| weekly featured art > 9.21.07 |
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 Michael Craig Martin |
 Installations |
Irish-born and raised in the U.S., world-renowned artist Michael Craig-Martin studied under Al Held and Alex Katz at Yale in the 1960s, but has lived in London since 1966. Today, he is rightly considered a British artist. His considerable progeny include many YBAs who were his students at Goldsmith's College. Craig-Martin's art recalls British Pop, the dynamic color work of Victor Pasmore and Patrick Caulfield, and the candy-colored and simplified graphics of 1950s design. American associations include Stuart Davis, Warhol, Lichtenstein and Oldenburg. |
 Nancy Baker |
" Nancy Baker was born and raised in Brooklyn, NY and receieved a BFA from the School of Visual Arts in NYC. . . She currently lives in Raleigh, NC where she maintains a studio known as The Tireshop. A world traveler, she posits this as the major source of her emotional well being. . . Nancy maintains an artblog calles Tireshop, and is a team member on Anonymous Female Artist. Her moniker is Rebel Belle. She has received many fellowships and awards, and missed a few that she thought she owned. " | |
 Alice Gates |
Alice Gates graduated from Edinburgh University. She then went on to study figurative painting in Florence, Italy before ending up at the City and Guilds of London Art School doing a Masters in Fine Art. She has had solo exhibitions in London (Hutson Gallery, Picadilly and J&M Davidson Gallery, Notting Hill), as well as Dublin and Florence. She has also had numerous articles about her work, which have appeared in the Telegraph, Vogue, Image Magazine, and more. Alice is to have an exhibition of new work with Daisy de Villeneuve at the prestigious gallery Eleven in March 2008. | |
 Artur Silva |
Artur Silva holds a degree in Visual and Environmental Studies at Harvard and a BFA from Guignard School of Art. His work has been displayed in numerous solo shows in the United States and Brazil, and has also been given a number of fellowships, residencies and public art commissions. His work is represented by NavtaSchulz Gallery in Chicago, where he will be having a solo show in 2008. | |
 Lorene Anderson |
Lorene Anderson lives and works in Oakland, California. Anderson received her B.F.A. from Miami University of Ohio and her M.F.A. from UC Berkeley, where she received the Eisner Award for painting. She has been exhibiting her work internationally and throughout the Bay Area, including the SFMOMA Artist's Gallery, Oakland Art Gallery, and Gen Art's Emerge exhibition in San Francisco. Her work was recently included in an exhibition in Japan, April 2006. | |
 Jeffrey Allen Price |
 J.A.P. Gallery 2007 |
Jeffrey Allen Price is a multi-media installation artist. His work is process-based, and often contains humorous and playful elements. His works have been shown internationally and have been widely written about, including featured articles in The New York Times and a feature segment on the Food Network. Jeffrey Allen Price is also an Assistant Professor of Art and Art History at York College in Jamaica, Queens, NY. |
 Ruth Pastine |
 NY, NY Competition |
Born in New York City, Ruth Pastine is now a California-based painter with over 15 solo shows to her name and dozens of group shows, including the most recent Pulse London Contemporary Art Fair. She received her MFA from Hunter College in New York City and her BFA from Cooper Union. Her work has also been reviewed in dozens of publications, including the New York Times and an article in ARTFORUM penned by Donald Kuspit. |
Brian Sherwin, our senior blog editor has been continuing his interview series with artists. Below are a couple of recent highlights: |
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Why Fashion Is Art "While artists often spend long periods in the doldrums, producing nothing new or prodding listlessly over the same tired ground, the fashion industry just gets on with its job. Season after season, year after year, designers, photographers and models churn out clothes, images, looks. We may not like everything they do, and what most of us wear may only be very distantly related to the dresses, coats, suits and often quite clearly idiotic assemblages of random fabrics that whiz purposefully down the catwalks, but the effect is a continual refreshing of our collective visual field with new images of aspiration and desire." The Guardian (UK) 09/19/07 Building As Digital Image Boston public broadcaster WGBH has a new home. "This is the first serious example in Boston of a kind of architecture we're beginning to see elsewhere, in Times Square, for example, in which the architectural façade of a building is no longer made of the traditional brick, stone, steel or glass but is, instead, an ever-changing, programmable image. Call it digital architecture. Architecture and media become one... That nightmare, though, is in the future, and for now, here at WGBH, digital architecture looks pretty good." Boston Globe 09/16/07 The Case Against Blockbusters Are blockbuster exhibitions of great art worth it? "When works of art are transported, they are easier to steal. And a surprising number are stolen en route from one museum to another. Serious damage during transport is much more frequent than museums admit. The very popularity of blockbuster shows creates one critical disadvantage: it makes it almost impossible to appreciate the art itself." The Telegraph (UK) 09/16/07 The Littlest Collectors The $6 billion-plus global art market has more than doubled in four years, thanks to the growing number of wealthy patrons and an influx of new collectors from Russia and Asia. Now, children are emerging as one more niche. Collectors such as Bil Ehrlich, a New York real-estate developer, and Peter Brant, a Los Angeles-based film producer and magazine publisher, pay for their kids to collect works from name-brand artists. Wasll Street Journal 09/14/07 What The MassMoCA Debacle Tells Us About Art The battle that erupted months ago between the Massachusetts Museum of Contemporary Art (MassMoCA) and Swiss artist Christoph Buchel over whether Buchel's planned installation should open as scheduled (the artist wanted it canceled, claiming that the museum was trying to get the exhibit on the cheap) has become a cautionary tale for museums across the country. "The meltdown at Mass MOCA is sad for all concerned, yet is also a reflection of the changes wrought since the late 1960s, as installation art evolved from renegade form into an institutional staple of ever-bigger galleries and museums." The New York Times 09/16/07 |
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