Tag: book arts

Posted on , by Etty Yaniv

Americans Looking In at The Center for Book Arts

In Dialogue with Emilie Ahern and Sherri Littlefield


The curators, Emilie Ahern (left) and Sherri Littlefield (right), stand in the exhibition space among the works from Americans Looking In. Photo credit: Andrew Littlefield

In the thought-provoking group show Americans Looking In at the Center for Book Arts the curators Emilie Ahern and Sherri Littlefield explore what it means to be “American” mostly through media such as photography, book art, sculpture and prints. Their personal experience of coming from multicultural backgrounds and growing up in the States has prompted them to ask the question – What is American culture today, and what does an American look like?

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Posted on , by Etty Yaniv

Paulette Myers-Rich – Eyes with a Sense of Touch 

Soft Black Petal, silver gelatin print, 20×24”, 1985

Paulette Myers-Rich ‘s photography-based art books and prints reference abstracted landscapes where industry and nature intersect. Paulette Myers-Rich has consistently focused her gaze on the very moment of transformation in both interior and exterior spaces, when a place, nature, history, altogether shift. The artist shares with Art Spiel how she has developed her practice, her notions on book making, and how she sees her role as an artist today.

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Posted on , by Etty Yaniv

Intermediate Geochromatic Studies at Nars

In dialogue with Jason Urban & Leslie Mutchler on their collaborative project at Nars Foundation

Jason Urban & Leslie Mutchler, Intermediate Geochromatic Studies at NARS Foundation, installation view, 2020. Photo courtesy of the artists.

Artists Jason Urban and Leslie Muchler who have been collaborating on art projects since 2012, share with Art Spiel their ideas, process, and ways of collaborating on their current exhibition, Geochromatic Studies, at NARS.

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Posted on , by Etty Yaniv

Anne Gilman: Marking Beneath the Surface

Anne Gilman, Up close / in the distance / now, 2018, pencil, graphite, tape, ink, BIC ballpoint pen, matte medium on mulberry paper, 340 x 38 inches, photo courtesy of the artist

The surface of Anne Gilman’s scrolls and drawings is characterized by incisive and often repetitive graphic marks which altogether create portals to the artist’s fluid emotive states.  In her Interview for Art Spiel, Gilman reflects on the roots of her intricate process-oriented approach and also sheds light on some of her current projects. Continue reading “Anne Gilman: Marking Beneath the Surface”

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 Rosaire Appel – Cajoling sound and image

Rosaire Appel, your face, abstract comic, 2016, 16×20” pigment print, photo courtesy of the artist

Rosaire Appel ‘s rigorous graphic explorations reveal an acute sensibility to the elusive line between language / sound and image. Her skills as a photographer, writer and draftswoman seamlessly coalesce in her book forms. We first met when I covered her exhibition at Schema Projects in 2013 – her  abstract comics engaged me with their endless imaginative iterations and I have been curious to learn how her work has evolved since. Continue reading ” Rosaire Appel – Cajoling sound and image”

Posted on , by Etty Yaniv

James Castle: People, Places & Things at the NY Studio School

James Castle (1899-1977), Untitled (drive-through tree), n.d. Found paper, soot, 5 7/8 x 7 3/4 in. CAS09-0179 © 2008 James Castle Collection and Archive LP, All Rights Reserved
James Castle (1899-1977), Untitled (drive-through tree), n.d. Found paper, soot, 5 7/8 x 7 3/4 in. CAS09-0179
© 2008 James Castle Collection and Archive LP, All Rights Reserved

The exhibition James Castle: People, Places & Things, curated by Karen Wilkin and currently on view at the New York Studio School Gallery, features over fifty important works and ephemera, surveying Castle’s diverse modes of working. It runs the gamut from his well-known drawings of farmyards and interiors to the less familiar depictions of house, machines, clothing, and people, to his books and objects. It includes even more rarely exhibited objects – some sources for his imagery borrowed from the James Castle Collection and Archive LP and from the William Louis-Dreyfus Foundation. In her curatorial statement Wilkin says she aims to affirm why Castle should be regarded as an American master. Indeed, the breadth of his work is jaw dropping and the emotional resonance is deeply moving.

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