Exhibitions: First up is the DUMBO ARTS FEST, September 26-28. Teri Hackett and I are putting together a show in the studio at 68 Jay Street, so please save the date. Toward the end of October I have a few exhibitions on the calendar including "Exchange Rate" with Robert Yoder/SEASON at Theodore:Art and "Abstraction and its Discontents" at Storefront Ten Eyck, both in Bushwick. (More details and links to come.)
Teaching: I'm looking forward to teaching two MFA seminars, one at my alma mater, the University of Connecticut in Storrs, and the other at the venerable Pennsylvania Academy of Fine Arts in Philadelphia where I'll also serve as a Visiting Critic. In November, I'm heading north to spend a couple days at Maine College of Art in Portland. I'll give a presentation about my own work and visit the painting studios. I hope it doesn't snow.
With several writing projects and panel discussions lined up, too, I should be pretty busy, but I plan to see plenty of exhibitions in both Philadelphia and NYC--and I hope to see everyone there.
Image above: Photographing small work in the studio at 68 Jay Street, August 2014.
curated by Justine Frischmann
June 7 - July 12, 2014
Reception Saturday, June 7, 4:00 - 7:00 PM
Press Release: For exhibit 39 we are pleased to present Brooklyn Bridge, a group show of fourteen contemporary Brooklyn painters, guest curated by painter Justine Frischmann, and showcasing works by Andrea Belag, Katherine Bradford, Farrell Brickhouse, Sharon Butler, Clare Grill, Clinton King, Chris Martin, Saira McLaren, Paul DeMuro, Mike Olin, Paul Pagk, Jason Stopa, Julie Torres and Wendy White.
Frischmann draws parallels between her experiences with the London Punk revival of the '90s and the current resurgence of raw painting in New York neighborhoods such as Bushwick and Red Hook, making a case for a community-driven aesthetic.
As Frischmann states, "They are closely knit, talking, arguing, listening, competing, supporting each other. Working and living and partying together. They have nothing to lose because no one is listening to them anyway. And then, one by one, they start 'breaking' and all of a sudden, the critics start writing about a movement. And it has power because it didn’t just come from the journalists or the advertising execs, it comes from the streets, from grass roots, from something that had been forming and gaining power for years. It has the advantage of multiple view points and shared experience, a large and complex network of people behind it."
A color 42-page catalog with commentary by George Lawson and Justine Frischmann accompanies the exhibition.
315 Potrero Avenue (at 16th St.)
San Francisco, CA 94103
Image at top: Sharon Butler, Agnes Martin, 2013, pigment and binder, pencil on canvas, 14 x 14 inches.
Pier 36 at Basketball City
299 South Street on the East River
New York, NY 10002
More images available at https://www.behance.net/gallery/16152157/NADA-NY-2014-Sharon-Butler-and-Elisabeth-Kley
Saturday, May 10: 11am–7pm
Sunday, May 11: 11am–5pm
Image at top: Sharon Butler, Gas Grill Assembly, 2014, pigment and binder on canvas with graphite, 66 x 84 inches
From the press release:
The exhibition examines alterations, inversions, erasures, cover-ups, cut-aways, strike-throughs and other amendments in vision, thought and execution by contemporary artists working in a variety of mediums and methodologies.
In the Oxford English Dictionary, the word redact is defined simply as “to edit,” as one might prepare a document for publication. But in the 20th century the term took on a broader depth of meaning inferring myriad associations to obfuscation, disinformation, censorship and the almighty non-sequitur. In contemporary culture, the word “redacted” has connotations that go deeper than blacked out C.I.A. documents. Deletion or disinformation – redactions – in nonfiction can have the effect of turning truth into fantasy. Excision or concealment in written, auditory, or film and video material might alter history, obscure entire hypotheses or convert, disguise or transform content. In the visual brain, imagery can be eclipsed by ocular migraines or sun blindness resulting in a redacted visual field, and in psychology, trauma can result in whole areas of memory that cease to be accessible. But since 1953, when Robert Rauschenberg spent that long month erasing one of Willem de Kooning’s favorite drawings, the idea of redaction has been central to the concept of altered content in visual art.
Organized by Marie Thibeault.
Curated by Brece Honeycutt, featuring work by Sharon Butler, Peter Dudek, Victoria Palermo.
The Atrium Gallery
Union College Visual Arts Department
807 Union Street
Schenectady, NY 12308-3107
Gallery hours: Monday through Friday, 9:00 am to 8:00 pm. All events are free and open to the public
Image at top: Sharon Butler, Wall of paintings, 2014.
Please join us for the Curator's Talk and Opening Reception on Friday, February 7, 5-8pm.
The ten artists in "Smart Painting," an exhibition at New Haven's Artspace Gallery, are an inquisitive group, asking a range of questions, which, at their most basic level, include: What should a painting look like? How should I paint it? What should I paint it on? Beginning with simple questions like these, each of the artists believes (more than most painters) that how they paint is as important as the image they paint.
Location: 50 Orange Street
(corner of Orange & Crown)
New Haven, CT 06510
Wednesday / Thursday 12–6
Friday / Saturday 12–8
Sunday / Monday / Tuesday • CLOSED
p • 203.772.2709
f • 203.772.0850
e • info[at]artspacenh.org
Image at top: Sharon Butler, Air, 2013, pigment and binder, pencil on linen tarp, 12 x 12 inches.
Just outside DC at Adah Rose Gallery, Brooklyn artist and writer Brian Dupont has curated "Residue" an exhibition that celebrates contemporary artists' gleeful, unapologetic, and often imperfect use of masking tape. Featuring work by Sharon Butler, JD Hastings and Toni Tiller, Steven Charles, and Michael Calaghan.
Through February 9, 2014.
Adah Rose Gallery
Adah Rose Bitterbaum, Director
3766 Howard Ave
Kensington, Maryland 20895
For more information:
Image above: Sharon Butler, Processing Air, 2013, latex enamel on linen tarp, site specific project. Click here to see the entire image and more details about the show.
What an unexpected and gratifying development. I'm thankful for all the friends, family, colleagues, universities, and arts institutions who have supported me since I started Two Coats of Paint back in 2007. And congratulations to all the other grant recipients. For anyone who submitted applications this year and was rejected--keep trying. This isn't the first time I applied.
From the press release:
The Creative Capital | Warhol Foundation Arts Writers Grant Program is
pleased to announce the recipients of its 2013 grants. Designed to
support writing about contemporary art, as well as to create a broader
audience for arts writing, the program aims to strengthen the field as a
whole and to ensure that critical writing remains a valued mode of
engaging the visual arts.
In its 2013 cycle, the Arts Writers Grant Program has awarded a total of 619,000 USD to twenty writers. Ranging from 10,000 USD to 50,000 USD in four categories—articles, blogs, books and short-form writing—these grants support projects addressing both general and specialized art audiences, from scholarly studies to self-published blogs.
Melissa Messina, Mildred Thompson: Making the Invisible Visible (Savannah, GA)
Federico Windhausen, Narcisa Hirsch, the Goethe Group, and Argentine Experimental Cinema During the Dirty War (Oakland, CA)
Sharon Butler,Two Coats of Paint (New York, NY)
Ed Fuentes, Paint This Desert (Las Vegas, NV)
Andrew Horwitz, Art Criticism for the Post-Material World (Brooklyn, NY)
Monica Amor, Gego: Weaving the Space In Between (Philadelphia, PA)
Jennifer Bajorek, How to Write a Visual History of Liberation: Photography and Decolonial Imagination in Africa (Brooklyn, NY)
George Baker, Lateness and Longing: On the Afterlife of Photography (Los Angeles, CA)
Claudia Calirman, A Study from the Margins: Female Practices in Brazil and Chile
(New York, NY)
Kellie Jones, Art is an Excuse: Conceptual Strategies 1968-1983 (Brooklyn, NY)
Saloni Mathur, A Fragile Inheritance: Radical Stakes in Contemporary Indian Art
(Los Angeles, CA)
Lizabeth Paravisini-Gebert, Troubled Waters: Ecology and History in 21st-Century Caribbean Art (Poughkeepsie, NY)
Krista Thompson, The Visual Economy of Light in African Diasporic Aesthetic Practice (Evanston, IL)
Andrew Berardini (Los Angeles, CA)
Robert Berlind (New York, NY)
Travis Diehl (Los Angeles, CA)
Travis Jeppesen (Berlin, Germany)
Jennifer Kabat (Margaretville, NY)
Kate Sutton (Nashville, TN)
Kaelen Wilson-Goldie (Beirut, Lebanon)
"CLOUDS" is a huge group show featuring more than fifty of my favorite artists, organized by Adam Simon. Opening reception: December 15, 6-9 pm.
Lesley Heller Workspace, LES, New York, NY.
December 15 - January 26, 2014.
Artists include Michele Araujo, Valerie Hegarty, Zach Rockhill, John Baber, Lisa Hein, Hanneline Røgeberg,Perry Bard, Eric Heist, Bob Seng,David Brody, Elana Herzog, Ward Shelley, Deborah Brown, Brece Honeycutt, Lisa Sigal, Sharon Butler, Patrick Killoran, Susan Silas, Caroline Cox, Byron Kim, Adam Simon, Paul D’Agostino, Greg Kwiatek, Tim Spelios, Nuno de Campos, Kerry Law, William Stone, Peter Dudek, Eric LoPresti, Richard Sullivan, Joy Episalla, Thomas Micchelli, Jude Tallichet, Rochelle Feinstein, Matthew Miller, Kate Teale, Hermine Ford, Loren Munk, Mark Tribe, Matt Freedman, Edie Nadelhaft, Fred Valentine, Munro Galloway, Laura Newman, Daniel Wiener, Rico Gatson, Bruce Pearson, Carrie Yamaoka, Ben Godward, Liza Phillips, Jacqueline Gourevitch, Cathy Quinlan, Larry Greenberg, Beth Reisman, Charles Hagen
Note: I contributed the little painting pictured at the top of the post. It's from a new series of 18 x 24 inch oil studies painted on hand-stretched canvas. Info: Sharon Butler, Rooftop structure, 2013, oil on hand-stretched canvas, 18 x 24 inches.