The B&W Project, Presents its fifth Exhibition at Gallery Transmitter NY. Curated by Yifat Gat, the beautiful installation has been hanged by Rob de Oude. thanks to Rob and Transmitter team, Laura Charlton, Michael Woody and Julia Gat. thank you Ky and Andy for the pics.
Gallery Transmitter is our partner for the B&W Project NY. Transmitter is a collaborative curatorial initiative based out of Brooklyn New York, focusing on programming that is multidisciplinary, international and experimental. The Gallery was founded in 2014 by Rob de Oude, Carl Gunhouse, Sara Jones, Rod Malin, Tom Marquet and Mel Prest. In 2015 Jen Hitchings joined the curatorial team.
"The Black and White Project" is an ongoing exploration that started as a curatorial post on the L&L blog. In 2014 it was expanded into an exhibition at the L&L Gallery. An accompanying publication includes works by 100 artists from around the world was added specifically for the London Sluice Art fair. A print edition with works by 6 artists, printed by Atelier Tchikebe, was added to the project last year. This will be the fifth exhibition of the Black & White Project, this time at Transmitter, with around 60 artists from around the world.
Alain Biltereyst, Andrew Seto, Armelle De Sainte Marie, Béatrice Beha, Ben Alper, Benjamin Gardner, Brian Cypher, Brian Edmonds, Brynn Higgins-stirrup, Catherine Haggarty, Christine Mahoney, Claire Colin-Collin, Daniel G. Hill, David Rhodes, Didier Petit, Don Voisine, DotsToLines, Emily Noelle Lambert, Eve Aschheim, Espen Erichsen, Gabriele Herzog, Gary Petersen, Guy Yanai, Heidi Pollard, Ian White Williams, Izabela Kowalczyk, Jasper van der Graaf, Jeremie Delhome, Jérémy Laffon, Joris Brantuas, Justine Frischmann, Katherine Bradford, Karl Bielik, Ky Anderson, Lael Marshall, Laura Charlton, Leeza Doreian, Lina Jabbour, Lydia Rump, Matthew Deleget, Marion Piper, Mandy Lyn Ford, Marie-Claude Bugeaud, Mark Sengbusch , Meg Lipke, Michael Voss, Michel Barjol, Niall De Buitléar, Oriane Stender, Paul Pagk, Patrice Pantin,Pete Schulte, Peter Shear, Rieko Koga, Richard van der Aa, Ruri Yi, Robert Otto Epstein, Rosaire Appel, Tilman Hoepfl, Ward Schumaker, Yoav Efrati.
Women of Abstract Expressionism @ Danver Museum. curated by Gwen Chanzit.
June 12, 2016 – September 25, 2016
The groundbreaking exhibition Women of Abstract Expressionism will celebrate the often unknown female artists of this mid-twentieth-century art movement. More than 50 major paintings will be on view by artists working on the East and West Coasts during the 1940s and '50s:
Mary Abbott, Jay DeFeo, Perle Fine, Helen Frankenthaler, Sonia Gechtoff, Judith Godwin, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, Deborah Remington, Ethel Schwabacher
This will be the first presentation of works by these artists together at one time.Women of Abstract Expressionism will focus on the expressive freedom of direct gesture and process at the core of abstract expressionism, while revealing inward reverie and painterly expression in these works by individuals responding to particular places, memories, and life experiences.An original video made for the exhibition will include accounts about exciting moments in these artists' lives, as well as issues affecting women during this time period. An illustrated catalog is available in The Shops at the Denver Art Museum.
The exhibition is organized by the Denver Art Museum and curated by Gwen Chanzit, the museum's curator of modern art. After the DAM, the exhibition will travel to the Mint Museum, Charlotte, in October 2016 and the Palm Springs Art Museum in February 2017.
"Working with duo-tone as a graphic designer before everything was computerized, we had to choose between two options , 2 colors or 4 colors. the duo-tone being the cheapest. those machines couldn't separate colors, so we gave them the design in black and white, and choose the colors out of a catalog, just like in the silk screen process.
that strategy stayed with me, i like to think i know how to hold a frame even without colors. and than being a colorist, i like to choose and add them in a designer like mode.
Before this show came up , i realized i want to work with brown and a color, and not just any two colors. thats why the show was named brown. true that later in the process i realized the pink series is too complete to ignore, so it became the show, suddenly BROWN wasnt true information, and stayed more like a joke" Yifat Gat @ OT Cornillon-Confoux 30.4-13.5
LES DESSIN S'ENGAGE
La collection de l'artothèque en dialogue avec
LOOK&LISTEN / Schema Project NY / Atelier Tchikebe
Armelle De Sainte Marie, Audrey Stone, Brent Hallard, Catherine Haggarty, Claire Colin-Collin, Claude Viallat, Didier Petit, David Ambrose, Enrico Gomez, Ernest Pignon-Ernest, François Morellet, Gabriele Herzog, Gary Peterson, Izabela Kowalczyk, Jeremie Delhome, Joris Brantuas, Jeremy Laffon, Ken Gray, Ky Anderson, Laura Charlton, Lawrence Swan, Mary Judge, Matt Kleberg, Meg Lipke, Nelio, Paula Overby, Philippe Chitarrini, Rieko Koga, Richard Van Der Aa, Rob de Oude, Robert Otto Epstein, Oriane Stender, Shawn Stipling, Tilman, Ward Schumaker, Yifat Gat.
Opening 26.4.2016 @ Artothèque, Miramas.
Drawing as a form of commited engagement, politicly as visually.
Co-Curated with Beatrice Bea.
Expo till 28.5.2016
Lately I've been talking to my friend Catherine, about how lucky we are to be doing what we do, and so together we decided to set on a journey to find out what other painters feel grateful for, here goes:
Being a painter, what are you grateful for ?
1. Never having to get dressed up
2. An intense, immersive kind of life
3. The chance to look at interesting things all the time. My horror of being thrown in prison is mainly that I’d have nothing to look at...but maybe after awhile I’d adjust and form a new aesthetic.
Eleanna Anagnos, Brooklyn, N.Y.
"I’m grateful that coloring outside the lines is my job; that embracing my weirdo self is encouraged; for the privilege of learning from and being inspired by creative, thoughtful idiosyncratic humans; for existing in a place of wonderment and finding the magic in the everyday; for living in this stimulating, crazy, diverse city, that I call home; for community and the privilege of being a part of a very special art collective, the love and support I’ve received for being me and doing what I do ~ the privilege of choosing the path less chosen, off-roading, so to speak, there are more obstacles but it's WAY more fun!"
Paul Gagner, Brooklyn, N.Y.
"This will sounds strange, but I'm grateful for my anxieties. The reason being, is that I believe that my anxiety prods me to work harder and to keep tweaking a painting until it's reached an ideal state of "compelling awkwardness." It's also that same awkwardness that can be it's own kind of anxiety.
I'm also grateful for time. While I'm not the slowest painter that I know, I'm also not always the fastest. Sometimes a painting comes really easy. You don't have to think about it and it just flows out of you. Other times, it feels the painting is sabotaging you ever step of the way. Time is a crucial component to making a painting. I spend a good deal of time looking and thinking. I'll write down everything that's running through my mind: what the painting is trying to say, my expectations of the painting, any associations, my frustrations with it and life, etc. It can get ugly. But it can also be profound and "time" is the crucial ingredient.
Finally, the most important thing to be grateful for is an audience. While my paintings are very therapeutic for me, they would be meaningless without someone to share it with. For that, I'm especially grateful for my wife, Maureen, who is my favorite critic. She's very supportive, but always honest and insightful. If a painting doesn't cut the mustard with her, I'll rework it until it does. Also, a larger audience is important too, but I often feel like I'm making paintings for her and it's so satisfying when she likes them. That's the best feeling."
1. The community of passionate people that comes together around art, including painters and gallerists and writers — people who have committed to this very specific field of interest and are finding their own ways to be immersed in it. I love that painting culture connects people so strongly around the world and locally. I see that kind of shared vocabulary of interests as open and expansive rather than insular. It opens up possibilities.
2. The availability of such a rich history in painting. Paintings that are communicating across centuries.
3. Less pressure to be tidy or have great clothes. Painters should get a free pass there, right?
"I don't know that I am. I mean, sometimes, certainly, I am grateful to be a painter, but the question is nonetheless difficult. It feels more like a disease sometimes that you can never be rid of. You can sometimes hide the symptoms, but not for long. I don't mean to be dismissive or overly artsy, but you know, sometimes folks might say, 'Hey, you should make a big painting,' or 'Have you ever thought about painting on panel?' It's difficult to respond. I don't know that I consciously make all of those decisions. Like I wish maybe I had more control over the process of making a big painting or a small painting or a drawing or a rap video. I don't know that I have that control. I feel like a hunting dog that catches a whiff of something and then pursues it. Sometimes when you go a-hunting, you don't come home with a bunting (re. The Black Rider). Sometimes you do. You find out afterward. So, for painting and drawing (which should be thought of a prolegomenon) and curating and any other mode of thinking, I think I appreciate the hunt, or the pursuit or what Lacan might call, the "drive."
I like the way that this relates painting to life. You can not ever love fully, you do not ever spiritually 'arrive,' you never score an 18 on the golf course, and you never make the painting perfect. You never play enough with your children, you never prepare enough for your job and you never exercise, practice or devote your self enough. But you can get close. It's the 210yd 5 iron from the fairway that gets you back on the course. It's a moment with Cobalt Yellow Lake and Chromatic Black that make you feel like you've gotten a glimpse. It's a drawing that comes so much from you, that it appears foreign to you at first glance.
These are the things I appreciate about being an artist, in as much as I am a painter as such.'
"I am grateful that as a confused alienated youth, I stumbled across a medium that exists in time like a small plane; that functions like a perch to look out into the heavens, like a map that unfolds and extends into space, and that opens up below into a deep well that extends far down into the depths.
"I’m grateful for the opportunity to immerse in the visual as if it were a hallucination, for the ability to conjure images that connect to the known world as much as to the unknown and to make objects that have a capacity to look back at me with feelings or knowledge I don’t possess."
1. Freedom & equality: I found painting early, with tar brushes from my father’s boat building on the white washed walls on the farm. I painted what I knew into the lime whiting, which we used both as color and disinfectant. It grounded me, even as a young girl. I wanted to paint myself out of a society that seemed to diminish me based on class and gender.
2. Family & the community of people both local and global: The crime and punishment of that time for me was sexuality and adventure, and leaving the strict prosthesis of rules and customs behind. I had a real love of the land, of the things that our people had made, of songs that were sung and objects that were constructed out of need and tradition. I knew our land, every stone and ditch, by heart and yet, I knew I would leave it.
3. Solitude: I can be alone when i paint, in the most internal and meaningful way. It is the thing that wakes me up in the morning- and I see the world clearly through its lens. its a language that is deeply personal that for me communicates above and beyond other languages.
"I'm grateful to be able to sit in my studio alone for hours on end trying to make flat things breathe via puddles of colored goo via repetitive hand movements.
I'm grateful to be able to contemplate the ancient past and pretend I'm part cave person while painting. Painting is a portal to the past and the future. It encourages you to contact aliens and think about spiral galaxies in other parts of the cosmos. It encourages you to shrink down to the size of an tiny speck and engage in quantum shenanigans.
I'm grateful to live in this city and know so many amazing painters whose work inspires me and who I love to talk to."
"I feel lucky to have this contemplative life in the studio, away from the world, in a space that allows me to make my own world. I'm grateful for my close friends who inspire me with their words and their work as well as the opportunity to be a part of a much bigger, multilayered, and always changing art community in NY. At museums, I'm thankful for the potential to time travel while standing in front of a painting via the magic of imagination, to be transported to the mind and hand of the artist who made the painting and then return again, both feet on the ground, eyes and mind wide open."
"I love that you’re focusing on this theme. Gratitude is so important, and we rarely give it a forum. I’m so grateful to be an artist – to be able to work with my hands, to do something that’s therapeutic, that produces something concrete. Also, the fact that it is nonverbal! To be able to at least try to formulate a response to living in this world, in a medium beyond words… is really exciting. And truly, you yourself don’t really understand it. It’s a mystery for sure. You’re like a detective, following clues. It’s like a game; it’s play. (Although we’re always calling it work, a noun.) Painting is a craft so, no matter what, it’s grounded. It saves you."
"I am most thankful that I get to do what I love and live the life I want to live."
"The space between a paintings creation and resolve is something I am grateful for. The dedicated life of observation that painting has afforded me keeps me present & it keeps me company...even when I am totally alone. Ultimately, the company the paintings keep me in memory and the joy it brings me in dreaming it's conclusion is one of my greatest rewards.
More than anything though - I am most thankful for the community it has afforded me. Painting has opened up a world which once seemed too hard to enter and it has encouraged me to live a brave, challenging, and generous life. Being an artist lets me partake in and contribute to a living history that is part of a continuum greater than anything I will ever do by myself."
PAPER/PARIS is a new pop up mini art fair project by L&L, dedicated to works on paper, publications and editions. launched in march 2016, the event was located in the 3rd district in Paris. PAPER/PARIS aims to offer a unique melting pot for artists, art professionals and the public, through gathering international galleries at the heart of Paris, during the drawing week.
The first edition included the following galleries:
Schema projects artists for this year are :
Paula Overby, David Ambrose, Rosaire Appel, Katarina Denzinger, Scott Espeseth, Ken Gray, Mary Judge, Meg Lipke, Matt Kleberg, Audrey Stone, Lawrence Swan, Oriane Stender, Robert Otto Epstein, Vitor Mejuto, Andrew Zarou, Ward Schmaker, Brent Hallard.