Archive for the ‘Interviews’ Category

Faculty Updates

Saturday, June 3rd, 2017

What have SVACE faculty members been up to? We have exciting updates from course instructors Jade Doskow, Elise Engler, Emily Weiner, and Pan Terzis!

Jade Doskow will speak at SVA about Lost Utopias, her ongoing photography and book project. Doskow is known for her rigorously composed and eerily poetic images that examine the intersection of people, nature and time. Her talk is part of the i3: Images, Ideas, Inspiration lecture series, which features photographers and industry experts, presented by SVA MPS Digital Photography.

Image via Jade Doskow

Image via Jade Doskow

Elise Engler is featured in The Times, a group exhibition at the FLAG Art Foundation that takes The New York Times as its point of departure. The Times includes over 80 artists, artist duos, and collectives who “use the ‘paper of record’ to address and reframe issues that impact our everyday lives,” according to the press release. Given Engler’s project, “First Radio Headlines Heard of the Day,” her daily documentations of news updates are perfect fit for the show – and above the fold.

Image via Elise Engler @drawitall

Image via Elise Engler @drawitall

Emily Weiner is featured in The In, With and Between Us at the Gerðarsafn – Kópavogur Art Museum, Iceland! Focused on four artists, including three MFA alumni from the School of Visual Arts, the show comprises “a research-based conversation around non-linear readings of place and time, language and translation.”

Pan Terzis opens up to The Comics Journal about printing, publishing, and politics in his collaborative practice. He writes, “Publishing other artists’ work has been extremely gratifying. I benefited early on from other people going out of their way to publish, promote, show, and sell my work so I feel I owe a debt of gratitude to the universe and it feels good to give other artists the same opportunity.”

Image via The Comics Journal

Image via The Comics Journal

See more updates on our FacebookTwitter, and Instagram pages!

East Village Eye

Saturday, September 10th, 2016

“It wasn’t until I went to these alternative spaces where I met other artists who also felt like outcasts — and most of them were women and people of color — that I found a community.” -Anton van Dalen talks with Hyperallergic in a great interview about art, mentorship, the East Village, and pigeons. – nice projects.
Image via Hyperallergic

Image via Hyperallergic

Weekend Hot Links

Friday, July 15th, 2016

Another bittersweet Friday is here, but art gives us hope. For weekend relief, here are recent art, design, and culture goodies shared by the SVACE faculty and community.

"Gull Latinu Amerika" by Kristjana S. Williams, via Format magazine

“Gull Latinu Amerika” by Kristjana S. Williams, via Format magazine

Dyslexic Design (Format): Could this learning disorder give you a creative edge? (via Lisa Lordi)

Design Debt (FastCo.Design): MasterCard introduces new logo, invoiced with 22% APR. (via Lisa Lordi)

Font Finder (WIRED): It’s like Shazam for typographers. (via Jess Mackta)

Common Edge (Print): Does architecture often serve real people? (via Steven Heller)

Strange Fictions (Design Taxi): Earn million$ by tricking millions. (via Mark Burk)

See more updates and stories on our FacebookTwitter, and Instagram pages.

Faculty Updates

Wednesday, July 6th, 2016

What have SVACE faculty members been up to? We have exciting updates from Keren Moscovitch, Emily WeinerElizabeth SaylesMatt Rota, and Valerie Smaldone.

Keren Moscovitch opens up to Sarah Cho of NY Artists Equity about art, intimacy, ideas. Keren is an artist, faculty member, and assistant director of special programs at SVA, and for years, she has intertwined her artistic output, teaching, and leadership.  One highlight from the interview: “If I didn’t teach, I would have a very different relationship to my art practice. Working with students reminds me of what it takes [to be an artist] and the advice and feedback I give them will resonate in my head…”

Keren Moscovitch, "Fingers and Waist"

Keren Moscovitch, “Fingers and Waist”

Emily Weiner is featured in a New York Times story about alternative and artist-run galleries. The feature is a feather in the cap for a faculty member whose diverse experiences as an artist and gallerist led her to the course, “Contemporary Painting Lab: Artists and Techniques of the 21st Century.” Her view on the art world? “Artists are the tastemakers now. We don’t wait for galleries to pick us up.”

Emily Weiner of SVACE in The New York Times

Emily Weiner of SVACE in The New York Times

Elizabeth Sayles illustrated Malala: A Hero for Allnow a Top 20 nonfiction children’s book of 2016 at Amazon.

Illustration by Elizabeth Sayles of SVACE

Illustration by Elizabeth Sayles of SVACE

Matt Rota produced a new illustration for The Washington Post, depicting a hypothetical exorcism for an article about demonic possession. And in case you missed it, Matt recently illustrated a New York Times memorial about Muhammad Ali, written by Joyce Carol Oates.

Illustration by Matt Rota

Illustration by Matt Rota

Valerie Smaldone shared her voice-over talents in a new advertising video spot for Purina. the spot is the latest commercial update to her experience as an actress, radio host, and reporter.

See more updates on our FacebookTwitter, and Instagram pages!


Residency Alum Interview: Detlef E. Aderhold

Monday, February 29th, 2016

Residency Alum Interview: Detlef E. Aderhold (Painting and Mixed Media Residency, 2014)

An SVA Summer Residency Program is a great way to immerse yourself in the New York Art world, but it can prove just as valuable for the community that it creates between residents. For example, Detlef E. Aderhold participated in the Painting and Mixed Media residency in 2014, and his time there led to collaborations with critic and Summer Residency coordinator, Eric Sutphin, whom he had met while attending. Eric has curated Detlef’s work for an exhibition at Rogue Space: Chelsea, and more recently in an exhibition in Germany.

Will Patterson of SVACE asked both Detlef and Eric a few questions about their thoughts on painting, their experience in the Residency Program and what they have been up to since meeting in 2014.

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Detlef E. Aderhold, “Genau”, mixed media, 80x110cm, 2015

Will: Why do you think painting is important as a medium?

Detlef E. Aderhold: The discussion about painting being alive or dead has been going on for a long time. It has even been suggested that painting reached its final stage with Kasimir Malevich’s Black Quadrat in 1915. In 1997, Catherine David said that painting as a form is “illegitimate,” and Documenta X (which she curated) served to substantiate her opinion. But then Luc Tuymans responded to David’s claim with a series of paintings that he titled Illegitimate. For me, painting is still very much alive, it’s my medium, and through it I can best develop and express my ideas, fantasies and impressions of the world.

Eric Sutphin: I contribute to a website with the tongue-in-cheek title Painting is Dead. It was started by a painter named Scott Robinson and its focus is painting. Painting is Dead publishes reviews, interviews and conversations with painters and being a part of that project has demonstrated to me that painting is still a medium that excites and challenges people. I think because painting has such an enormous and complex history and is tied to the development of societies and cultures at large, that its import remains inescapable.

Will: How have the connections you made during the Summer Residency Program expanded your artistic practice?

DE: I stay in contact with some of the fellow residents via social networks and email. We share new work with each other and continue to support each other’s artistic practices.

ES: Since I began working with the Residency in 2013, I have met artists from all over the world. I have had the opportunity to talk with and in some instances work with these artists beyond the program. I’ve learned about arts communities in Brazil, Tel Aviv, Mexico City, Melbourne, among many other places. I’ve seen firsthand the energy and excitement of an expanding global network of artists who come together and stay connected through the Residency.

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Installation View, “Signs: Part 1”, 12:1-12:23, 2015

Will: How did the program expand your own studio practice? Do you feel that you became more experimental in your approach to painting as a result of the immersion and exposure to the diverse range of faculty and fellow residents?

DE: At first it was difficult to integrate and follow the new ideas into my work. When I returned to my studio in Germany, I had to process the experience and to figure out how to integrate the residency experience into my old studio practice. At the time, my studio contained unfinished work and old habits. I needed time until I was able to implement my “New York ideas” into the old environment. But as I got back to work in my studio, all of these different influences and experiences came to fruition. As a result, I am much more experimental in my work now. Some of my paintings have begun to become more sculptural and I have begun to explore installation.

Will: Since completing the residency, you have gone on to have multiple exhibitions and have been included in a number of international art fairs. What have been some of the highlights of your career since completing the program?

DE: The first highlight was my solo show at Rogue Space: Chelsea in New York in the fall of 2014. Eric Sutphin curated that show and I was surprised by the choices he made and how everything was connected in the end. During the opening and while the show was up, I reconnected with some of the friends I made during the residency, including faculty members. In summer of 2015, I was selected for a juried show at the Islip Art Museum. I recently had a show in Venice during the Biennale–that was a great experience. I won the Secret Art Prize (mixed media category) and my work was shown, along with some of the other winners, in London’s East End. I was selected to be the Artist-in- Residence on Villingili Island, Maldives for a month during December and January. The unfamiliar setting, the vibrant colors, the air and the sea right outside of my studio was a wonderful way to invigorate my work. During that residency, I had the opportunity to talk about art with people from all over the world.

ES: My connection with Detlef was completely natural. It started when he was preparing for the 2014 Open Studio, I popped in to his studio one afternoon and helped him hang his show and we connected and worked well together. Since then, I’ve curated two of his shows (in New York and in Germany.) Former residents have contacted me after the residency for advice about graduate school, which for me is very rewarding; to be able to help artists along in their professional development.


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Detlef Aderhold, “An End Has A Start,” 150 x 150 cm, 2015, mixed media on canvas



Will: What do you think of the state of painting in 2016? Do you feel that the medium has changed or is changing in recent years?

DE: My feeling for painting shifted during my time in the residency through my exposure to faculty critiques, viewing contemporary art on our gallery visits, as well as through discussions with the fellow residents. Today, there are endless ways to deal with painting. With the end of the postmodern era, there are no regulations on how an artist should paint: (s)he can use everything (s)he thinks important for his or her creative work. Painting will continue to include new media and will look critically at, or be part of, larger projects like installation and performance. In our digital world, images play a very important role, but unlike digital images, a painted picture is very special. For me, painting is, and will always be, about material: canvas, pigment, and brushes. Painting is about invention and reinvention, critical thinking, and conceiving of new strategies for complex problems– it is still a very powerful medium.

ES: Painting is always looking for alibis. Over the last 20 years or so, painting has folded a multiplicity of other media into itself: neon, digital elements, video, performance, sculpture etc. These strategies have yielded exciting results at times, but to me, great painting relies on its subject matter and content to do the work and assert its vitality. I’m old fashioned in that way. It often seems to me that painters try to do too many things without really getting into the meat of the medium. When this happens, the work feels confused.

Will: What’s on the horizon for you? Are there any plans for future collaborations with fellow residents?

DE: In April this year I will have a solo show in Perugia, Italy. In June, Part II of my solo exhibition Signs (also curated by Eric Sutphin) will open in June in Germany. During the same time there will be a solo show at a gallery in Paris. Some of my paintings will also be shown at Art Madrid and Scope Basel. In 2017, I will exhibit with fellow SVA resident Gail Winbury at the historic Heinrich Heine Haus in Luneburg, Germany.

ES: I’ve been reviewing a lot for Art in America and there will be opportunities for international stories and coverage there. I am working on a biography of Rosemarie Beck (1923-2003), a post-war painter who began her career as a second-wave abstract expressionist. In the late 1950’s, she turned to narrative painting. That project has been very important and I am working on organizing an exhibition of her work for 2017.

Eric Sutphin (l) and Detlef E. Ederhold (r)

Eric Sutphin (l) and Detlef E. Ederhold (r)