Posts Tagged ‘drawing’

Faculty Updates

Monday, February 6th, 2017

What have SVACE faculty members been up to? We have exciting updates from course instructors Steve Brodner, Ruth Marten, Keren Moscovitch, and Tom Motley.

Steve Brodner follows the white rabbit into the shaky world of “Alternative Facts,” illustrating his own batch for The Washington Post.

Steve Brodner illustration via The Washington Post

Steve Brodner illustration via The Washington Post

Ruth Marten is featured in the New York Times for artwork exhibited in “Tattooed New York” at the New-York Historical Society.

(l) Ruth Marten, Marquesan Heads, 1977. Courtesy of the Artist. (r) Mike Bakaty, Big Panther, 1983. Photograph courtesy of Maury Englander.

(l) Ruth Marten, Marquesan Heads, 1977. Courtesy of the Artist. (r) Mike Bakaty, Big Panther, 1983. Photograph courtesy of Maury Englander.

Keren Moscovitch opens up about her new multidisciplinary project, “One More Way Files,” debuting this week at LABA, NYC! Keren writes:

“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.”

Keren Moscovitch image via LABA

Keren Moscovitch image via LABA

Tom Motley gets real in this drawing for The Brooklyn Rail, part of an ongoing series of drawings for that banner.

Tom Motley drawing via The Brooklyn Rail

Tom Motley drawing via The Brooklyn Rail

See more updates on our FacebookTwitter, and Instagram pages!

Student Artwork Update: Miguel Reyes

Thursday, September 15th, 2016

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.

Artwork by Miguel Reyes

Artwork by Miguel Reyes

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.

Urban Renewal

Saturday, June 11th, 2016

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.

Anton van Dalen: The Devil’s Veil at Romeo

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.

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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.

Anton van Dalen, “Flowers in My Eye” at Sargent’s Daughters

 

Faculty Updates

Thursday, May 19th, 2016

What have SVACE faculty members been up to? We have exciting updates from Anton van Dalen and Valerie Smaldone.

Anton van Dalen simultaneously has two solo shows at separate galleries in New York City. Romeo will “focus on my street inspired drawings, raw works, mostly on paper,” according to Anton. And Sargent’s Daughters will “show more intimate poetic representations, with a mix of mediums,” he tells us.

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Artwork by Anton van Dalen

Anton’s shows are featured on ARTnews, TimeOut, and Artnet.

We reviewed Anton van Dalen’s 2015 solo show at PPOW Gallery, New Works and the Avenue A Cut-Out Theatre.

Valerie Smaldone, “one of radio’s most recognized female voices,” launched Hit Makers: Music Icons in Performance and Conversation,” a new conversation and music series. Read about Valerie’s “Music Makers” at Radio Ink and the Sheen Center.

Valerie Smaldone

Valerie Smaldone

See more updates on our FacebookTwitter, and Instagram pages!

 

Heard It First

Saturday, April 9th, 2016

Counting, noting, and making lists of people, places, and things: Elise Engler makes art focused on documentation. She has drawn the contents of women’s purses, the prizes or our tax dollars, and every block on Broadway in Manhattan. After exhibiting her Broadway drawings at Robert Henry Contemporary, she has moved on to First Radio Headline Heard of the Day, her current series of postcard-size watercolors that document major news stories from around the world. 

In between her indexical drawings, Engler teaches Visual Narrative: Ways to Tell a Story here at SVACE. And on the occasion of her 100th entry for First Radio Headline, we asked her to open up about her process and ideas.

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First Radio Headline Heard of the Day by Elise Engler

SVACE: How exactly do you carry out your First Radio Headline Project? Do you wake up to news radio?

EE: I listen to WNYC(NPR) and sometimes BBC onNPR not at consistent time, but first thing when I wake up. I choose/edit so stories aren’t repeated. (Don’t want daily Trump.) I am traveling west later this month and will tune in to local NPR and CBC stations.

SVACE: Where do you turn for reference images?

EE: I troll the internet looking for videos from lots of news sources — all over world — and take  screen shots to combine images, so I am not stealing someone else’s work.

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First Radio Headline Heard of the Day by Elise Engler

SVACE: In this series, is there a place for working not from reference images, but instead from memory or imagination?

EE: I like to use references, then there is a great deal of choosing, altering and rearranging. There is not a great deal of memory or imaginative work in my art, although I just finished an accordion book response to a friend’s published poem, and it is all memory and imagination, and quite abstract at times. It was quite challenging.

SVACE: Many of us increasingly get our news from Facebook. And even when listening to news radio, we access it through streaming internet. By working from radio news, are you consciously representing an outmoded form of technology?

EE: I am combining my own longtime and probably old-fashioned radio obsession with Internet technology and social media. If I wasn’t an artist I would like to have been a radio journalist.

SVACE: Is there something unique about news radio, which we don’t find in other news sources?

EE: I like the range and seemingly arbitrary aspect because I don’t always tune in at same time –news is local, national, global.  Perhaps the viewer and I will, after 366 days (or in fact 406 days with 40 “test’ drawings”) have a sense of the year and also what is broadcast by this particular network. (Would be different of i was listening to Fox or Pacifica or CNN.)

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First Radio Headline Heard of the Day by Elise Engler

SVACE: In that sense, your project is a time capsule. In retrospect, would you have liked to cover any previous years, specifically? Like 2008: Obama’s election? 2001: the 9/11 fallout?

EE: This year is pretty rich. But the nature of my work is that I find interest in everything and everywhere. I drew the contents of the handbags of over 70 women, always interesting; I like the mundane and the dramatic, and intimate (the women’s bags) and enormous (Antarctica.) Any year would be fine; they all have their moments.

SVACE: Does your emotional response to the news affect your work? For example, do you struggle to depict very bad news?

EE: Definitely. I don’t want to be sensationalist. I hesitate to show murders and corpses but will if that’s crucial to the story.

SVACE: Why not just choose a story with less violence?

EE: FIRST radio headline — trying to be somewhat consistent.

First Radio Headline Heard of the Day by Elise Engler

First Radio Headline Heard of the Day by Elise Engler

SVACE: Your commitment to the project partially precludes choosing your subject matter. This could be a challenge by pulling you outside comfort zones. But it could also be a relief because it gives you a starting point.  How do you adapt to this?

EE: I’m enjoying the challenge of having to figure out how to do something quite different every day. It’s different than A Year on Broadway which had the landscape/cityscape format. I also like the research aspect.

SVACE: A Year on Broadway project had the landscape/cityscape continuity, but you were drawing from a different physical place each day – a different city block. And that is much more of a social space, with noise and interruptions, than your own home. Does First Radio Headline feel more hermetic? For you, what is the ideal setting for making art?

EE: I like the range and I have always worked both on site and in my studio. Sometimes being a “fly on the wall” gives the work greater insight and dimension. The Antarctic work was started on there, finished in my studio. My tax-dollar project TAX-ONOMIES was done in my studio (researching weaponry, drawing 30,000 Iraq War casualties), while drawings done on site include my fire station drawing (everything on a fire engine), NYC Health Lab, and equipment to maintain Riverside Park.

The social media aspect makes this project a bit less hermetic as it is posted daily and I sometimes get an immediate response. The Broadway project was also about confronting my fears having had a very serious bike accident, I did it in part to embrace and appreciate the pace of my new role as a walker and also as someone who had become very skittish on the street (that sort of worked, though not completely by any means.) People generally ignored me on the street when drawing Broadway and I am very good at zoning out. When I was young, I learned to draw in part on the street, drawing people in public places like Grand Central Station and the Staten Island Ferry.

Follow Elise Engler’s First Radio Headline Heard of the Day Drawing Project on Twitter and Instagram, or see the entire project at eliseengler.com.