http://progress-report.org Progress Report Sat, 10 Mar 2012 19:22:45 +0000 http://progress-report.org en http://progress-report.org/Rachel-Beach-Studio-Visit http://progress-report.org/following/progress-report.org/Rachel-Beach-Studio-Visit Sat, 10 Mar 2012 19:22:45 +0000 Progress Report 2968701 <img src="http://payload33.cargocollective.com/1/0/18733/2968701/11_Rachel_Beach_13.jpg" width="502" height="600" width_o="502" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/11_Rachel_Beach_13_o.jpg" data-mid="15130360" border="0" align="left"/> PR was first introduced to the work of artist Rachel Beach in Distance Trance, her solo show at Smack Mellon last year. Her sculpture and prints show a real commitment to geometry, material, and decisive color combinations. I met her a short time later and was a regular visitor to her Greenpoint studio as she was developing a new body of work for Blackston at Volta. <img src="http://payload33.cargocollective.com/1/0/18733/2968701/14_Rachel_Beach_17.jpg" width="600" height="450" width_o="600" height_o="450" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/14_Rachel_Beach_17_o.jpg" data-mid="15130364" border="0" align="left"/> Dart, Nod, Steeple, Pivot, 2012 plywood, veneer, acrylic, enamel screenprint on veneer, charcoal on paper dimensions variable <img src="http://payload33.cargocollective.com/1/0/18733/2968701/03_Rachel_Beach_04.jpg" width="449" height="600" width_o="449" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/03_Rachel_Beach_04_o.jpg" data-mid="15130960" border="0" align="left"/> Gather, 2011 oil and acrylic on plywood, reclaimed beams 100" x 79" x 61" <img src="http://payload33.cargocollective.com/1/0/18733/2968701/01_Rachel_Beach_06.jpg" width="460" height="600" width_o="460" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/01_Rachel_Beach_06_o.jpg" data-mid="15130643" border="0" align="left"/> Drawings, tests, screenpints Beach initially developed her woodworking skills by altering the profiles of her painting stretcher bars, eventually transforming them into her sophisticated sculptural works. Her ideas begin with quick sketches of shapes that allow her to decide early on whether or not the forms make it past the preliminary stage. From there, maquettes are made, scaled drawing profiles are carved out, and the objects begin to take shape. Similar to other painters whose studio practice has shifted to making things instead of depicting them, Beach’s visual language presents an indistinguishable hybrid that brings out the best qualities of both disciplines. <img src="http://payload33.cargocollective.com/1/0/18733/2968701/05_Rachel_Beach_01.jpg" width="450" height="600" width_o="450" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/05_Rachel_Beach_01_o.jpg" data-mid="15130967" border="0" align="left"/> Studio shot with Rise, 2011 <img src="http://payload33.cargocollective.com/1/0/18733/2968701/04_Rachel_Beach_02.jpg" width="600" height="460" width_o="600" height_o="460" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/04_Rachel_Beach_02_o.jpg" data-mid="15130963" border="0" align="left"/> Vectors <img src="http://payload33.cargocollective.com/1/0/18733/2968701/06_Rachel_Beach_08.jpg" width="600" height="403" width_o="600" height_o="403" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/06_Rachel_Beach_08_o.jpg" data-mid="15130970" border="0" align="left"/> Installation View of Distance Trance, Smack Mellon, 2011 The sculptures have a monumental quality that she pushes in unexpected ways to break up their symmetrical construction. It’s refreshing to see an artist exploring object-based abstraction by warming up the territory of early Frank Stella and Donald Judd, allowing shapes and materials to generate visual content that resonates beyond formal decision-making. While her earlier work had a more curvaceous playfulness to the push and pull of color and perspective, the recent sculpture and prints contain a more singular, monolithic quality. There is a rigorous thought contained within the forms, with her expert use of utilitarian yellow highlighting certain shapes and intersections in the structure. <img src="http://payload33.cargocollective.com/1/0/18733/2968701/07_Rachel_Beach_09.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/07_Rachel_Beach_09_o.jpg" data-mid="15130973" border="0" align="left"/> Canary, 2011 screenprint and oil, plywood, reclaimed beams 70" x 96" x 18" <img src="http://payload33.cargocollective.com/1/0/18733/2968701/09_Rachel_Beach_11.jpg" width="600" height="408" width_o="600" height_o="408" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/09_Rachel_Beach_11_o.jpg" data-mid="15130975" border="0" align="left"/> Plot, 2011 framed screenprints 32" x 28.5" <img src="http://payload33.cargocollective.com/1/0/18733/2968701/08_Rachel_Beach_10.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/08_Rachel_Beach_10_o.jpg" data-mid="15130974" border="0" align="left"/> In the Fields, 2011 framed screenprints 59" x 40" Another important consideration is the the architectural qualities captured in the work that is echoed by the spaces in which they’re viewed. The scale of the sculpture and their arrangements in relationship to the viewer gives the work a figurative quality. The final layer comes in the form of color, patterns, and textures that are applied using various printmaking techniques or painted directly on the wood surface. This dressing up of the shapes enhances their personalities, but never softens the edge of that elusive space of existence between what we see and what we know. <img src="http://payload33.cargocollective.com/1/0/18733/2968701/12_Rachel_Beach_15.jpg" width="371" height="600" width_o="371" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/12_Rachel_Beach_15_o.jpg" data-mid="15130978" border="0" align="left"/> The artist in her studio <img src="http://payload33.cargocollective.com/1/0/18733/2968701/13_Rachel_Beach_16.jpg" width="462" height="600" width_o="462" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/13_Rachel_Beach_16_o.jpg" data-mid="15130979" border="0" align="left"/> <img src="http://payload33.cargocollective.com/1/0/18733/2968701/10_Rachel_Beach_07.jpg" width="485" height="600" width_o="485" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/10_Rachel_Beach_07_o.jpg" data-mid="15130976" border="0" align="left"/> <img src="http://payload33.cargocollective.com/1/0/18733/2968701/02_Rachel_Beach_18.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/02_Rachel_Beach_18_o.jpg" data-mid="15130955" border="0" align="left"/> Survey, 2011 oil on reclaimed plywood 30" x 15" x 8" <img src="http://payload33.cargocollective.com/1/0/18733/2968701/15_Rachel_Beach_12.jpg" width="600" height="434" width_o="600" height_o="434" src_o="http://payload33.cargocollective.com/1/0/18733/2968701/15_Rachel_Beach_12_o.jpg" data-mid="15130980" border="0" align="left"/> Gold Rush, 2010 9' x 9' x 14' Socrates Sculpture Park Past solo exhibitions include Blackston, New York, NY and Smack Mellon, Brooklyn NY both in 2011. Group shows include The Lower East Side Print Shop, New York, NY; Socrates Sculpture Park, Long Island City, NY; and Lennon, Weinberg, New York, NY. She is currently presenting a solo booth for Blackston Gallery at Volta 2012. - Vince Contarino, 03.10.12 Share http://progress-report.org/Vincent-Como-Studio-Visit http://progress-report.org/following/progress-report.org/Vincent-Como-Studio-Visit Wed, 11 Jan 2012 23:09:56 +0000 Progress Report 2395928 <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_16.jpg" width="600" height="420" width_o="600" height_o="420" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_16_o.jpg" data-mid="12054932" border="0" align="left"/> PR was introduced to the work of artist Vincent Como a few years ago during the Greenpoint Open Studios and was immediately struck by his unwavering commitment to the possibilities of Black in it’s many forms and applications. Como’s studio is a Black Laboratory in the truest sense of the word, where he develops his research through an art historical lens coupled with an interest in Alchemy, Heavy Metal, Religion, Mythology, and Physics. Como recently relocated to a much larger space and we arrived to take in the latest work with the gentle sounds of Black One by Sunn 0))) humming in the background. <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_05.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_05_o.jpg" data-mid="12054949" border="0" align="left"/> Descent, 2011 toner and acrylic medium on paper, 69” x 93” overall An arrangement of 10 individual units at 9 5/8” x 10 1/4” each. Edition of 3 <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_06.jpg" width="600" height="400" width_o="600" height_o="400" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_06_o.jpg" data-mid="12054950" border="0" align="left"/> The Blackening, 2008 wood, paint, hardware, 180" x 136" x 116" Site Specific Installation at Secret Project Robot, Brooklyn, NY <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_03.jpg" width="401" height="600" width_o="401" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_03_o.jpg" data-mid="12054944" border="0" align="left"/> 4.5 Cubic Inches (Volume of the Inside of My Head), 2007 cast sumi ink, 4.5” x 4.5” x 4.5” <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_17.jpg" width="600" height="450" width_o="600" height_o="450" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_17_o.jpg" data-mid="12054935" border="0" align="left"/> Using Ad Reinhardt's end game for painting as his starting point, Como's art practice explores the great void through drawing, painting, sculpture, and installation that includes, yet expands upon the conventions of Minimalism and Color Theory. The materials used in the creation of his artwork are carefully considered in how they have been used historically and the power the art object contains, or draws from the viewer. One of the projects he had in the cooker during our visit were 23 works on paper, based on ancient curse tablets, the carbon lead used in their creation acting as an obscuring element and amplifier of the inscribed hexes, exploring how the overarching concept of 'belief' affects individuals. <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_15.jpg" width="487" height="600" width_o="487" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_15_o.jpg" data-mid="12054931" border="0" align="left"/> Conception <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_14.jpg" width="481" height="600" width_o="481" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_14_o.jpg" data-mid="12054930" border="0" align="left"/> Preparation <img src="http://payload4.cargocollective.com/1/0/18733/2395928/como2.jpg" width="640" height="410" width_o="640" height_o="410" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/como2_o.jpg" data-mid="13086090" border="0" align="left"/>Execution <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_01.jpg" width="600" height="399" width_o="600" height_o="399" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_01_o.jpg" data-mid="12054942" border="0" align="left"/>Composition to Threaten Your Existence (detail), 2011 acrylic on canvas over board, beaten into wall 5 elements, 6” x 6” each Through his singular approach within these limits, Como wades into the dark currents that connect the existential realm of Black Metal, the sinister nature of Darth Vader, and the alchemical term Nigredo, aka ‘blacker than the blackest black’. By immersing himself in these subjects while peeling away the excess matter, Como expands this seach for self-knowledge into everything from his wardrobe to his writings as the spiritual leader of the Order of the Black Mark. <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_04.jpg" width="600" height="450" width_o="600" height_o="450" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_04_o.jpg" data-mid="12054947" border="0" align="left"/> Untitled (Trans-Dimensional Vehicle), 2010 pine coffin, perylene green-black pigment, furniture wax 78” x 25” x 16” <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_18.jpg" width="458" height="600" width_o="458" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_18_o.jpg" data-mid="12054937" border="0" align="left"/> "I Made My Own Brice Marden", September 12, 2004 signed by Vincent Como & Brice Marden <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_13.jpg" width="600" height="443" width_o="600" height_o="443" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_13_o.jpg" data-mid="12054929" border="0" align="left"/> The Black Laboratory <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_21.jpg" width="600" height="443" width_o="600" height_o="443" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_21_o.jpg" data-mid="12054940" border="0" align="left"/> <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_19.jpg" width="447" height="600" width_o="447" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vince_Como_19_o.jpg" data-mid="12054938" border="0" align="left"/> The artist in his studio <img src="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_02.jpg" width="425" height="600" width_o="425" height_o="600" src_o="http://payload4.cargocollective.com/1/0/18733/2395928/Vincent_Como_02_o.jpg" data-mid="12055090" border="0" align="left"/> Black Metal, 2007 creased paper, 15.5” x 20” In addition to past exhibitions at The Pigeon Wing in London and Proof Gallery in Boston, Como is currently showing in Ritual Aesthetics, curated by Progress Report at Tompkins Projects in Brooklyn and will be included in Black Thorns in the White Cube, curated by Amelia Ishmael at Paragraph Gallery in Kansas City and Western Exhibitions in Chicago. He also has a 1x12 drawing subscription that is entering it's second year and was a key speaker at The Black Metal Theory Symposium in Dublin at the close of 2011. - Vince Contarino, 01.11.12 Share http://progress-report.org/Irvin-Morazan-Studio-Visit http://progress-report.org/following/progress-report.org/Irvin-Morazan-Studio-Visit Fri, 06 Jan 2012 14:09:11 +0000 Progress Report 2556756 Progress Report visits with artist Irvin Morazan at Hunter College in New York City, November 2011. Video by Maia Stern. http://progress-report.org/Ritual-Aesthetics-1 http://progress-report.org/following/progress-report.org/Ritual-Aesthetics-1 Fri, 06 Jan 2012 13:03:56 +0000 Progress Report 2556531 Tompkins Projects December 9 - January 14 127 Tompkins Avenue, Brooklyn, NY 11206 www.tompkinsprojects.com <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_01.jpg" width="600" height="404" width_o="600" height_o="404" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_01_o.jpg" data-mid="12908330" border="0" align="left"/> Ritual Aesthetics brings together five different perspectives on how that act of ritual is absorbed by the creative process and translated into a contemporary art practice. How do certain works of art resonate over time while others fade away, and what special powers do art objects contain or the recording of actions hold? <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_05.jpg" width="600" height="415" width_o="600" height_o="415" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_05_o.jpg" data-mid="12908345" border="0" align="left"/> When it comes to channeling dark forces and curses, Vincent Como’s singular vision of all things Black is carried out through an unrepentant exploration of subjects informed by Color Theory, Physics, Alchemy, Heavy Metal, Religion and Mythology. In Dark Benediction, Como pairs a small black canvas on the wall with a measured circle of Tourmaline Crystals on the floor, beckoning an individual viewer to the center, offering a minimal format of dark contemplation. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_06.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_06_o.jpg" data-mid="12908347" border="0" align="left"/> Vincent Como Dark Benediction, 2010 acrylic on canvas over board, black tourmaline crystals 15” x 15” (painting ) 40” diameter (ring) In the paintings of Tamara Gonzales, the private studio ritual is informed by the artist’s shrine-like accumulation of religious and pop paraphernalia, with the final works capturing a mystical quality through an intuitive and formal approach. Gonzales acts as a conduit for channeling these influences that comes from her involvement in the ceremonial ritual of puja, ancestor worship, Wicca, and Catholicism. In Benevolent Maelstrom, the multi-layered painting takes on a talismanic quality by transcending the illusionary, flat plane of the canvas. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_04.jpg" width="478" height="600" width_o="478" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_04_o.jpg" data-mid="12908343" border="0" align="left"/> Tamara Gonzales Benevolent Maelstrom, 2010 spray paint on canvas, 60” x 48” <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_02.jpg" width="404" height="600" width_o="404" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_02_o.jpg" data-mid="12908333" border="0" align="left"/> Michael Bühler-Rose pairs his deep involvement in ancient Hindu rituals with conceptual art practices that challenge the traditional artist/viewer relationship. In his piece Removing the Evil Eye From the Works in My Studio, Bühler-Rose performs a Hindu ritual used for clearing a new dwelling of any lingering negative energies. The video offers a new perspective on action painting and performance art by using coconuts that are repeatedly smashed against a corner in a single aggressive motion, essentially casting the evil out the space. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_03.jpg" width="600" height="342" width_o="600" height_o="342" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_03_o.jpg" data-mid="12908337" border="0" align="left"/> Michael Bühler-Rose Removing the Evil Eye From the Works in My Studio, 2010 video <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_07.jpg" width="395" height="600" width_o="395" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_07_o.jpg" data-mid="12908351" border="0" align="left"/> Irvin Morazan CheeseDoodleMan Headdress, 2010 mixed media sculpture, 50”x 55” x 60” Indulging the viewer in the act of worship is a theme that permeates through the imagined ceremonies of Irvin Morazan. The shamanic nature of the performances give a heightened sense of intrigue, as the artist carries the load of a large, sculptural headdress, adorned with an array of materials borrowed from the the spiritual and natural worlds. The unpredictable nature of these performances allow Morazan to bridge the gap between ancient traditions and urban sub-cultures with humor, absurdity, and a street-wise swagger. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_08.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_08_o.jpg" data-mid="12908354" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_09.jpg" width="400" height="600" width_o="400" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_09_o.jpg" data-mid="12908356" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_10.jpg" width="600" height="400" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_10_o.jpg" data-mid="12908359" border="0" align="left"/> Morazan's opening night performance of Apocadoodlelypse in collaboration with the Go! Push Pops. Photo credit: Miguel Angel Rodriguez. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_11.jpg" width="600" height="415" width_o="600" height_o="415" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_11_o.jpg" data-mid="12908361" border="0" align="left"/> Direct and subtle ways that ritual informs the creative process is evident in the work of Chris Gentile, his studio being the constant location for sculptural environments that are meticulously built, with the sole purpose of being photographed then destroyed. Gentile’s process is a strange brew of intuition, deliberation, and obsessive detail that comes across in the final image, the scale of the prints emphasizing or concealing the materials used in their creation. This act of accumulation reveals itself in Off / Shit Out of Luck, the staged ritual providing a psychological layer of deeper meaning. <img src="http://payload12.cargocollective.com/1/0/18733/2556531/RA_12.jpg" width="449" height="600" width_o="449" height_o="600" src_o="http://payload12.cargocollective.com/1/0/18733/2556531/RA_12_o.jpg" data-mid="12908364" border="0" align="left"/> Chris Gentile Off / Shit Out of Luck, 2010 c-print, 71” x 53” - Kris Chatterson & Vince Contarino, 01.06.12 Share http://progress-report.org/Halsey-Hathaway-Print-Edition http://progress-report.org/following/progress-report.org/Halsey-Hathaway-Print-Edition Tue, 13 Dec 2011 18:03:50 +0000 Progress Report 2382061 <img src="http://payload4.cargocollective.com/1/0/18733/2382061/halsey_final_3.jpg" width="511" height="650" width_o="511" height_o="650" src_o="http://payload4.cargocollective.com/1/0/18733/2382061/halsey_final_3_o.jpg" data-mid="12360423" border="0" align="left"/> Halsey Hathaway Untitled 2011 4-color digital pigment print on archival matte paper edition of 100 11" x 14" ABOUT THE WORK: "For the print collaboration with Furthermore and Progress Report, I found myself faced with the challenge of digital technology thinking for me. I wanted to refuse the technology's need to create illusions of the visual mixtures that are essential to my drawing process. I had to push the computer age back into the physical world of more traditional printing. To do so, I accepted the now-classic offset printing process of using pure ink colors—C, M, Y, K—as my palette and moved forward, drawing four individual layers to be scanned and printed on the same page one on top of another." — Halsey Hathaway New York, 2011 ABOUT THE ARTIST: Halsey Hathaway was born in Buffalo, NY in 1980. He received his BFA from Pratt Institute in Brooklyn, NY, his MFA from Hunter College in New York, NY, and was awarded the Tony Smith Award from Hunter College. Halsey Hathaway is a 2010 fellow in painting from the New York Foundation for the Arts. He has exhibited throughout the New York City area, including: Eleven Rivington, Roebling Hall, Silver Shed, The Painting Center, Stand Pipe Gallery, The Bronx River Art Center, and Casey Kaplan Gallery. Halsey‘s work has been mentioned in many publications including The New Yorker, Time Out New York, and Array Magazine. He will exhibiting new paintings at the historic Reid Chapel of First and Franklin Street Presbyterian Church of Baltimore in December 2011 and will be in a two-person show at Storefront Bushwick in Brooklyn, NY in January 2012. www.halseyhathaway.com Price: $60.00 Purchase: Click Here (will redirect you to Furthermore's checkout page) http://progress-report.org/Kris-Chatterson-Studio-Visit http://progress-report.org/following/progress-report.org/Kris-Chatterson-Studio-Visit Mon, 03 Oct 2011 22:28:51 +0000 Progress Report 2088740 <img src="http://payload.cargocollective.com/1/0/18733/2088740/01_Kris_Chatterson.jpg" width="600" height="463" width_o="600" height_o="463" src_o="http://payload.cargocollective.com/1/0/18733/2088740/01_Kris_Chatterson_o.jpg" data-mid="10407636" border="0" align="left"/> I first became aware of Kris Chatterson's multi-layered, gestural abstract paintings through an interview on Fette's Flog from 2005 when the artist was still living in Los Angeles. A couple of years later, he moved to NYC and we became friends after meeting at an opening on the Lower East Side. I've been a regular visitor to his studio ever since, and stopped by a couple of days before his latest work was shipped out for his debut solo exhibition at Jeff Bailey Gallery. <img src="http://payload.cargocollective.com/1/0/18733/2088740/02_Kris_Chatterson_02.jpg" width="600" height="439" width_o="600" height_o="439" src_o="http://payload.cargocollective.com/1/0/18733/2088740/02_Kris_Chatterson_02_o.jpg" data-mid="10407638" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/18733/2088740/03_72x60-untitled-blue-yellowacrylic-on-canvas-2011.jpg" width="501" height="600" width_o="501" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/03_72x60-untitled-blue-yellowacrylic-on-canvas-2011_o.jpg" data-mid="10407641" border="0" align="left"/> Untitled, 2011 acrylic on canvas, 60” x 72” The paintings have always had a fluid, highly physical quality about them. Growing up in Florida and spending time in LA, the proximity to the ocean and culture of surfing is integral to Chatterson's life in and outside of the studio. The earlier work was focused on searching for unexpected moments in space through underlying structures of weaving color and various brushstrokes. The hand, arm, and body clearly present in the paintings, nestled within an accumulation of direct mark-making. <img src="http://payload.cargocollective.com/1/0/18733/2088740/04_Kris_Chatterson_02.jpg" width="470" height="600" width_o="470" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/04_Kris_Chatterson_02_o.jpg" data-mid="10407647" border="0" align="left"/> studio essentials...buoy, drawing, surfboard <img src="http://payload.cargocollective.com/1/0/18733/2088740/05_36x48-untitledblue-acrylic-on-canvas-2011.jpg" width="670" height="505" width_o="795" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/05_36x48-untitledblue-acrylic-on-canvas-2011_o.jpg" data-mid="10407660" border="0" align="left"/> Untitled, 2011 acrylic on canvas, 36” x 48” <img src="http://payload.cargocollective.com/1/0/18733/2088740/06_30x40-untitledyellow-acrylic-on-canvas-2011.jpg" width="670" height="504" width_o="797" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/06_30x40-untitledyellow-acrylic-on-canvas-2011_o.jpg" data-mid="10407670" border="0" align="left"/> Untitled, 2011 acrylic on canvas, 30” x 40” Through an independent book project of black and white drawings, Chatterson began exploring the idea of using recycled marks that were stored digitally on the computer as an evolution of his vocabulary through limitation and technology. By developing a visual, self-generated cut-up technique, Chatterson creates the preliminary compositions in Photoshop by dispersing the original gestures with touchscreen drawings and blocks of static noise. The process is a laborious one that Chatterson works through the push & pull of the painted/sanded ground with a rough application of synthetic transfers. By paring down the color spectrum and slight shifts in the patches of torn images, the viewer is left with the imperfect beauty of graphic decay. <img src="http://payload.cargocollective.com/1/0/18733/2088740/07_Kris_Chatterson_02.jpg" width="600" height="458" width_o="600" height_o="458" src_o="http://payload.cargocollective.com/1/0/18733/2088740/07_Kris_Chatterson_02_o.jpg" data-mid="10407671" border="0" align="left"/> work table, screenprinting materials <img src="http://payload.cargocollective.com/1/0/18733/2088740/08_Kris_Chatterson_02.jpg" width="600" height="450" width_o="600" height_o="450" src_o="http://payload.cargocollective.com/1/0/18733/2088740/08_Kris_Chatterson_02_o.jpg" data-mid="10407674" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/18733/2088740/09_Kris_Chatterson_02.jpg" width="489" height="600" width_o="489" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/09_Kris_Chatterson_02_o.jpg" data-mid="10407676" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/18733/2088740/12_16x15-untitled-blue-brownacrylic-on-canvas-2011.jpg" width="563" height="600" width_o="563" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/12_16x15-untitled-blue-brownacrylic-on-canvas-2011_o.jpg" data-mid="10407689" border="0" align="left"/> Untitled, 2011 acrylic on canvas, 16” x 15” It’s difficult to imagine most paintings existing outside the the pristine white cube or the comfortable setting of domestic living. These paintings would seem right at home living on the side of a building on the Bowery, or perhaps above a freeway in downtown LA. Whether consciously or not, Chatterson’s work is a visual translation of a physical experience. A hybrid union of contemporary urban existence with an authentic investment in the history of painting. <img src="http://payload.cargocollective.com/1/0/18733/2088740/10_Kris_Chatterson_02.jpg" width="600" height="438" width_o="600" height_o="438" src_o="http://payload.cargocollective.com/1/0/18733/2088740/10_Kris_Chatterson_02_o.jpg" data-mid="10407680" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/18733/2088740/11_Kris_Chatterson_02.jpg" width="600" height="420" width_o="600" height_o="420" src_o="http://payload.cargocollective.com/1/0/18733/2088740/11_Kris_Chatterson_02_o.jpg" data-mid="10407684" border="0" align="left"/> Tilda <img src="http://payload.cargocollective.com/1/0/18733/2088740/14_30x40-untitled-green-orangeacrylic-on-canvas-2011.jpg" width="670" height="507" width_o="792" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2088740/14_30x40-untitled-green-orangeacrylic-on-canvas-2011_o.jpg" data-mid="10407709" border="0" align="left"/> Untitled, 2011 acrylic on canvas, 30” x 40” <img src="http://payload.cargocollective.com/1/0/18733/2088740/13_Kris_Chatterson_02.jpg" width="600" height="466" width_o="600" height_o="466" src_o="http://payload.cargocollective.com/1/0/18733/2088740/13_Kris_Chatterson_02_o.jpg" data-mid="10407693" border="0" align="left"/> the artist with a baby succulent Past exhibitions include: Keep Feeling (Fasinotation) New Abstract Painting in L.A., Luckman Gallery, Cal State, Los Angeles, CA; I Wanna Be Somewhere, Daily Operation, New York, NY; Construction Zone, Western Project, Culver City, CA. He is represented by Western Project in Los Angeles and Jeff Bailey Gallery in New York where he is currently showing in his debut solo exhibition through Oct. 8. -Vince Contarino, 10.04.10 Share http://progress-report.org/Chuck-Webster-Studio-Visit http://progress-report.org/following/progress-report.org/Chuck-Webster-Studio-Visit Fri, 23 Sep 2011 21:36:12 +0000 Progress Report 2041750 <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_04.jpg" width="600" height="474" width_o="600" height_o="474" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_04_o.jpg" data-mid="10155305" border="0" align="left"/> On a warm summer day, PR skated through Bushwick, Brooklyn to spend some time with artist Chuck Webster. In a discrete, red brick building on the second floor, Webster splits a large apartment into a live/work space. Webster's personality is open and infectious. He is never at a loss for words. In one conversation the topics can range from painting, cooking, The Wire, Point Break and back to painting. His paintings on the otherhand reveal the quiet and contemplative side of the artist. <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Bad Habit sm.jpg" width="496" height="600" width_o="496" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Bad Habit sm_o.jpg" data-mid="10155115" border="0" align="left"/> Bad Habit, 2011, oil on panel, 36 x 30 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Panopticon sm.jpg" width="603" height="600" width_o="603" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Panopticon sm_o.jpg" data-mid="10155123" border="0" align="left"/> Panopticon, 2011, oil on panel, 24 x 24 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_02.jpg" width="600" height="477" width_o="600" height_o="477" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_02_o.jpg" data-mid="10155301" border="0" align="left"/> work table It's hard to describe Webster's process because each painting is slightly different. After hanging around the studio one gets the feeling that the paintings are slow in the making as each layer develops. Most paintings are treated with many layers of thin paint to build up the surface and color relationships. Sometimes the paintings are sanded then repainted. The paintings lay about and get knocked around as they are made. This allows for ideas and decisions to slowly work their way in. There is a loose, succumbing quality to the work that is seemingly haphazard. This could not be further from the truth. Webster scrutinizes over the surface, constantly adding a thin layer here and taking away paint there, checking the overall surface and color relationships. <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Recognize Your Saints sm.jpg" width="549" height="600" width_o="549" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Recognize Your Saints sm_o.jpg" data-mid="10155127" border="0" align="left"/> Recognize Your Saints, 2011, oil on panel, 14 3/4 x 13 3/8 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Old Stone New Building_sm.jpg" width="505" height="600" width_o="505" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Old Stone New Building_sm_o.jpg" data-mid="10155117" border="0" align="left"/> Old Stone, New Building, 2011, oil on panel, 22 x 18 1/2 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Throw the Little Ones Backsm.jpg" width="448" height="600" width_o="448" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Throw the Little Ones Backsm_o.jpg" data-mid="10155135" border="0" align="left"/> Throw Back the Little Ones, 2011, oil on panel, 52 x 36 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_07.jpg" width="452" height="600" width_o="452" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_07_o.jpg" data-mid="10155308" border="0" align="left"/> The graphic quality of Webster's work can often call for a quick read. One would do well to hang around for a while because over time the paintings start to reveal themselves. These are not simply exercises in formalism or abstraction as a filter to the world, but works that have the visual and spiritual charge of Byzantine icons. There is a deep poetic soulfulness in his best work that is hard to pull off these days, giving the viewer a rare, introspective take on contemporary painting. While graphically striking, they are not hip nor cool. They are not paintings trying to distill a contemporary existence, but work instead on the internal human experience. <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_05.jpg" width="451" height="600" width_o="451" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_05_o.jpg" data-mid="10155306" border="0" align="left"/> a working drawing <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_01.jpg" width="600" height="445" width_o="600" height_o="445" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_01_o.jpg" data-mid="10155298" border="0" align="left"/> painting in progress <img src="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Satellite of Love_IN3843_sm.jpg" width="506" height="600" width_o="506" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/2041750/Webster_Satellite of Love_IN3843_sm_o.jpg" data-mid="10155131" border="0" align="left"/> Satellite of Love, 2011, oil on panel, 15 x 12 inches courtesy of ZieherSmith, New York <img src="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_06.jpg" width="600" height="456" width_o="600" height_o="456" src_o="http://payload.cargocollective.com/1/0/18733/2041750/VC_Chuck_Webster_06_o.jpg" data-mid="10155307" border="0" align="left"/> a working drawing <img src="http://payload.cargocollective.com/1/0/18733/2041750/IMAG0785.jpg" width="670" height="400" width_o="2048" height_o="1224" src_o="http://payload.cargocollective.com/1/0/18733/2041750/IMAG0785_o.jpg" data-mid="10191896" border="0" align="left"/> the artist in front of a work in progress Past exhibitions include: Draw the Line, Allegra LaViola Gallery, New York, NY and bodybraingame, curated by Hudson, Rhona Hoffman Gallery, Chicago, IL. Recent solo show My Small Adventures, ZieherSmith, New York, NY. Will be included in Forrest Bess: 100 years including Forest Bess, Chris Martin, Andrew Masullo and Chuck Webster, Kirk Hopper Fine Arts, Dallas TX. Webster is represented by ZieherSmith in New York and Steven Zevitas Gallery in Boston. -Kris Chatterson 09.23.11 Share http://progress-report.org/Pamela-Jorden-Take-Five http://progress-report.org/following/progress-report.org/Pamela-Jorden-Take-Five Wed, 03 Aug 2011 17:14:49 +0000 Progress Report 1815842 Take Five invites previously featured artists on Progress Report to present the work of five artists they admire, draw inspiration from, and would like to share. Tyler Vlahovich b. 1967 in Tacoma, WA. Lives and works in Los Angeles. <img src="http://payload.cargocollective.com/1/0/18733/1815842/01_Vlahovich_Tyler.jpg" width="600" height="447" width_o="600" height_o="447" src_o="http://payload.cargocollective.com/1/0/18733/1815842/01_Vlahovich_Tyler_o.jpg" data-mid="8960109" border="0" align="left"/> Untitled, 2007 oil on canvas, 42 x 53 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/02_Vlahovich_Tyler_02.jpg" width="600" height="431" width_o="600" height_o="431" src_o="http://payload.cargocollective.com/1/0/18733/1815842/02_Vlahovich_Tyler_02_o.jpg" data-mid="8960112" border="0" align="left"/> Untitled, 2005 oil on panel, 24 x 32 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/03_Vlahovich_Tyler_03.jpg" width="600" height="457" width_o="600" height_o="457" src_o="http://payload.cargocollective.com/1/0/18733/1815842/03_Vlahovich_Tyler_03_o.jpg" data-mid="8960116" border="0" align="left"/> Raw Power from the Top Right, 1999 china marker and sumi ink on paper, 18 x 24 inches Virginia Holt b. 1915 in Pittsburgh, PA. Lives and works in South Pasadena, CA. <img src="http://payload.cargocollective.com/1/0/18733/1815842/04_Holt_Virginia_04.jpg" width="600" height="483" width_o="600" height_o="483" src_o="http://payload.cargocollective.com/1/0/18733/1815842/04_Holt_Virginia_04_o.jpg" data-mid="8960120" border="0" align="left"/> Small Landscape (#51), 1964 oil on burlap, 7 x 9 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/05_Holt_Virginia_05.jpg" width="591" height="600" width_o="591" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/05_Holt_Virginia_05_o.jpg" data-mid="8960124" border="0" align="left"/> Untitled (#24), c. 1980 oil on burlap, 10 x 10 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/06_Holt_Virginia_06.jpg" width="599" height="600" width_o="599" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/06_Holt_Virginia_06_o.jpg" data-mid="8960128" border="0" align="left"/> Portrait of Lady (Mary Jane), c. 1984 oil on linen, 46 x 46 inches Sonia Delaunay b. 1885 in the Ukraine. Died in 1979 Paris <img src="http://payload.cargocollective.com/1/0/18733/1815842/07_Delaunay_Sonia_07.jpg" width="464" height="600" width_o="464" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/07_Delaunay_Sonia_07_o.jpg" data-mid="8960132" border="0" align="left"/> Still Photo from the film Le P’tit Parigot, 1926 <img src="http://payload.cargocollective.com/1/0/18733/1815842/08_Delaunay_Sonia_08.jpg" width="462" height="600" width_o="462" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/08_Delaunay_Sonia_08_o.jpg" data-mid="8960136" border="0" align="left"/> Couverture (Blanket), 1911 applied fabrics, 42.875 x 31.875 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/09_Delaunay_Sonia_09.jpg" width="484" height="600" width_o="484" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/09_Delaunay_Sonia_09_o.jpg" data-mid="8960141" border="0" align="left"/> Zenith, 1914 watercolor on paper, 23.5 x 19.5 inches Ezra Johnson b. 1975 in Wenatchee, Washington. Lives and works in New York. <img src="http://payload.cargocollective.com/1/0/18733/1815842/10_Johnson_Ezra.jpg" width="449" height="600" width_o="449" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/10_Johnson_Ezra_o.jpg" data-mid="8960144" border="0" align="left"/> Cave Carrier, 2010-11 oil, enamel, digital print, and fabric on canvas, 70 X 52 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/11_Johnson_Ezra_11.jpg" width="600" height="510" width_o="600" height_o="510" src_o="http://payload.cargocollective.com/1/0/18733/1815842/11_Johnson_Ezra_11_o.jpg" data-mid="8960149" border="0" align="left"/> Untitled (Large wave), 2011 oil on canvas, 66 x 78 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/12_Johnson_Ezra_12.jpg" width="388" height="600" width_o="388" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/12_Johnson_Ezra_12_o.jpg" data-mid="8960153" border="0" align="left"/> Two souls out of work, 2009-11 oil on canvas, 70 x 48 inches Charline von Heyl b. in 1960 in Mainz, Germany. Lives and works in New York. <img src="http://payload.cargocollective.com/1/0/18733/1815842/13_von_Heyl_Charline_13.jpg" width="565" height="600" width_o="565" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/13_von_Heyl_Charline_13_o.jpg" data-mid="8960156" border="0" align="left"/> Lalo, 2008 acrylic on linen, 82 x 78 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/14_von_Heyl_Charline_14.jpg" width="580" height="600" width_o="580" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/14_von_Heyl_Charline_14_o.jpg" data-mid="8960160" border="0" align="left"/> Yellow Rose, 2007 acrylic and oil on canvas, 82 x 78 inches <img src="http://payload.cargocollective.com/1/0/18733/1815842/15_von_Heyl_Charline_15.jpg" width="543" height="600" width_o="543" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1815842/15_von_Heyl_Charline_15_o.jpg" data-mid="8960163" border="0" align="left"/> P., 2008 acrylic and crayons on linen, 82 x 74 inches Pamela Jorden - 08.03.11 http://progress-report.org/Joshua-Abelow-Take-Five http://progress-report.org/following/progress-report.org/Joshua-Abelow-Take-Five Tue, 19 Jul 2011 14:06:10 +0000 Progress Report 1749105 Take Five invites previously featured artists on Progress Report to present the work of five artists they admire, draw inspiration from, and would like to share. Gene Beery b. 1937, Racine, Wisconsin, Lives and works in the foothills of the Sierra Nevada Mountains outside Sacramento <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_01.jpg" width="600" height="588" width_o="600" height_o="588" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_01_o.jpg" data-mid="8604717" border="0" align="left"/> Lemon Job, 1968 Acrylic on canvas, 32 x 32 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_02.jpg" width="600" height="494" width_o="600" height_o="494" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_02_o.jpg" data-mid="8604720" border="0" align="left"/> Childhood dreams, 1997 Acrylic on canvas, 18 x 24 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_03.jpg" width="446" height="600" width_o="446" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beery_Gene_03_o.jpg" data-mid="8604722" border="0" align="left"/> Quixotic, 1975 Acrylic on canvas, 36 x 25.5 in. Ella Kruglyanskaya b. 1978, Riga, Latvia, Lives and works in Brooklyn, NY <img src="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_01.jpg" width="461" height="600" width_o="461" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_01_o.jpg" data-mid="8604724" border="0" align="left"/> Cat Fight, 2010 Oil on canvas, 78 x 60 inches <img src="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_02.jpg" width="600" height="456" width_o="600" height_o="456" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_02_o.jpg" data-mid="8604728" border="0" align="left"/> Fish on Fish, 2010 Oil on board, 12 x 16 inches <img src="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_03.jpg" width="600" height="447" width_o="600" height_o="447" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Kruglyanskaya_Ella_03_o.jpg" data-mid="8604729" border="0" align="left"/> Monster Faces, 2010 Egg tempera on panel, 24 x 32 inches Ansel Krut b. 1950, Born in Cape Town, Lives and works in London <img src="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_01.jpg" width="513" height="600" width_o="513" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_01_o.jpg" data-mid="8604730" border="0" align="left"/> Box Head, 2006 Oil on canvas, 27.6 x 23.6 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_02.jpg" width="512" height="600" width_o="512" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_02_o.jpg" data-mid="8604732" border="0" align="left"/> Swoon, 2008, Oil on canvas, 38.2 x 32.3 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_03.jpg" width="405" height="600" width_o="405" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Krut_Ansel_03_o.jpg" data-mid="8604734" border="0" align="left"/> Giants of Modernism #2 (Carrot Head) 2009, oil on canvas, 35.4 x 23.6 in. Amelie von Wulffen b. 1966, Born in Breitenbrunn/ Oberpfalz, Currently lives in Berlin <img src="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_01.jpg" width="402" height="600" width_o="402" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_01_o.jpg" data-mid="8604735" border="0" align="left"/> Untitled, 2011 11.69 x 8.27 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_02.jpg" width="398" height="600" width_o="398" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_02_o.jpg" data-mid="8604736" border="0" align="left"/> Untitled, 2011 11.69 x 8.27 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_03.jpg" width="402" height="600" width_o="402" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/vonWulffen_Amelie_03_o.jpg" data-mid="8604737" border="0" align="left"/> Untitled, 2011 11.69 x 8.27 in. Gina Beavers B. Athens, Greece, lives and works in Brooklyn <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_01.jpg" width="456" height="600" width_o="456" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_01_o.jpg" data-mid="8604741" border="0" align="left"/> Spanish Dancer, 2010 Acrylic on canvas, 24 x 18 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_02.jpg" width="446" height="600" width_o="446" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_02_o.jpg" data-mid="8604744" border="0" align="left"/> Pop off, 2010 Acrylic on canvas, 40 x 30 in. <img src="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_03.jpg" width="479" height="600" width_o="479" height_o="600" src_o="http://payload.cargocollective.com/1/0/18733/1749105/Beavers_Gina_03_o.jpg" data-mid="8604745" border="0" align="left"/> Observe the intention of the pose, 2011 Acrylic on canvas, 38 x 30 in. Joshua Abelow - 07.19.11 http://progress-report.org/Inna-Babaeva-Print-Edition http://progress-report.org/following/progress-report.org/Inna-Babaeva-Print-Edition Thu, 23 Jun 2011 21:09:04 +0000 Progress Report 1635948 <img src="http://payload.cargocollective.com/1/0/18733/1635948/cdg 055.jpg" width="670" height="503" width_o="1238" height_o="930" src_o="http://payload.cargocollective.com/1/0/18733/1635948/cdg 055_o.jpg" data-mid="8022433" border="0" align="left"/> Inna Babaeva CDG 055 2011 pigment print on archival matte paper edition of 100 11"x14" Inna Babaeva's print is the first in a series of prints with artists in partnership with Progress Report, Furthermore and the Bronx River Art Center. ABOUT THE WORK: "The image derives from a number of photographs I had taken in February 2004 of the roof details from the recently constructed Terminal 2E in Charles de Gaulle airport. I was impressed with the architectural elements - the hangar-shape of the building with multiple round windows bringing in the light - and it brought to mind the sculptural installation I had just completed which incorporated similar circular shapes and light. Three months later the terminal building collapsed... Six years passed, and I was in the re-designed Terminal 2E. The new structure omitted the features that attracted me to the original. It was at that moment that I decided to use my old photographs and make them into series of prints." — Inna Babaeva New York, 2011 ABOUT THE ARTIST: Inna Babaeva was born in Lvov, Ukraine. She has lived in New York City since completing her MFA degree at Mason Gross School of the Arts at Rutgers University in 2003. Babaeva's work has been exhibited nationally and internationally in a succession of solo and group exhibitions. She has received support from a number of foundations, including the Joan Mitchell Foundation, Women in the Visual Arts Fund, and The Atlantic Center for the Arts. Her work is in the collections of The Flint Institute of Arts Museum in Flint, Michigan, The Arthur & Mata Jaffe Center for the Book Arts in Boca Raton, Florida, and numerous private collections. www.innababaeva.com Price: $60.00 Purchase: Click Here (will redirect you to Furthermore's checkout page)