residency – Art Spiel

May 22, 2023May 19, 2023, by Amanda Millet-Sorsa

Paige Beeber – on Phantom Thread

In conversation

By Amanda Millet-Sorsa

A person sitting in front of a large painting

Description automatically generated with medium confidence — Paige Beeber. Photo credit: Sharon Kendrick

Prior to her exhibition, Phantom Thread at Freight+Volume, Paige Beeber spoke with Amanda Millet-Sorsa at the artist’s studio in Brooklyn. Nestled into a Cube Smart storage space building in Gowanus on the edge of Red Hook, the studio is part of TI Studios. Beeber’s long family roots in Brooklyn date back to the early 1900s, as she continues to live and work in this borough. Her new work evolved from experiences she had at residencies in 2022 (DNA Residency in Provincetown, SARP in Sicily, and recently completed her fellowship at The Helene Wurlitzer Foundation). Her work exists between narration, figuration, and abstraction and largely uses the repurposing of her own past paintings that transform into new patterns, motifs, and imagery in new paintings. Ritual and community play an essential role in the stitching of new narratives.

April 28, 2023April 16, 2023, by Amy Brady

Susan Hoffman Fishman in Burning Worlds

HOT AIR

Map

Description automatically generated — Susan Hoffman Fishman, The Earth is Breaking, Beautifully VII: Dead Sea Sinkholes, acrylic, oil pigment stick, cyanotype and mixed media on paper, 51” x 51,” 2023

Susan Hoffman Fishman is an artist who has addressed climate change for many years both in context of her own work as an artist and in her writing on other artists’ work in that arena. Hoffman was first interviewed with Burning Worlds about four years ago and has recently been interviewed there again on her latest series of paintings depicting coastline sink holes and other landscapes impacted by climate change,

October 17, 2022November 2, 2022, by Art Spiel

Residency at Five Points – Flood 2.0

In Conversation with Susan Hoffman Fishman

L to R: Judy McElhone (founder and director of Five Points Arts), Susan Hoffman Fishman, Krisanne Baker and Leslie Sobel (three of the four Water Women) at the Center in June, 2022, amongst components of their upcoming multi-media installation, *Flood 2.0.*

In July of 2021, artist Susan Hoffman Fishman began talking with Canadian photographer, Joan Sullivan about the eerie similarity between future apocalyptic flood predictions and the ancient story of Noah and the world’s first apocalyptic flood. The two artists have known each other through writing, both serving as core writers for the international blog, Artists and Climate Change. Both artists have been working on issues relating to water and the climate crisis and are equally interested in mythical stories related to water that resonate in contemporary culture. That led them to weekly conversations throughout 2021 when they decided to collaborate on a multi-media installation project, which they eventually called Flood 2.0.

September 19, 2022December 30, 2022, by Etty Yaniv

Habby Osk: No Tricks Involved

Habby Osk, Installing at Undercurrent for the solo exhibition Connectivity, 2020, photo credit Andrew Hendrick

Habby Osk’s work rests upon basic physics—gravity, balance, movement, time and force. These concepts are the concrete medium for her artistic practice which toys with the limits of balance and stability using gravity and force. Through sculpture, photography, and installations, Osk reveals a tension between movement and stillness by placing objects in seemingly unstable positions, capturing a moment of perpetual precarity. These compositions of fragility emphasize the potential for destruction but within an equally mirrored state of balance and stability using a variety of materials such as concrete, wood, aluminum, wax, sugar and jello. Her work references impermanence and the contingency of an action—probing how far objects can go without tipping over, to capture the moment of stillness before a looming collapse or transformation over time.

November 29, 2021October 29, 2021, by Etty Yaniv

Juan Hinojosa: Ensemble Iconographies

A person standing in front of a wall with art on it

Description automatically generated with medium confidence — Juan Hinojosa in studio during LMCC residency

New York based artist Juan Hinojosa collects found objects from everywhere he passes by. A toy snake, a wooden bird, a Good Luck charm, fragments from advertisements and billboards—find their way into his intricate compositions, creating altogether layered sculptural assemblages and intricate two dimensional collages. In both dimensional and flat formats, Hinojosa’s vocabulary is grounded in Pop aesthetics with a tint of Surrealism. Through super vivid colors and elaborate graphic shapes he depicts imaginary worlds where extravagant shrines and hybrid flowery creatures become a convincing presence. When you get closer, you can most likely trace where they came from.

September 27, 2021September 27, 2021, by Etty Yaniv

Lauren Whearty: Slippage between Abstraction and Image

*Lauren Whearty in her Philadelphia Studio, August 2021, photo courtesy of the artist*

Lauren Whearty paints mostly still life from observation and preliminary sketches. Occasionally she takes photos of things which serve in her painting process as cues to spark a sense of memory rather than a source for likeness. She builds her compositions with a collage-like construction, adding and removing objects from both the paintings and the still life set ups. She loves the process of fitting things into the grid of the canvas, playing between representing objects and maintaining a close sense of the flat painted surface. “Color for me is expressive, connects to memory and play in the studio. In using repeated objects, the excitement in experimentation comes from how an object is painted, from their color to their expression and what I can get paint to do,” she says.

May 30, 2020May 30, 2020, by Etty Yaniv

Artists on Coping: Elizabeth Riley

During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.

*Factory Fresh,* 2019; Video stills inkjet-printed on paper and fabric, repurposed laser-cut metal, 120 x 108 x 24”

Elizabeth Riley’s art addresses questions concerning the complex and changing world we inhabit and our “mixed reality,” living between physical and digital/virtual contexts. This project includes sculptural wall works, installations, and tabletop cityscapes, made from a combination of video, video stills, and diverse materials. A longtime New Yorker, the artist graduated from Barnard College and received an MFA from Hunter College. In 2019 her work was presented in Ribbons Become Space, a solo show at SL Gallery in New York City. This show included the Dragons of Iceland Installation, a 2011 sculpture/installation with multiple live video elements, as well as, two large-scale, site-specific wall sculptures made from video stills. Elizabeth Riley curated and participated in Trill Matrix at The Clemente Center on New York City’s Lower East Side in 2018, a show of seven dynamic women artists.

May 9, 2020April 4, 2020, by Etty Yaniv

Artists on Coping: Lasse Antonsen

During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.

Lasse Antonsen in Assens, Denmark, during a residency in 2018, talking about his early years as an art student at the Experimental Art School in Copenhagen

Lasse Antonsen is an artist, art historian, and curator. He was born in Copenhagen in 1947, and attended the Experimental Art School as a teenager. After living in Spain and Morocco, Antonsen studied art history at Copenhagen University. Moving to the US in 1978, he continued his studies at Tufts University. He received an MA in art history in 1985. Antonsen was a researcher at the ICA in Boston, and for 25 years director of the University Art Gallery at University of Massachusetts Dartmouth, where he, among others, presented the work of Ana Mendieta, Frank Stella, Ilya Kabakov, and Nancy Spero.

October 7, 2019November 15, 2020, by Etty Yaniv

Elizabeth Velazquez: All Realities

Elizabeth Velazquez, Cigar Factory Final Exhibition, 2019, installation view- 2 of 4 rooms, photo courtesy Sakeenah Saleem

Elizabeth Velazquez makes powerful installations in response to the history and geography of a site. While her work often unleashes dark secrets from a hidden past with particular sensibility to social injustice, it also elevates our gaze upwards, conjuring an essence of spirituality out of the materials she is using. The artist shares with Art Spiel the ideas and process behind her recent body of work.

January 22, 2019May 6, 2019, by Etty Yaniv

Elisabeth Condon – Responding to Contingency

Elisabeth Condon, Plant Life, 2018, ink, acrylic on parchment, 144 x 32, photo Jim Reiman

Elisabeth Condon is a traveler in life and art. Her large scale scrolls, installations, and paintings entice the viewer to join her in adventurous excursions of new and imaginative landscapes. The artist’s innate sensibility for color, pattern, and form, ignited by an insatiable curiosity for cultural intersections, have resulted in an outstanding body of work. For Art Spiel, Elisabeth Condon sheds some light on her dynamic mode of visual quest, and on-going projects.