighborhood as well as places he has traveled within the US and abroad. While the car remains an iconic status symbol in contemporary culture, Cyr finds beauty in derelict and unkempt vehicles, in particular, those often associated with working-class society. KEVIN CYR: In a culture in which people are easily lured
by the appeal of status-enhancing symbols, I find beauty in derelict cars and unkempt landscapes. I have always been interested in painting vehicles and scenes that have defined the evolution of the American landscape. I commemorate commercial vehicles inundated with graffiti and rust, working vehicles, and well-traveled recreational vehicles. I find that there is so much character in old delivery trucks and vans — especially when covered with graffiti — and in the old RVs parked off a main road. Removing them from their everyday context gives them portrait-like importance. I paint with devoted attention to every imperfection and sign of age. Painting and drawing these objects gives me a chance to document a time and place, and to make still a part of the ever-changing environment.
allen acrylic, china marker, oil, pencil 36" x 60
Leonard. 2011 oil on canvas 36" x 60 JOHNSON 2007 oil on canvas 36" x 60
Untitled - Broken Houses series Mixed Medium and C Print 40 x 30 x 20
pHoTograpHEr + sculpTor
ofra lapid
1982, TEl avIv bEd, Ha”mIdrasHa scHool of arT, bEIT-bErl collEgE 2011 frEsH paInT 4 conTEmporary arT faIr, TEl-avIv 2011 arTIsT-In-rEsIdEncE aT THE arTIsT vIllagE scHÖppIngEn foundaTIon, gErmany 2010 you faIl! group sHoW aT THE galErIE pro arTE, HallEIn, ausTrIa 2009 graduaTIon sHoW Ha”mIdrasHa scHool of arT {InsTallaTIon lIvIng room} Dilapidated houses are the pabulum of photographers the world over. A quick Internet image search will produce thousands of examples. Which was exactly the starting point for Ofra Lapidʼs meta project, “Broken Houses”: small-scale model reconstructions of images she culled from the web. The Israeli artist debuted 56 houses at a Tel Aviv contemporary art fair in May. Lapid says she became particularly intrigued by an amateur photographer in North Dakota who obsessively documents barns and houses as they decay. After choosing her images, she printed a selection of pictures, mounted them on cardboard, cut them into pieces, and painstakingly glued them together into 3-D models. She then photographed them against a gray background, removed from their original context, to create trompe lʼoeils. ORFRA LAPID: When I was a kid, I used to see houses like that and a deep feeling of sadness would come over me. I would think about the families who once lived there, the laughter and crying, births and deaths that must
have taken place there. I would try to imagine what the houses felt when no one was there to take care of them anymore. Sometime I still feel a little pang when I pass one of these unfortunate structures. I was very intrigued by these images in both the plastic level, their shapes and structure as well as in their subject matter, the idea of a typical house structure wearing down. Just as the photographers of the original images were moved to capture, and thereby arrest, the decomposing process, Lapid was inspired to rebuild and preserve the buildings before their total collapse.
Untitled - Broken Houses series Mixed Medium and C Print 40 x 20 x 15 Untitled - Broken Houses series Mixed Medium and C Print 40 x 30 x 10
Untitled - Broken Houses series Mixed Medium and C Print 40 x 35 x 30
FALLING FLOWERS ROAD 2008 Woodblock 60 x 60
prInTmakEr
kenchi yokono
1972”IsHIkaWa, Japan sTudIEd arT aT kanazaWa collEgE of arT 2011 2011 2011 2011
"gEkIToTsuTEn" unsEal conTEmporary arT, Tokyo "voca 2011 THE vIsIon of conTEmporary arT" THE uEno royal musEum,Tokyo "lIfE & EmoTIon! kEnIcHI yokono x kEn TaJIma" suzaka Hanga musEum”nagano "rEd and bluE kEnIcHI yokono + fuko uEda"akI gallEry
Kenichi Yokono uses traditional woodblock methodologies to address the comic book horrors of contemporary Japanese culture. Manga, anime, horror movies, and other stereotypical aspects of Japanese pop culture merge to present iconic images of buoyant menace and cruelty, which serve to contrast startlingly with the sugary cartoon characters that are also common. Although functioning woodblocks, the works are only ever exhibited directly and prints are never produced. Such a method maintains the primacy of the hand made object and the artist retains a tangible presence. These multiple oppositions in Yokono's work result in pieces that are highly relevant critiques that retain a pleasing irony. Born in 1972 Kanazawa, Japan, Yokono was trained at the Kanazawa College of Art (Japan). He has had solo exhibitions in Tokyo, Los Angeles, Vienna and Amsterdam, among numerous international group shows, and has been offered residencies at the McColl Center for Visual Art and the International Studio and Curatorial
Program. He was the recipient of the 2005 Asian Cultural Council Fellowship award, and the Tom Eccles Prize. The artist lives and works in Tokyo, Japan. KENCHI YOKONO: Honestly, I originally took up woodblock printing because it was easy to do so. I had some woodblock carving knives I used in elementary school, and woodblocks were readily available for purchase at a nearby store. But printing turned out to be a challenge! To place ink on bigger pieces and print them, I needed assistants and a large work space. Gradually, that led me to regard woodblocks themselves as finished products. What initially inspired me to think about starting woodblock printing is a flier for a live concert. I donʼt know who the artist was, but that was when I saw the possibilities of woodblock printing.
GAZE # 1, 2, 3 + 4 2008 Woodblock 60 x 60
Crinkle Oil On Canvas 60 x 72
paInTEr
melanie authier
1980 monTrEal, canada mfa, unIvErsITy of guElpH 2006 2010 THE rIbbon and THE lIgHTnIng rod, gEorgIa scHErman proJEcTs, ToronTo, on. 2010 nobody's gEomETry, solo ExHIbITIon, fofa gallEry, monTrEal 2010 WarrIor rIdgE, mIcHaEl gIbson gallEry, london, on. 2009 frIsky vIsTa, bIlTon conTEmporary arT, rEd dEEr, albErTa Melanie Authier's paintings bring together visual contradictions into one imaginary space. By drawing upon the histories of abstraction and the strategies of representation, she presents improbable environments. A sense of disorientation comes about through the way in which colour, texture, line and shape compete for room within the canvas. Each work presents a brimming jostle of oppositions that the viewer is invited to bring into a certain order. Authier was born in 1980 in Montreal. This young emerging painter received a BFA from Concordia University, Montreal in 2002 and completed her MFA at the University of Guelph in 2006. Authier has exhibited across Canada. Solo Exhibitions include Nobody's Geometry at the Faculty of Fine Arts (FOFA) Gallery at Concordia University in Montreal (2010) and Warrior Ridge at the Michael Gibson Gallery in London, ON (2010). Her most recent solo exhibition The Ribbon and the Lightning Rod at Georgia Scherman Projects (2010/2011) was reviewed by R.M. Vaughan in The Globe and
Mail. Other catalogues and reviews include essays by Robert Enright and James D. Campbell. Recent group shows include Four Ottawa Painters at The Carleton University Art Gallery (CUAG) in Ottawa (2010/2011), The Phoenix Art curated by Robert Enright at Galerie Simon Blais, Montreal (2009) and Young Canada Presents: Barometric Reading Series 1 at LE Gallery, Toronto (2009). Authier is included in the following publications: The Magenta Foundation Carte Blanche v.2 Painting, The Donovan Collection, aceartinc's Paperwait and the Royal Bank of Canada Canadian Painting Competition - Ten Years. Among numerous scholarships and awards, she is the recipient of the Honourable Mention Prize for the 9th Annual RBC Painting Competition 2007. Works by the competition's 15 semi-ďŹ nalists were on view at several public galleries during the RBC cross-national tour. Melanie Authier is represented by Georgia Scherman Projects. She currently lives and maintains a studio in Ottawa.
House of KNots Oil On CanvAs 72" x 107"
Anchor Oil ON Canvas 72 x 107 Catapult on stanby oil on canvas 66 x 90
Lick Line 23 Watercolor Pencil on Paper 24" x 18
IllusTraTor + paInTEr
julia randall
1968 nEW york, ny mfa mason gross scHool of THE arTs, 1997 2010 185TH annual InvITaTIonal ExHIbITIon of conTEmporary amErIcan arT, nEW york, ny 2010 skoWHEgan alumnI ExHIbITIon, 92yTrIbEca, nEW york, ny 2009 supErfInE, morgan lEHman gallEry, nEW york, ny 2009 gIvE THEm WHaT THEy nEvEr knEW THEy WanTEd, JEff baIlEy gallEry, nEW york, ny Illustrations by artist Julia Randall have been described as strange. They feature different variations of the human mouth, beautifully drawn yet slightly peculiar.Although Julia Randallʼs images are a bit weird, many still enjoy the artistry behind them. Sheʼs very creative and demonstrates that creativity through the details in the mouths she paints. A personal favorite of Julia Randallʼs images is the mouth blowing a bubble. It take serious talent to make it look that realistic. JULIA RANDALL: I am in love with drawing, and I use my seductive technique to humorously take aim at the way sexuality and nature are fetishized. I craft images that are simultaneously erotic and repulsive, natural and artificial. My hybrid humanoid drawings challenge what is “natural” and “synthetic” about corporeality, desire and the natural world.Taking my cues from Dada inventions, I become the Erotic Nutty Professor and obsessively draw imaginary hybrid contraptions designed for self-gratification and maximum autonomy. Fantasy items inspired
by French Empire fashion and decorative objects get playfully cobbled together with mouths and tongues. Large-scale funky apparatuses tweak the relationship between objects and desire.“Lick Line” is an ongoing series of disembodied mouths floating in space. Rendered in exacting detail, the tongues protrude and beckon the viewer to come close. Saliva bubbles reflect back the space that the voyeur occupies. Seen as a group the mouths undulate and bounce. Like many voices talking at once, they invade our space with strangeness, and a possible perversity.In the “Lovebird” and “Decoys” series, I shift focus to the natural world. The“Decoys” are surreal riffs on genetically modified plants, and hint at the perils of unnatural intervention and biotechnical “advances”. Sex play, violence and scientific exploration all merge in hybrid botanical drawings, that are at once beautiful and violent, erotic and whimsical. The “Lovebirds” take the fetishization of animals to the extreme.
Lick Line 12 Watercolor Pencil on Paper 24" x 18 Lick Line 20 Watercolor Pencil on Paper 24" x 18
Lick Line 21 Watercolor Pencil on Paper 24" x 18
Birth of A Boy Acrylic paint on polyester resin, polyurethane, and oil paint 40 X 32 x 15
sculpTor
anders kristar
1973 sTockHolm, sWEdEn bEckmans scHool of dEsIgn, sTockHolm 2012 nordIn gallEry, sTockHolm, sWEdEn 2011 ramIs barqyET, nEW york, ny 2011 gallErI lars oldEn + THomas WallnEr 2010 THomas WallnEr gallErI, sImrIsHamn, sWEdEn Anders Krisar is a swedish artist currently based in Stockholm. His work deals with a variety of subjects, including the human body. In his recent body of work, Krisar has concentrated on photography and sculptures, especially modified faces and body parts. In this series of piecea you can see how he takes realistic casts of the torso, arms or face and modifies them in ways that lend them a surreal quality. Krisárʼs work takes on the human body as subject matter, revealing psychological complexities inherent within these structures. Krisár combines the impeccable reproduction of the human figure with an often-violent intervention—the perfect cast marred by a heavy-handed print; the severing of the torso into strips. These works attack the integrity of the body, creating a visceral and immediate response. Krisárʼs work evokes stages of incompletion; damage and fragmentation as totalities of themselves. On one hand we are presented with life as duration, where each layer of clothing poignantly symbolizes a chapter through time. On the other hand, there is
destruction- the remnants of life; a past time where duration has abruptly stopped. Krisárʼs work not only raises questions of the individual, but of the individual in relation to the other. His work has an “unheimlich” association with the family unit and the individualʼs place within this. We are at once reminiscent and afraid. Whether we are seduced or repelled by what we see, we remain compelled to look and to perhaps remember. Anders Krisár lives and works in Stockholm, Sweden. He has recently shown work at the 21C Museum, Louisville, Kentucky; Mia Sundberg Galleri, Stockholm and Galleri Martenson & Parsson, Paarp in Sweden. Future exhibitions include: Moscow Museum of Modern Art, Moscow, Russia and Uppsala Konstmuseum, Uppsala, Sweden. Works in international museum and private collections, include the Johnson Museum of Art, Ithaca, New York; Progressive Collection, Cleveland, Ohio and Bonnier Collection, Stockholm, Sweden.
ARM RIGHT Acrylic paint on polyester resin, polyurethane, and oil paint 5.5 x 7 x 35
far as my eyes could see. 2011 Acrylic paint on polyester resin, polyurethane, and oil paint 40 X 32 x 15 until this 2007 Acrylic paint on polyester resin, polyurethane, and oil paint 40 X 32 x 15
Jedi acrylic, china marker, oil, pencil 66" x 96"/168 cm x 244 cm
sculpTor
jen stark
1983, mIamI, fl bfa maryland InsTITuTE collEgE of arT 2011 2011 2011 2011
spacE ouT, spacE In / andrEW rafacz gallEry / cHIcago, Il doublE raInboW raInboW / sHoW and TEll gallEry / ToronTo, canada aEsTHETIcs and valuEs / frosT arT musEum / mIamI, fl papEr cuTs / fullErTon collEgE arT gallEry / orangE counTy, ca
American artist Jen Stark creates three-dimensional pieces which take paper to a whole new level of sculpture. In works such as 'sunken sediment', Stark takes construction or acid-free colored paper and intricately cuts each sheet with an X-acto knife, layering the paper into a topographical landscape of color and bold shapes. Other works such as 'centrifugal' or 'the highest point' see overlapping paper spiraling into a kaleidoscopic effect of color, mesmerizing the viewer and drawing them into the work. Jen Stark (born 1983 in Miami, Florida) is a contemporary artist whose majority of work involves creating paper sculptures. She also works with drawing and animation. Her work draws inspiration from microscopic patterns in nature, wormholes, and sliced anatomy. She studied at the Maryland Institute College of Art (MICA), graduating Magna Cum Laude with a BFA majoring in Fibers with a minor in Animation. Starkʼs ideas are based on replication and infinity, echoing patterns and intelligent designs found in nature. Since expanding her medium from
paper to include wood and even mirrors, Jen Stark's oeuvre of optically and methodologically baffling sculptures and drawings has enjoyed a renaissance of context. Her signature creations combine a variety of materials that have acted as a catalyst for more established spiritual proclivity as expressed through hypnotic mandala-like configurations. Jen Stark has exhibited her works in various galleries around the U.S. as well as the Girls' Club Collection, FL, the Museum of Art Fort Lauderdale, FL and the Museum of Contemporary Art in Miami. She was a recipient of the prestigious South Florida Cultural Consortium's Visual and Media Artists Fellowship in 2008. Stark lives and works in Miami, Fl.
Microscopic Entrance hand-cut paper on wood backing 28 x 30 The Highest Point hand-cut colored and metallic paper on wood backing 36 x 27 x 2.5
Sunken Sediment hand-cut paper & foam core 31 x 42 x 38
We Are All Setting Suns Oil on Canvas 35 x 29
paInTEr
jenny morgan
1982 salT lakE cITy, uTaH mfa, scHool of vIsual arTs, ny 2011 lIkE THE spIcE gallEry, "onE and THE many," brooklyn, ny 2011 THE sHIrEy gallEry, "paInT IT black," nEW york, ny 2011 pop up gallEry, "afTEr lIfE," nEW york, ny 2009 lIkE THE spIcE gallEry, "abrasIons," brooklyn, ny A fine artist working out of New York, Jenny Morgan got her MFA at the School of Visual Arts NY. She primarily paints oils on canvas, and focuses on portrait work. The figures in the paintings are not only rendered with great skill, but you can see that each portrait has something uniquely altered. It might be a color that is invading a portion of the face or arms, or areas that look as though they have either been sanded down, or not rendered past the underpainting. Itʼs an amazing effect, and what is most interesting is that her portraits are filled with emotion and life, and these alterations do not cover up, or take over the work. Jenny has a few paintings with no alterations done to them, and they are just as powerful as the others. About her work, Jenny states: “I manipulate the figure to expose the individualʼs idiosyncrasies and create a physiological portrait. Working with people from my own life as subject matter allows me to hone in on specifics of their character and present their personalities as I experience them.” Morganʼs
portraits are tightly controlled photorealistic renderings of people she knows very well. She often scrapes away areas of the figures, revealing both the layers of her technique and the metaphorical flesh of her subjects. Morganʼs works are at the very pinnacle of planning, discipline, and control in the service of emotional clarity, tied quite specifically to the individuals she depicts. Jenny Morgan was born in Salt Lake City, Utah in 1982. She had her first solo show in New York at Like the Spice Gallery in January of 2009, and has exhibited nationwide in solo shows at the Plus Gallery and the Pirate Gallery in Denver, Colorado. Ms. Morgan has participated in group shows at Columbia University, The LeRoy Neiman Gallery, Smithsonian Institute's National Portrait Gallery, and multiple galleries in Colorado, Florida and New York City.
WITch hunt Oil on canvas 96 x 66
1981 Oil ON Canvas 44 x 34 NEW TERRITORY Oil On canvas 30 x 20
Untitled Styrafoam cups and glue 6' x 20' x 19'
sculpTor
tara donavan
1969 nEW york, ny mfa, vIrgInIa commonWEalTH unIvErsITy 2011 musEum of conTEmporary arT san dIEgo, san dIEgo, usa 2010 Tara donovan, lEvEr HousE, nEW york, ny 2010 nEW draWIngs, pacEWIldEnsTEIn, nEW york, usa 2010 Tara donovan, dEs moInEs arT cEnTEr, dEs moInEs, usa Tara Donovan is an American artist who lives and works in Brooklyn, New York. She is known for site-specific installation art that utilizes everyday materials whose form is in keeping with generative art. Donovan's work uses everyday manufactured materials such as Scotch tape, Styrofoam cups, and drinking straws to create large scale sculptures that often have a biomorphic quality. Her sculptures must be assembled and disassembled carefully, which sometimes involves an extremely tedious process. With regards to her artistic process, Donovan explained that she chooses the material before she decides what can be done with it. She noted in an interview that she thinks "in terms of infinity, of [the materials] expanding."Her work was featured in the Whitney Biennial in 2000 and the All Soviet Exhibition. She was the recipient of the Alexander Calder Foundation's first annual Calder Prize in 2005. In 2006 her work was featured in a solo exhibition at The Pace Gallery in New York, the gallery that has represented her since 2005.
Donovan presented new works in a 2011 solo show at Pace entitled Drawings (Pins). Donovan installed Untitled (Mylar) in November 2007 at the Metropolitan Museum of Art, New York, made of silver Mylar tape. She was the fourth artist selected by the museum for an ongoing series featuring contemporary artists, preceded by Tony Oursler, Kara Walker, and Neo Rauch. Donovan was a 2008 MacArthur Fellow. Donovan says of her work, "It is not like I'm trying to simulate nature. It's more of a mimicking of the way of nature, the way things actually grow." Fellow artist Chuck Close told a reporter that "“At this particular moment in the art world, invention and personal vision have been demoted in favor of appropriation, of raiding the cultural icebox. For somebody to go out and try to make something that doesnʼt remind you of anybody elseʼs work and is really, truly innovative—and I think Taraʼs work is—thatʼs very much against the grain of the moment. To me, it represents a gutsy move.”
Untitled Styrafoam cups and glue 6' x 20' x 19' UNTITLED ALuminum foil Variable dimentions
Untitled Paper Plates, Glue Variable dimentions
hessonite-asbestos Oil Paint on Canvas 6x7
paInTEr
carly waito
1981, THundEr bay, canada. bfa onTarIo collEgE of arT and dEsIgn 2009 2009 2009 2009
lITTlE croWns – narWHal arT proJEcTs, ToronTo buIld upon – board of dIrEcTors, ToronTo arT In a courTyard HousE, sTudIo JuncTIon, ToronTo. nEsT comE up To my room”gladsTonE HoTEl, ToronTo.
When you take an object – a rock or pebble – from any given place (whether on a trip or vacation), you acquire a memory of that time. When you look and feel the texture of these pocketed novelties, they exercise the mind on specificity – the exact place where you took it from, the smell, the time of day or why that particular object attracted your attention in the first place.Toronto-based artist Carly Waito collects and paints mineral specimens of all different shapes, sizes and colour. Waitoʼs fascination for things geological stems back to her childhood from her first rock collection she brought for show and tell to the ones she picks up on her travels or buys from random vendors. Waitoʼs detailed paintings illustrate her curiosity about and affection for the natural world. When you look at her compositions, she encourages you to view them the way she sees each specimen – inspecting each crystalline structure, shape variation from edge to edge and colour and shade of its many dimensions. Each painting tells a textured memory, a unique
story that portrays the specimenʼs rarity and natural beauty, which explains why it attracted your eyes in the first place. Carly Waito's small oil paintings indulge a lifelong fascination with the natural world – especially the little parts we feel compelled to pick up and keep. Her meticulously detailed renderings of mineral specimens draw the viewer in, encouraging close inspection of the material qualities of the subjects. They explore the common impulse to possess pieces of the natural world which we find beautiful or curious and to assign complex layers of value to these objects based on a range of factors, such as rarity, historical context, personal memories, scientific significance, and subjective notions of beauty. They are an extension of her interest in natural history, collecting, curiosity, wonder, and the appeal of small things. Carly was born in 1981 and raised in Thunder Bay.
Smoky quartz Oil Paint on Canvas 6x7
bornite Oil Paint on Canvas 6x7 Amethyst Oil paint on canvas 6x7