Richard Roth

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.

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Hilary Wilder

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.

Orphans in a Storm

Lovey Town, Madison, Wisconsin

October 3 – December 15, 2014

 

Walden, Revisited

deCordova Sculpture Park and Museum

Lincoln, Massachusetts

October 31, 2014 – April 26, 2015

 

Anywhere But Now

Wilton House Museum, Richmond, Virginia

November 7, 2014 – January 15, 2015

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Radio Galaxy Exhibition at the University of Virginia

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.”

Alum Raewyn Martyn Update

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.

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Monique Mouton at Cleopatra’s

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

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Theresa Pfarr – Second Skin at Angela Meleca Gallery

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.

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Ralph Pugay Wins the Betty Bowen

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.

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Amy Feldman upcoming solo show High Sign at Blackston

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.

“Feldman’s 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 Feldman’s 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 artist’s 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.