Arnold Kemp – Opening at Soloway in Brooklyn

HEADLESS

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Arnold Joseph Kemp, HEADLESS

April 19 – May 23, 2015

Opening Reception Sunday, April 19, 6:00 – 8:00 p.m.

Soloway is pleased to announce a solo exhibition of new work by Arnold Joseph Kemp. The work attempts to find the body. The objects on view are devices for a body that will navigate today’s and tomorrow’s increasingly mechanistic, efficient and brutal existences, in order to find the poetry of garbage, pesticides, ghosts, and cyber, astral and biological pollution. That is our world, isn’t it?

Some time in the 1990s, a study appeared about nostalgias elicited by aromas. It was determined that in the USA – for those born during the 1930s and 1940s – the strongest scent references were pine, roses, hot chocolate, just-baked bread and the ocean breeze. For those born during the 1960s, the smells were smoke, hairspray, nail polish, burnt rubber and old socks. HEADLESS, poised against the myriad senses and identities possible in our globalized situation, approaches the spirit of transgressing the LIMITS OF THE BODY. That feeling of suffocating? For how many years have we felt that feeling and yet we continue to try to live gorgeously with constant irritation? We wonder if this is possible.

Arnold Joseph Kemp lives and works in Richmond, Virginia and has shown at the Studio Museum in Harlem, The Berkeley Art Museum, The Santa Monica Museum of Art, The Portland Institute for Contemporary Art, The Wattis Institute, Disjecta, Rocks Box Fine Art, PDX Contemporary and the Luggage Store/509 Cultural Center. He has done performances at the San Francisco Museum of Modern Art, California College of the Arts, and at The Banff Centre. His last solo show in New York was held at Debs & Co. and his work was included in the inaugural exhibition at Koenig & Clinton in 2013. Kemp is also a writer whose poems have appeared in Callaloo, Three Rivers Poetry Journal, Agni Review, MIRAGE #4 Period(ical), River Styx, Nocturnes, Art Journal, and Tripwire. He is a Guggenheim Fellow in Visual Arts (2012) and chairs the Department of Painting and Printmaking at Virginia Commonwealth University.

SOLOWAY

348 South 4th Street. Brooklyn, NY 11211

www.soloway.info

Saturday and Sunday, 12-5pm

The Bottom Needs A Shadow

PAPR alumni: Aaron Koehn and Tom Burkett have work in The Bottom Needs a Shadow at 1708 gallery in Richmond, VA.

“The catfish, a digester of cultural waste, burrows itself in the sediment of river beds and metabolizes refuse. A highly adaptive species has found it’s home in a disquiet body of water. On any given Sunday in Richmond, you can hear the barks of these 55 lb ray-finned fish as they get reeled onto the banks of the James. The same weight Kim Kardashian shed in 15 months lands itself on slips that were once filled with the mass activity of imports and exports of a city; the reeler celebrates to this sport.”

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Deadline For Application to VCU Painting and Printmaking MFA Program: January 15, 2015

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VCUarts Painting + Printmaking MFA programs provide superb opportunities for artists to work, reflect, experiment, and study. Graduate students are both supported and challenged by an informed and engaging community of artists and scholars. The programs in Painting + Printmaking provide exemplary faculty, ample financial aid, intensive studio time, immersive theory and history courses, collaborative exhibition opportunities, one-on-one dialogue with practicing artists, an ever-changing roster of esteemed visitors, and professional opportunities in the field.

Continue reading on Hyperallergic, and apply here!

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 endeavor. 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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