PAPR Professor, Richard Roth, is included in the book 100 Painters of Tomorrow by Kurt Beers in conjunction with a show of the same title at Beers Contemporary in London. Over the summer, he showed work at Mckenzie Fine Art in New York in a group exhibition: Color as Structure. The show was reviewed by Ann Landi in ARTnews. He is also in a group exhibition, Maximal / Minimal, at Kinz + Tillou Fine Art in Brooklyn, New York. The show runs through November 15.
Associate Professor, Hilary Wilder, is currently at the Galveston Artist Residency in Galveston, Texas. Her work is also included in three current and upcoming group shows in Wisconsin, Massachusetts, and Virginia.
Lovey Town, Madison, Wisconsin
October 3 – December 15, 2014
deCordova Sculpture Park and Museum
October 31, 2014 – April 26, 2015
Wilton House Museum, Richmond, Virginia
November 7, 2014 – January 15, 2015
VCU graduate alumni Matt Spahr, Valerie Molnar, and Amy Chan are showing work in a group exhibition – Radio Galaxy.
The show is at the University of Virginia in the Ruffin Gallery and runs from October 10th to December 12th. The opening is October 31 from 5:30 pm - 7:30 pm.
“Conjuring the aesthetic of the domestic inventor, works in this exhibition appropriate from NASA, Skymall, microscopic imagery, decorative pattern and the garden store. Conducting candid experiments with art matter and electronic intervention, the artists create a darkly humorous laboratory where consumable goods and the natural world are recast into absurd equations.
Amy Chan, Valerie Molnar and Matt Spahr received MFA’s from Virginia Commonwealth University. Amy Chan is a Lecturer in Drawing at the University of Virginia. Valerie Molnar and Matt Spahr are Instructors at Virginia Commonwealth University.”
2013 PAPR MFA Graduate Raewyn Martyn is currently Assistant Professor of Visual Art at Antioch College in Yellow Springs, Ohio. In August this year she worked with Chicago-based artist Sara Black to facilitate a two-session workshop: Attention Feeder (Surviving the Anthropocene) at ACRE Residency in Wisconsin. To help perceive this human made geologic era, they began with shared reading, and discussion of the ‘meshwork’ (the entanglement of all things). Participants used sustained attention exercises to consider our ability to reframe perception, and the made collaborative artworks that humbly attempt to re-vision experience of the human made. This September, Martyn and Black have continued their collaboration with In Formation, at Harper College in Palatine, Illinois. Using individual and shared processes of building and painting, artists Raewyn Martyn and Sara Black are creating emergent surfaces and structures within the gallery architecture. These material formations are in formation and subject to change throughout the month. By allowing the work to unfold throughout the exhibition period in real time, this installation makes duration and action equally significant to any resulting object, image, or structure. Undertaking a series of mutual provocations, they have begun by “skinning the room” with both plywood and paint. During the following work days, further provocations and actions respond to the unfolding conditions. Sara Black and Raewyn Martyn have set out to use these activities to practice adapting; mindfully negotiating and understanding their own processes of human made endeavour. At this moment in time, we are realizing that it is increasingly necessary for humans to revision reality in radical ways that recognize the interrelated conditions and materials of our always-changing world. These revisions allow us to adapt to our changing conditions that are the result of the human made geologic era. Martyn and Black are interested in how art making processes are often practices of mindful adaptation; that, although privileged, are also transferrable and already connected to real human time and experience.
PAPR Chair, Arnold Kemp ‘s exhibition Public Evidence Spectacle runs from September 29 – November 2 in the contemporary gallery at Georgia Southern University.
For more information visit here.
Visiting artist faculty, Monique Mouton, is displaying work at Cleopatra’s in Brooklyn with Jacob Ciocci and Lucky DeBellevue. The show runs through October 20 and is titled Man Began With the Strangeness of His Own Humanity.
“Man began with the strangeness of his own humanity. Or with the humanity of his own strangeness. Through this strangeness he presented himself: he presented it, or figure it to himself. Such was the self-knowledge of man, that his presence was that of a stranger, monstrously similar [semblable]. The similar came before the self, and this is what it, the self, was. Such was his first knowledge, his skill, the quickness of the hand whose secret he wrested from the very strangeness of his nature, although he did not thereby penetrate a secret, but was penetrated by it, and himself exposed as the secret. The schema of man is the monstration of this marvel: self outside of self, the outside standing for “self”, and he being surprised in face of self. Painting paints this surprise. This surprise is painting.” – Jean-Luc Nancy, Painting in the Grotto
The PAPR Graduate Alum, Theresa Pfarr, has a solo exhibition at the Angela Meleca Gallery in Columbus, Ohio. The show will run through November 1 and features large oil paintings that reflect an anxious self-conscious through the portrayal of women in the media. For more information visit the gallery website here, and visit Theresa’s website.
Visiting artist faculty, Ralph Pugay, won the Betty Bowen award – meaning $15,000 and an exhibition at the Seattle Art Museum. The show will open October 16. For more information visit Ralph’s website and the SAM’s website.
Former PAPR Fountainhead Fellow, Amy Feldman, is exhibiting work at Blackston in New York for her second solo show at the gallery. Her show is up on September 12 and runs through October 26, 2014.
“Feldmans paintings assert themselves as signs that broadcast within and beyond the picture plane. In the essay for the High Sign exhibition catalog, Raphael Rubinstein writes, The five big paintings in the show are, says the artist, intended as a kind of high five, an expression of exuberance and optimism. The title reminds us that Feldman is engaged with making signs, which is how Matisse thought of his painting when he spoke to Louis Aragon in 1942 about wanting to impart the briefest possible indication of the character of the thing. The sign.
While Feldmans paintings initially impress the viewer with their physicality and bold simplicity, their sophistication lingers. The play between figure/ground relationships — and their inversion — in the artists paintings complicates the initial read of her work. Drips, while an accidental result of her performance, feature prominently on the paintings’ surfaces, serving to further subvert these images and their reductive sensibility. ”
For further information and the entire review of the show, please visit here.