Happy Friday! Get creative this weekend with recent art, design, and culture stories shared by the SVACE faculty and community.
Posts Tagged ‘drawing’
We are pleased to present portrait paintings by SVACE student Nicky Lindeman! Nicky created this artwork in conjunction with numerous courses, including Portrait Painting with John Parks, Drawing with Anton van Dalen, and Portrait Drawing with Alphonse Woerkum.
Nicky writes: “I have been working over the last couple of years on a group of portraits in oil paint and mixed media drawing material. It is an engaging process for me, the interpretation of a live model; mixing careful observation with an expressive response in color and line. Often the portraits feel like character descriptions in a short story. The results are always a surprise, never planned, like meeting a new friend.”
See Nicky’s work in our exhibition space at 380 Second Avenue, 8th floor, until March 31!
What have SVACE faculty members been up to? We have exciting updates from course instructors Steve Brodner, Ruth Marten, Keren Moscovitch, and Tom Motley.
“The way we tell stories and pass them between oral and written formats – is a collective erotic expression that works in concert with humankind’s intellectual and spiritual traditions.”
We are pleased to present animation artwork by SVACE student Miguel Reyes, created in conjunction with the courses, “Animation: An Introduction” with Martin Abrahams and “Casting for Animators” with Dee LaDuke.
Miguel Reyes is a Mexican artist currently living in Brooklyn, NY. He earned his Visual Arts degree at Escuela Nacional de Artes Plásticas at the Universidad Nacional Autonoma de Mexico. His work has been shown in Mexico, US, France, and Spain in more than ten different exhibits. He is now turning his career towards visual development, character design and illustration in the field of animation.
See Miguel’s work in our exhibition space at 380 Second Ave, 8th floor, until October 31. Find more of his work at his website.
Anton van Dalen is back with simultaneous solo shows at downtown galleries. Roughly one year after “New Works and the Avenue A Cut-Out Theatre” at PPOW Gallery, van Dalen presents work in a range of media at Romeo and Sargent’s Daughters. His vision encompasses drawing, painting, sculpture, animation, and environments, recapitulating 50 years of exhibition history for today’s emerging galleries and their audiences.
Both shows are exquisite, but most impressive are van Dalen’s graphite drawings in The Devil’s Veil at Romeo. Created in 2005-6 and uniform in scale, they reveal a collage sensibility organized by crisp Euclidean geometry. Into schematic plans that read like maps or flow charts, he plugs logos, facial features, and the human figure. In one thread of the series, a circular head seems to ride atop carriage wheels. Like Pac-Man, it gobbles everything in its path, which mostly includes token brand identities. These logos track along assembly-line paths as they cycle into and out from the rolling head’s sensory nodes. Van Dalen’s behaviorist man-machine is ensnared in a cycle of consumption and perception, perception and consumption: “I chomp, therefore I am.” Powered by Pop and enviable draftsmanship, van Dalen summons up Francis Picabia, Max Ernst, J.G. Ballard, James Rosenquist, and De Stijl design.
At Sargent’s Daughters, van Dalen presents Inside Out, Home and Place, an eclectic and colorful counterpart to the Romeo show that renews some of the artist’s vintage work. Bird Car (1987) is the centerpiece, a faux-mobile pigeon coop repopulated with live birds. It’s no match for his vigorous drawings, but pigeons are inseparable from the artist’s repertoire and biography. The real gem of the show is Flowers in My Eye (1965), a surreal animated video combing humanity and nature. Given the serial production of van Dalen’s drawings at Romeo, one can only wonder when animation might call him back.