Does a Moon Move
Opening Reception: Sunday Sept 17, 7-8 PM
Does a Moon Move ?
-Yes, but if you are claiming that you actually saw the moon moving, then I guess it is probably the vision caused by surrounding moving clouds.
There are works in this show which allude, obliquely, to windows and landscapes; some of the visions resemble a planetary schematic or a cliff-face adorned with ancient petroglyphs. Surfaces are carved into and cut-out, accumulated over time; light and shadow is harnessed in appropriate measure to yield material re-workings of memory and place. These artists suggest narrative through faded Kodachrome, and anchor their stories with text, symbol, and objects. We are pleased to bring these yearners and romantics together.
Emily Davidson & Stuart Lorimer
at the New York Studio School
Wednesday, July 5th through Wednesday, July 19th
"The aim of such study is to develop--through experience--by trial and error--an eye for color. This means, specifically, seeing color action as well as feeling color relatedness."
-Josef Albers, Interaction of Color
This Marathon will elevate and expand one's sensitivity to all aspects of color. We will place practice before theory to explore the wild richness of color functionality and mutability. Exercises will expand our understanding of hue, tone, saturation, deception, intervals, boundaries and color relatedness. We will prioritize conclusions based on firsthand observations and will trust our sense of sight above any preconceived notions of how a color might behave. Using colored papers and the teachings of Josef Albers, we will sharpen our awareness of the many ways that colors shift, bend, vibrate, radiate and co-create on the page. We will internalize a deep awareness of color and ways to work with color confidently.
All levels welcome! email: firstname.lastname@example.org for more information.
From the New York Studio School blog:
JANUARY 5, 2017 · 3:32 PM
Everything Is Sacred: Reactions to the Work of Merrill Wagner
By Kaitlin McDonough, January 2017
“Everything was sacred.”
These words, affirmed simply after a glowing pause, were Merrill Wagner’s response to my recent question, “What was it like to study with the painter Edwin Dickinson?” …To learn a way of thinking, seeing, making in which everything is regarded as profound.
Beyond speaking to Wagner’s formation, her recollection confirms a hunch and seems to offer a lens through which to understand Wagner’s process and the resonance of her work. Painting in a way that honors her found materials (slate, rocks, wooden fences, brick walls), Wagner establishes a humming vibration between these materials and the profound.
She orders with paint, subjecting the organic to the geometry of lines or the code-switching of landscape. Moving fluidly between opposing organization systems, her work is evidence of many co-existing pathways towards meaning.
For me, this is where a certain femininity enters. A femininity in which her works function as both discrete objects and as members of an ecosystem of artworks whose meanings shift and grow in constellation with one another and in constellation with their surroundings (man-made or natural). A femininity that collaborates with time, with weather, with other bodies, with context, with gravity. A femininity that does not depend on rectangles. A femininity of connections that many artists, both male (think Sigmar Polke or Andy Warhol) and female, have intuited and with which they have infused their work.
It is not an aesthetic or a gender, but rather an orientation to the world–and to the stuff of the world–as mutable and as part of an ongoing dance of co-creation.
Her works on paper generate a rhythmic delight while simultaneously and unabashedly revealing the strategy of their making. This equality of image and process is deeply satisfying, deeply affirmative of a wisdom as down-to-earth as it is great.
Merrill’s work is marvelously sensual. It arouses satisfaction of the senses. It is impossible to relate to her paintings as singularly image or primarily as image. Looking at her work cannot be separated from measuring one’s body in relation, cannot be separated from a sense of the smooth heaviness of slate or the bumpy firmness of rock–how one may be within a circle of rocks, far from them, or beside them.
Deeply sensual and deeply intelligent, Merrill’s work proves the arbitrariness of names through the juxtaposition of colors. “Cadmium yellow” as language is rendered meaningless when embodied by many distinct squares of yellow packaged under the same name. The name takes a backseat to the overwhelming reality of the color itself. It is one thing to understand this concept with our rational minds and another to have it become a self-evident verity through the experience of the work itself.
The tender resourcefulness and generous strength of Merrill’s work leaves me with an overwhelming feeling of hopefulness. Her work is a testament to the true liveliness that results from a practice grounded in respect and curiosity, interconnection and integrity, painterly joy and material presence.
It is has been an honor and a thrill to host these works at the New York Studio School.
Thank you, Merrill Wagner!
Kaitlin McDonough is Program Coordinator and a member of the Drawing Faculty at the New York Studio School.
Merrill Wagner at the New York Studio School Gallery, November 21, 2016- January 8, 2017
2MF with Kaitlin McDonough: The Poetics of Performatives
Saturday, June 25, 2016
Orgy Park 237 Jefferson Street 1B, Brooklyn, NY 11237
Mantra, interior monologues of long-distance runners, voiced opinions of doctors, certain creation myths, experiments with water molecules, and a three letter word that led to epic love—this meeting will open a discussion on performative language and the potency of certain words to effect extralinguistic change.
We will look at the structure and characteristics of performative utterances to better understand the remarkable ways that saying can, at times, constitute doing.
Emphasis will be placed on the social requirements necessary for performatives to function as we question: what is demanded of the hearer if the performative is to have effect? is intentionality of the speaker necessary for the performative to work?
We will experiment by giving voice to a range of performative utterances so as to better muse upon how they work, when they work, and the fuzzy gray space between sound and substance.
“How Performatives Work” by John R. Searle, Linguistics and Philosophy, 1989, Kluwer Academic Publishers
Touching Feeling by Eve Kosofsky Sedgwick, Chapter 2: "Around the Performative: Periperformative Vicinities in Nineteenth-Century Narrative", Duke University Press, Durham & London, 2003
All interested participants welcome!
**Listen to the podcast recap on Clocktower Radio**
Momenta Art Spring Benefit
Amanda Friedman, studio image, 2014. photo credit: Carmen Kende
December 16 - January 16, 2015
Opening reception: Tuesday, Dec 16, 7-9 pm
219 36th St, 4th Floor in Sunset Park, Brooklyn, 11232
Gregory Amenoff • Sonya Derman • Amanda Friedman
Nora Griffin • Stephanie Gonzalez-Turner • Jon Kessler
Jenni Knight • Reuben Lorch-Miller • Nicole Maloof
Robbie McDonald • Kaitlin McDonough • Sophy Naess
Kendra Sullivan • Katie Vida • Sam Payne
Brie Ruais • Maria Stabio • Carolyn Salas
Organized by Brie Ruais and Maria Stabio
Is Catharsis a dirty word? Depending on your perspective, maybe. We no longer have socially formalized journeys for catharsis. Means for transformation exist primarily on the couch of your psychiatrist’s office or in rituals employed under the pressure of trauma, tragedy, and desire. Artists have to invent ways to transition, break from the past, release Deleuzian blockages, and transform.
In the text Going Public by Boris Groys, he proposes that Modernism was all about purity. But it’s more religious than that. It was about purifying our souls through art-making. Or, maybe, making art of a pure aesthetic which would then in turn purify its maker. What is catharsis if not purification? Relief. Release.
We are embarrassed of the cathartic artwork because it reveals vulnerability, a loss of control, a subject in search of bareness. We shroud it in formalism and theory. We spelled it backwards because we didn’t want to turn people off this exhibition. But, spelled backward, it becomes a place to visit: Sisrahtac.
|Maria Stabio, One Ballsy Lady, 2014, graphite, embossing powder and transfer paper pigment on panel, 18 x 14 inches.
|Nora Griffin, Diamonds and Rust, 2014, gouache and egg tempera on paper, 16 x 16 inches. Photo credit: Stan Narten
All the Way to Heaven, is Heaven
MFA Thesis Exhibition
April 9th to 12th, 2014
Opening Reception: April 11th, 6-8pm
Gallery Hours: 11am-6pm
Tyler School of Art
2001 N. 13th Street
“All the Way to Heaven, is Heaven” is a quotation from the 14th century mystic St. Catherine of Siena. It is also reminiscent of the 1987 pop song “Heaven is a Place on Earth” by Belinda Carlisle. These two poles—a mystery-embracing religiosity and a love of cheeky dance music—coalesce into a methodology that seeks transcendent joy through the enacted living of life (rather than relegating ecstatic moments exclusively to a future ultra-worldly realm or seeking escape from the immanent through withdrawal from the everyday). Using the material stuff of life to go beyond life’s weight marks the starting place for McDonough’s painting practice and is literally reflected in her work. Many paintings combine discrete objects (a t-shirt, feathers, spoons) with formally directed oil painting in order to search for non-illusionistic ways of playing in the mutable space between the flat picture plane and a fully dimensional world.
Born in New Jersey in 1984, Kaitlin McDonough earned her BFA in Painting from Boston University, Summa cum laude, in 2007. She then relocated to Venice, Italy where she lived and worked for five years as the Program Coordinator of Boston University’s Venice Studio Arts Program and in collaboration with the Scuola Internazionale di Grafica. McDonough’s paintings have been exhibited throughout Italy (in Venice, Rome, Vicenza, Bologna, Verona) and in Boston, New York, and Serbia. She is the recipient of the Constantin Alajalov Scholarship, the Harold C. Case Memorial Scholarship, the Temple University Project Completion Grant, and has participated in a residency at the Vermont Studio Center. Her work has been cited in Vogue Italia and is represented in Italy by Galleria Atlantica of Vicenza.
Pad. 25 Stand A/63
Panelists: Martin Blake, Anthony Campuzano, John Emison, Kaitlin McDonough, Shanna Waddell, and Misha Wyllie