• June Picks

    Posted by Artists File Manager, 6 Jun 2013

    This month's picks have been posted and are viewable here.
    The artists were selected by Chloe Capewell.

    The June Picks include the following artists:

    Jodie Lyn-Kee-Chow
    Minji Kim
    Vojtech Mica
    Barbara Knezevic
    Brigitte Dams
    Rachel Selekman

    left: Barbara Knezevic
    I can feel your eyes burning into me, 2011
    Microcrystalline wax, heat lamp, timer

  • May Picks

    Posted by Artists File Manager, 2 May 2013

    This month's picks have been posted and are viewable here.
    The artists were selected by Yasmine Audi.

    The May Picks include the following artists:

    Olaf Kramzik
    Rhiannon Adam
    Theresa Happy
    Lisa Lee
    Jonathan Martin
    Shaumyika Sharma
    Christine S. Kim
    Aleli Egues
    Christopher Saunders
    Linda Persson
    Sean Micka
    Duncan Wooldridge
    Per-Oskar Leu
    Charles Benton
    Christopher Michael Samuels

    left: Jonathan Martin
    Playboy, 2010
    Ink on paper

  • April Picks

    Posted by Artists File Manager, 3 Apr 2013

    This month's picks have been posted and are viewable here.
    The artists were selected by Claude Adjil.

    The April Picks include the following artists:

    Susan D. Carnahan

    Rachel Howe

    Matthew Sandager

    Andrew W Johnson

    Miya Ando

    Nora R Griffin

    Elizabeth Fleming

    Sharon Paz

    Gabrielle Senza

    Lisa Young

    left: Elizabeth Fleming
    Memento, 2007
    Giclée print 

  • March Picks

    Posted by Artists File Manager, 6 Mar 2013

    The March Picks have been posted and are viewable here.
    The artists were selected by Lauren Motzkin.

    This month's picks include the following artists:

    Glória Oliveira

    Laurent Koller

    Cornelia Hediger

    Joseph Shaeffer

    Michael Maxwell

    Arpie Gennetian Najarian

    Derek Hardinge

    Kristin Cammermeyer

    Marietta Hoferer

    Kevin Clay Andrews

    Yejin Yoo

    David S. Mellen

    Margaret Garrett

    Simona Frillici

    T.M. Roche-Kelly

    left: Yejin Yoo
    Word Card, 2010
    Watercolor, paper on canvas
    60 x 60 in 

  • Q & A: Jason Bailer Losh

    Posted by Artists File Manager, 20 Feb 2013

    Today we are featuring the work of Jason Bailer Losh, an artist based in Los Angeles, CA.
    Click here to view Jason's portfolio.

    Tracing your work back, it has really evolved across many media, scales, and motifs. I see you live in LA now, how do you feel your work has changed since living in New York?

    My work has transitioned rapidly, in part due to my recent relocation from New York to Los Angeles.  There’s been a shift from the reliance of a narrative in the work into a formal exploration of the object.  During this exploration I’ve had the opportunity to re-discover artists and theory that have refocused my attention on elements of my practice.  The first major shift was in reading Robert Irwin’s biography in conjunction with the opening of the exhibition Pacific Standard Time. The biography’s open discussion regarding Irwin’s studio practice, combined with PST’s expansive history of California art, helped to center my focus. Rosalind Krauss’s writing on the expanded field pushed me further into studies of Constantin Brancusi and modernist sculpture. This has led me to investigate the problem generated by Krauss regarding the relevance of the singular object within the expanded field, and thus altered the direction of my practice. 

    I like how you talk about Sculpture in the Expanded Field in reference to your move; considering the landscapes in both cities, taking root in Los Angeles quite literally did place your studio into an “expanded field”. Your work on the Artist File is recent, and has a very poetic feeling of wreckage to it. The materials to me recall construction or more specifically, an artist's studio. What is your relationship with wreckage, and how do you respond to references in materials?

    I don’t see the work as being in a state of wreckage.  Wreckage implies the object is a byproduct of an accident or forced action without intent.  I approach the work knowing that I have to break it down in order to find form within the materials.  My instinct tells me that the starting point for building an object is through addition, but subtraction can also result in an object that successfully navigates the negative space of a room. This balance between addition/subtraction is where the poetry is within the work because it becomes negation of my additive instinct that is inherent in my upbringing of building homes with my father in the Midwest. My father would laugh if he heard me speak about carpentry in reference to poetry.  My attraction to sculpture is probably in association with that indifference and humility my father had toward his life of building.

    That’s a good point. I guess the word “wreckage” has a bias that I wasn’t really aware of. Maybe it’s better to say how some of your recent works with wood and plaster have a teetering quality that give a fragile air, almost on the verge of falling apart. Is this something you're receptive of or are you interested at all in works that have vulnerability?

    I believe this aspect of my work creates a tension that causes the viewer to interact with the object. It’s difficult for a viewer to walk into a room and see something that’s structurally challenging and not try to solve the problem visually. There’s a subtlety in creating a traffic flow around the object in order for the viewer to optically complete the form. It can be as much about breaking a line or creating an angle, where one isn’t supposed to exist, as it is about creating vulnerability.

    The color choices you make, set against texture of plaster, give your sculptures a painterly sense. What is your relationship at all with painting?

    I started graduate school as painter.  I believe I still look at sculpture and build my compositions through layers as I would a painting.  I’m aware the effect color can have on an object.  It’s probably the most distinct element of sculpture that gives me pause in my process. Cy Twombly used color as a tool to shore up form and highlight the monolith. Brancusi used color intrinsic to the materials to address distinctions in value; a wooden base, a marble block, and a bronze sculpture. There are so many reference points and places of departure that it can become a loaded issue if not addressed appropriately.

    Yes I definitely see instances of using the materials’ own raw qualities as prominent textures in your sculptures, as well as the transformative quality of the applied paint. It looks like with some of the works the paint applied creates or demarcates a new dimensional space in contrast to that formed by the wood/plaster/etc underneath it. Sometimes this is revealed as a presence, others as an absence, I guess depending on how you perceive it….
    It sounds like you look towards Brancusi quite a bit as well as some figures in minimalist art as a primary source or as points of departure. What in this line of work do you relate to or admire, or inversely take issue with- and how do you see it appearing or acting as a point of departure in your work?

    I do find a great deal of inspiration from Brancusi in regards to the formal qualities of his work; line, composition, and color. But I also appreciate how artists who are my contemporaries either embrace or oppose the modernist sensibilities of Brancusi (and others) because it gives me the opportunity to expand upon those references in my own work. For example, I may look to Cyprien Gaillard's handling of an object on a pedestal, Andra Ursuta's representation of the endless column, or Andy Coolquitt's control over color.  I don’t believe these artists are necessarily modernists, but they understand that history can be used as a starting point.

    I find myself continually referencing the John Newman and B. Wurtz interview in Bomb Magazine from the summer of 2012.  Both artists recognize their own limitations in understanding sculpture as a medium and its evolution through the 20th century while speaking candidly about working through those issues.  They reference materiality, expanding sculptural vocabulary, and the transition of the traditional “sculpture as an object” into “object sculpture” being a subset of contemporary installation. 

    I believe the most important aspect of an artist's practice is being able to admit that you don’t have the answers to all of the issues that are arising within the work, while continually working to find resolution.

    left: Jason Bailer Losh
    Untitled, 2013
    Palm, fir and plaster
    30 x 18 x 14 inches 

  • February Picks

    Posted by Artists File Manager, 1 Feb 2013

    The February Picks have been posted and are viewable here.
    The artists were selected by Nathan Hauenstein.

    This month's picks include the following artists:

    Nathan S Bennett

    Christina L Schmitt

    Jason Bailer Losh

    Andrew D. Moeller

    Eduardo Navarro

    Roberta Allen

    Mina Cheon

    Maria Walker

    Sean Samoheyl

    Joseph Hart

    Stephen Truax

    Goethes Frau

    Robin Cameron

    Antonio Pacheco

    Stacie M Johnson

    Linda A Gardner

    Kelli Miller

    Ben Valentine

    Jeremy Hunter Sims

    Sam Duket

    Juan Canales

    Shimpei Takeda
    Manuel M A Arenas

    left: Stacie M Johnson
    Whirl Wheel, 2007
    Colored pencil and gouache on paper
    30 x 30 in 


  • January Picks

    Posted by Artists File Manager, 4 Jan 2013

    The January Picks have been posted and are viewable here.
    The artists were selected by the Artists File Staff.

    This month's picks include the following artists: 
    Scott McIntire
    Hugo Perez
    David B. Smith
    Karlos Carcamo
    Chuck Hitner
    Marsha A. McDonald
    Rachel Styer
    Nancy Lew Lee
    Julia Dault
    Jude Broughan
    Katie L. Hinton
    Roger Bensasson
    Charles Browning
    Morgan Russell
    Katrin Bratland
    Steve Briscoe 

    left: Scott McIntire
    Half Full Half Flat, Cape Cod, 2009
    Enamel on Canvas
    24 x 18 inches 


  • Q & A: Corydon Cowansage

    Posted by Artists File Manager, 12 Dec 2012

    Today we are featuring the work of Corydon Cowansage, an artist based in Brooklyn, NY.
    Click here to view Corydon's portfolio. 

    What do you enjoy about quotidian objects that makes you want to paint them?

    I’m interested in the psychology of the domestic built environment. I’m really drawn to the mundane, in-between spaces and objects, and the recurring building materials that go unnoticed or unconsidered. They create odd relationships and complex visual situations that are actually really interesting and strange. 

    How do you reflect this in your painting?

    I make a lot of large-scale paintings—usually around 9 by 6.5 feet. These paintings tend to occupy the entire field of vision and locate the viewer in uncomfortable situations—squeezed between buildings, pressed against a fence or wall, looking down onto a rooftop, pushed to the ground, etc. I pull from the repetitive materials and geometries in the built environment to make optical patterning and minimal geometric abstractions. The architecture depicted is almost true to scale, but not quite. I end up with these off-kilter, meditative paintings.

    Much of your work references suburbia and even pre-fab housing. What is your relationship with these?

    I grew up in the suburbs of Maryland outside of Washington, DC. I’m interested in the familiarity of this type of place to the viewer—either through personal experiences or cultural references to film, literature, and art. I’m also drawn to the generic, synthetic materials that are made of one thing but meant to look like another to replicate a particular style or aesthetic.

    How do you juggle between abstraction in your painting and a desire to accurately depict these objects?

    My paintings are direct, almost deadpan, but accurate depiction isn’t necessarily my goal. I use the conventions of realist painting to create artifice. My work plays off the relationships between the built environment and abstract painting.

    Is the object depicted itself even an importance to you, or is it something else?

    The idea of the object is important, but I don’t feel obligated to depict it just as it looks. For example, I’ve been working on a series of roof paintings for the last year or two. I think the roofs are interesting because they’re a part of the home that we rarely see. Their designs prioritize functionality over aesthetics. They provide shelter, protecting the home and its inhabitants. The roofs that I make aren’t based on any one existing roof, though. Instead they're based on a number of my drawings and sketches. I become interested in a certain object or spatial situation and get fixated on it. I often paint one thing over and over, and it changes and evolves with each iteration.

    What are you working on now?

    Right now I’m working on another large roof painting. This one is taking a long time because it’s especially labor intensive. I’ve also been making some small paintings and drawings, and I’ve been experimenting with synthetic grass.

    Corydon Cowansage, Fence #10, 2011.
    Oil on Canvas, 24" x 30" 

  • November Picks

    Posted by Artists File Manager, 1 Nov 2012

    The November Picks have been posted and are viewable here.
    The artists were selected by Ernst Fischer .

    This month's picks include the following artists:
    Amal Shuqair
    OPA - Obsessive Possessive Aggression
    Robert Sholties
    Krste Gospodinovski
    Sean Fletcher and Isabel Reichert
    David B. Smith
    Luciana Mrs Meazza
    Sam Keogh
    Matt Ernst
    Sam Keogh
    Esther Choi
    Ricky A Armendariz
    Jeremy Couillard
    Saidhbhín Gibson
    Reed Barrow
    Glória Oliveira
    Jake McNulty
    Benjamin S Duke 

    left: Sam Keogh 
    Sacriligus Totem (detail), 2010
    Wax, polystyrene, holographic card, plastic, bamboo, acrylic, glitter, earth, tape
    6 x 2.5 x 2.5 feet 


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