Abstract Heart

FOCUS: Abstract Heart Abstract Heart: Passion, emotion, deeply-held beliefs – how do we express and convey these concepts through an abstract vocabulary? Abstract Heart solicits work that speaks from the soul through a personal visual language. ... Read more www.woodstockart.org March 17 – April 29, 2018 Juried by Katie Schmidt Feder,  Director Garrison Art Center EXHIBITING ARTISTS:  Paulette Esrig, Nils Hill, Henry Klimowicz,  Jerry Michalak, Samantha Palmeri, Tracy Phillips, Stephen Rose, Barbara Smith,  Kat Stoutenborough, jd weiss GALLERY TALK: FRI. MAR 23, 5 PM RECEPTION: MAR 24, 4-6 PM

I'm pleased to be part of this show opening March 24th in Woodstock, NY. 

I'll have three paintings in it. And how nice they used my image for their advertising!

FOCUS: Abstract Heart

jd weiss, water dance, archival pigment print on panel, 20×20 inches

Samantha Palmeri, Meadow, 2018, oil on canvas, 36 x 36 inches

Tracy Phillips, all dressed up, watercolor on paper, 7 x 10 inches 

Kat Stoutenborough, undone, fabric, metal, light fixture, 39 x 82 inches

Henry Klimowicz, Liken Lichen #3, 2016, cardboard, 24×24 inches

March 17 – April 29, 2018

Gallery Talk: Friday, March 23, 5 PM

Reception: Saturday, March 24, 4 – 6 PMMAIN GALLERY

JUROR: Katie Schmidt Feder, Director Garrison Art Center
AWARDS: Linda Freaney Award $100

Exhibiting Artists:

Paulette Esrig, Nils Hill, Henry Klimowicz,
Jerry Michalak, Samantha Palmeri, Tracy Phillips,
Stephen Rose, Barbara Smith Gioia,
Kat Stoutenborough, and jd weiss

Introduced in 2017, the FOCUS series features the work of ten artists in a theme-based exhibition. Selections are curated by a different juror for each exhibition with each artist represented by multiple examples of their work in service to the particular show’s theme.

Abstract Heart: Passion, emotion, deeply-held beliefs – how do we express and convey these concepts through an abstract vocabulary? Abstract Heart solicits work that speaks from the soul through a personal visual language.

 PRESS RELEASE

In The Press

How to Enjoy Bad TV

Watching bad TV has never been so fun. I've been working on these crumpled tracing paper drawings in the evenings with the television going. Needless to say I watch a lot of Cheers and Frasier reruns. Thinking of a better title for them.........

Samantha Palmeri, detail, Magic II, 2017, magic marker on tracing paper

Samantha Palmeri, Magic I, 2017, magic marker on tracing paper, 19 x 24 inches

Samantha Palmeri, Magic II, 2017, magic marker on tracing paper, 19 x 24 inches

Samantha Palmeri, Magic III, 2017, magic marker on tracing paper, 8.5 x 11.5 inches

Samantha Palmeri, Magic IV, 2018, magic marker on tracing paper, 19 x 24 inches

Samantha Palmeri, detail, Magic IV, 2018, magic marker on tracing paper

Samantha Palmeri, Magic V, 2018, magic marker on tracing paper, 19 x 24 inches

Samantha Palmeri, detail, Magic V, 2018, magic marker on tracing paper

Samantha Palmeri, view of 5 drawings

"Byron Kim's painting ritual" by Two Coats of Paint

This article was copied and pasted from Two Coats of Paint written by Sharon Butler. Check it out..

January 26, 2018

Byron Kim’s painting ritual

1:25 pm by Editor

Byron Kim, Sunday Painting 1:20:09, 2009, acrylic and pencil on canvas mounted on panel, 14 x 14 inches

Every Sunday, Byron Kim makes a painting of the sky. One hundred of these purposefully unremarkable small canvases are on view at James Cohan through February 17. What makes them unremarkable are their size and the undramatic skies they depict – not the complex, sublime sky paintings made by, say, great Dutch painters like Aelbert Cuyp and Jacob van Ruisdael. Instead, they are simple renderings with a limited palette of blue and white, and a bit of light grey for the odd cloudy day. Rather than offering an expansive view or capturing the subtle color ranges in cloud forms, these paintings convey a dainty sense of claustrophobia and ennui but no real sense of joy or wonder. It is as if the monotonous ritual of making a painting a week were more important to Kim than the painted image itself.

Byron Kim, Sunday Painting 6:19:01, 2001, acrylic and pencil on panel, 14 x 14 inches

Thus, in Kim’s exhibition, quantity, habit, and process seem to trump the quality of the individual paintings. Reinforcing this point, Kim has handwritten a prosaic note about the day on each painting, perhaps as an indication that Kim’s ambition and concentration have gone missing in the mire of family life and all the yawn-inducing tasks that a successful artist must perform. Kim may be living the dream, but it doesn’t seem very transporting.

Byron Kim, Sunday Painting 3:26:08, 2008, acrylic and pencil on canvas mounted on panel, 14 x 14 inches

Byron Kim, Sunday Painting 4:20:10, 2010, acrylic and pen on canvas mounted on panel, 14 x 14 inches.

Byron Kim, Sunday Painting 1:22:17, acrylic and pencil on canvas mounted on panel, 14 x 14 inches

Byron Kim, Sunday Painting 8:20:17, 2017, acrylic and pencil on canvas mounted on panel, 14 x 14 inches

Byron Kim, installation view.

The project reminds me of On Kawara’s Date Paintings. Each day Kawara crafted a painting of the date in the ubiquitous sans serif typeface Helvetica. In the box where he stored the painting, he also included a page of the newspaper from the city where he was working. Like Kawara, Kim is interested in the idea of maintaining a serial approach rather than engaging with the materiality of paint. But Kim’s project also conjures a link to more painterly perceptual artists, such as Lois Dodd and Giorgio Morandi. Morandi spent his life painting easel-sized still-lifes that depicted small cups, bowls, and other tabletop vessels in tertiary colors, even as World War II raged around him. Lois Dodd has painted the landscape around her familiar Maine homestead for decades, and the resulting body of work is a moving record of a quiet and dedicated life.

Both Morandi and Dodd focus narrowly on translating their immediate surroundings with great painterly nuance onto canvas to convey the emotional timbre of their lives. In this distracted age, especially as the big picture becomes increasingly daunting, it’s undeniably tempting for artists to employ this kind of approach as a kind of refuge. Kim presents an alternative escape, whereby grim routine isolates the artist and decontextualizes the personal content of his work. It’s rather dispirited, and perhaps a sign of the times.

“Byron Kim: Sunday Paintings,” James Cohan Gallery, Chelsea, New York, NY. through February 17, 2018.

Related posts:
Lois Dodd and….On Kawara?Catalogue essay: Kirsten Swenson on Peter Soriano’s Permanent MaintanenceIMAGES: John O’Donnell considers mimesis

Related posts:
Eric Wesley’s daily status updatesSharon Butler: Good Morning in SeattleOn Kawara: Carpe DiemPortrait of the day: Lois Dodd

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Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.

Tags: Sharon Butler

How to stress over grant applications

So far my grant application is looking like this. 

Today I watched NYFA's live seminar to get more info. You could comment online and they would read the comments out loud and answer the questions. Just as she started to answer my question the live feed got disconnected; which I thought was a little ironic. They came back on in a short bit to answer me fully which was great, but just as I was jotting down the answer, probably on the last sentence she was saying, my computer died..... More irony. 

It's been a crazy week and it can best be summarized by outrageous technical difficulties and customer service from hell. I will not weary you with the details. 

Typing this on my husband's laptop isn't the worst thing in the world, and when January is over, this application will be submitted, along with another one due on the 28th, I will have finished and photographed four new paintings, dropped off work for an upcoming show, the Roaring Twenties Fundraiser I'm hosting will be over, and the early setting up stages for my job as Director of Beacon Open Studios will be fully in place. That is one long sentence. Wish me luck!

Samantha Palmeri, Ladyfingers, 2017, oil on canvas, 40 x 40 inches

Samantha Palmeri, Avoirdupois, 2018, oil on canvas, 40 x 40 inches

Samantha Palmeri, Mattress, 2017, oil on canvas, 60 x 60 inches

Samantha Palmeri, Meadow, 2018, oil on canvas, 36 x 36 inches

Samantha Palmeri, Winter painting I, 2016, oil on canvas, 50 x 54 inches

Samantha Palmeri, Winter painting II, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri, Invitation, 2017, oil on canvas, 30 x 36 inches

Samantha Palmeri, Winter painting III, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri, Winter painting IV, 2016, oil on canvas, 50 x 50 inches

Samantha Palmeri, Save me from my desires, 2015, oil on canvas, 58 x 58 inches

February Painting

This looks like a great show. Guest artists were invited to show alongside current members of the gallery. Thanks Barbara Smith Gioia for asking me! Looking forward to seeing these pairings up close. 

Souvenez-vous de cette peinture? I just realized it's funny that I painted it in February 
three years ago, and even labeled it February painting before I titled it "Trepidation".
Now it will be hanging during the month of February. Perfect.

Samantha Palmeri, Trepidation, 2015, oil on canvas, 36 x 36 inches

TIPS FOR THE NEW YEAR

For some reason writing 2018 seems totally natural, like it's been a long time coming. This year I'm not making resolutions. I mean what's to say a resolution at the beginning of the calendar is any more special than at the end of it, or the middle. I do have plans however... yup, plans are good. I'll have some work included in a few exhibitions coming up:

• January 12-21, "Member Exhibition" at Garrison Art Center, Garrison, NY. Opening reception: January 12, 5-7pm
• February 2-25, "Conversations" a group show at Buster Levi Gallery in Cold Spring, NY. Opening reception: February 2, 6-8pm
• June 2018, Three person show at Hudson Beach Glass Gallery in Beacon, NY. (exact dates tba)

with artists Jackie Skrzynski

Jackie Skrzynski, Studio view of Clapper, 2016, charcoal on paper, 50 x 80"

and Tanya Chaly

Tanya Chaly, Unravel, Installation View March, 2017, The Cluster Gallery, Brooklyn, New York

I'm also planning to apply for that good ol' NYFA Fellowship grant again this year, and more surprises, a couple of people have shown interest in purchasing a painting here and there. So... things are feeling pretty good. At the moment I have a few small pieces in the Small Works show at the Catalyst Gallery in Beacon. The show closes with a reception this Sunday on January 7th. 

Samantha Palmeri, Untitled, 2016, oil on canvas, 30 x 36 inches

This morning I had a lovely studio visit, which I hope is the first of many this year. I get stuck in my own world of time management and obligation and studio work etc. I forget how important it is to stay connected with other artists. Studio visits are awesome! A win-win for everyone. So, maybe that's some kind of a resolution after all, to stay connected. Send me a message if you want to have a studio date... Oh, and happy new year!