I got to the opening of The big AAP show at the Carnegie, and thought I'd put down a few impressions. Although the Carnegie gave me a yearly press pass, I took no notes yet and don't intend to try to get permission to penetrate the museum's no photography policy.
Hanging, as usual was well done and the show occupied a major chunk of first class gallery space.
The curator, Doryun Chung had no prior experience with Pittsburgh at all and put together a show with a decent number of true lows (really bad work) as well as many extreme highs. Dry conceptual work was rarer than ever. Color, humor and very accessible personal expression were the common theme.
Wonderful to see Deanna Mance get her moment in the sun with two stunning big drawings and a major purchase award! Vanessa German's moving, mysterious doll totem also got an award.
More thoughts to come.
Showing posts with label Associated Artist's of Pittsburgh. Show all posts
Showing posts with label Associated Artist's of Pittsburgh. Show all posts
Saturday, August 29, 2009
Saturday, August 22, 2009
AAP: Influx 3 @ Borelli-Edwards Galleries
An interesting show of new Associated Artist's of Pittsburgh members opens tonight @ Borelli Edwards in Lawrenceville.
Hopefully this link will take you to some images.
The exhibition runs till September 5th.
Friday, July 20, 2007
The Associated Artists of Pittsburgh Annual
The due date for submission for the Associated Artists of Pittsburgh is coming up.
Attention Artists! The Associated Artists of Pittsburgh (AAP) is screening art for the 97th Annual Exhibition at the Carnegie Museum of Art. All media are welcome. You do not have to be an AAP member to apply, all artists are welcome. Artists working in any media and living within a 150 mile radius of Pittsburgh are eligible to apply.
Digital and slide entries by August 3 and drop off for physical work is August 12. You will need a prospectus that has all of the details. You can find more information about this and past exhibits on their site. You can download the prospectus here.
The juror
Polly Apfelbaum, noted New York artist, was born in 1955 in Abington, Pennsylvania. She received a BFA from Tyler School of Art in Elkins Park, Pennsylvania, and also attended SUNY at Purchase, Purchase, New York.
An artist of wide-ranging styles from Pop Art to Minimalism, Polly Abfelbaum has been exhibiting in New York since the early 1980s. Many of her installations are dyed fabric laid on the floor, wall works with strips of velvet applied to bed sheets or collages of cut-up photographs and cloth. Her subjects deal with the relativity of time, feminist issues and complexity in what appears to be simplicity.opp
Her early shows had works with found and fabricated objects, and in the 1990s, she began working with fabric. In 1999, her work was exhibited at Site Sante Fe in New Mexico and she has major Solo shows around the world, including The Whitney Museum In NY, the ICA in Philly. She currently is having a solo at Frith Street Gallery in London.
Polly and me were for a number of Years represented by the same New York gallery. Honestly, my work never got to her level.
Friday, December 22, 2006
96th Annual Associated Artists of Pittsburgh Exhibition
Christine Creuzzi Bartell Nasturtiums: Triptych Blossoms 
James Scott Munshour Mask for the Festival of Wrong Beliefs
John Eastman American Foreign Policy: Lost Our Way
Ruth Levine Traversed: Passage I96th Annual Associated Artists of Pittsburgh Exhibition
October 27, 2006-January 14, 2007
Opening reception: October 26, 6:30 - 9:00pm
Carnegie Museum of Art - Heinz Galleries
4400 Forbes Avenue
Pittsburgh, PA 15213-4080
It has been nearly a month since I went to the Carnegie Museum of Art to spend time viewing the Associated Artists of Pittsburgh 96th Annual. I had not intended to take so long to post this review but finishing Mean Stream had to be a priority.
The exhibit really is particularly strong this year. The range of works represented abstract through figurative, which is something that would be expected in a large survey show. Overall, I would say that the selected works emphasized rich surfaces and textures. Now, don’t tell me about exceptions; there are notable ones.
I got busted taking pictures by the guards, so I don’t have images of all of the pieces that I noted. As a little piece of back story, the pieces for the Annual are traditionally chosen fro actual work instead of slides or digital images. While I was dropping off, I saw these wonderful works by Christine Creuzzi Bartell. I was so pleased to see one of them, Nasturtiums: Triptych Blossoms, included in the exhibit. As with many works on paper, the above image does not come close to giving you a sense of the subtle detail in mark and texture of the actual work.
Ruth Levine is always a favorite artist. In Traversed: Passage I, she has overlapped marks in degrees of transparency, building a rich surface. The work, with its marks arranged in columns, reads as a code or something that verges on language.
In Mask for the Festival of Wrong Beliefs, James Scott Munshour seems to be commenting on several conceptions that American society holds dear; the right to bear arms and the puritan work ethic. In this instance, the narrative of the title is imperative in deciphering the artist’s intent. The work was well balanced with an immediate visual appeal.
Elaine Morris was unable to provide an image of Inscribed. This small work has and intimate and personal quality, assembling clippings and letters into a scrapbook image that feels like a brief look into the trials and tribulations of an individual life.
Scott A. Turri’s Poppies and Heroines is interesting for a couple reasons. It had the kind of flat posterized imagery you would expect in Pop art. The colors that he chose, however, took the piece beyond expectations for the genre.
John Yochem Winberg’s At Home in the Forest combines the disparate elements of gridiron and trees. There was something about the work that reminded me of Eastern European painters, with their delight in twisting the parameters of formal ground/object relationships.
John Eastman has an energetic and aggressive painting style. His abstract, American Foreign Policy: Lost Our Way, dominated the room. In this case, the title did not help me gain entry into the artist’s intent. But it also did not in any way deter me from enjoying his piece.
The 96th Annual is on exhibit through January 14th, 2007. So if you haven’t made it to see the show, there are still a few weeks left. In order to make your visit more enjoyable, you should prepare yourself for some of the many rules of behavior that the museum guards enforce. You may not carry any bag larger than 11” x 14”. You may not carry your back pack with both straps on your shoulder but must walk around with it dangling off one side of your body. You may not take pictures. You may not wear a pick in your hair. Do not, under any circumstance, come within a foot of any area that is currently undergoing installation no matter how enticing it is. Also note that if you do bring a larger bag to the museum with you that you will have to check it into self-serve coin-operated lockers. Bring quarters! If you should violate any of these unwritten rules, be prepared to be followed by museum guards throughout your tour of the museum.
October 27, 2006-January 14, 2007
Opening reception: October 26, 6:30 - 9:00pm
Carnegie Museum of Art - Heinz Galleries
4400 Forbes Avenue
Pittsburgh, PA 15213-4080
It has been nearly a month since I went to the Carnegie Museum of Art to spend time viewing the Associated Artists of Pittsburgh 96th Annual. I had not intended to take so long to post this review but finishing Mean Stream had to be a priority.
The exhibit really is particularly strong this year. The range of works represented abstract through figurative, which is something that would be expected in a large survey show. Overall, I would say that the selected works emphasized rich surfaces and textures. Now, don’t tell me about exceptions; there are notable ones.
I got busted taking pictures by the guards, so I don’t have images of all of the pieces that I noted. As a little piece of back story, the pieces for the Annual are traditionally chosen fro actual work instead of slides or digital images. While I was dropping off, I saw these wonderful works by Christine Creuzzi Bartell. I was so pleased to see one of them, Nasturtiums: Triptych Blossoms, included in the exhibit. As with many works on paper, the above image does not come close to giving you a sense of the subtle detail in mark and texture of the actual work.
Ruth Levine is always a favorite artist. In Traversed: Passage I, she has overlapped marks in degrees of transparency, building a rich surface. The work, with its marks arranged in columns, reads as a code or something that verges on language.
In Mask for the Festival of Wrong Beliefs, James Scott Munshour seems to be commenting on several conceptions that American society holds dear; the right to bear arms and the puritan work ethic. In this instance, the narrative of the title is imperative in deciphering the artist’s intent. The work was well balanced with an immediate visual appeal.
Elaine Morris was unable to provide an image of Inscribed. This small work has and intimate and personal quality, assembling clippings and letters into a scrapbook image that feels like a brief look into the trials and tribulations of an individual life.
Scott A. Turri’s Poppies and Heroines is interesting for a couple reasons. It had the kind of flat posterized imagery you would expect in Pop art. The colors that he chose, however, took the piece beyond expectations for the genre.
John Yochem Winberg’s At Home in the Forest combines the disparate elements of gridiron and trees. There was something about the work that reminded me of Eastern European painters, with their delight in twisting the parameters of formal ground/object relationships.
John Eastman has an energetic and aggressive painting style. His abstract, American Foreign Policy: Lost Our Way, dominated the room. In this case, the title did not help me gain entry into the artist’s intent. But it also did not in any way deter me from enjoying his piece.
The 96th Annual is on exhibit through January 14th, 2007. So if you haven’t made it to see the show, there are still a few weeks left. In order to make your visit more enjoyable, you should prepare yourself for some of the many rules of behavior that the museum guards enforce. You may not carry any bag larger than 11” x 14”. You may not carry your back pack with both straps on your shoulder but must walk around with it dangling off one side of your body. You may not take pictures. You may not wear a pick in your hair. Do not, under any circumstance, come within a foot of any area that is currently undergoing installation no matter how enticing it is. Also note that if you do bring a larger bag to the museum with you that you will have to check it into self-serve coin-operated lockers. Bring quarters! If you should violate any of these unwritten rules, be prepared to be followed by museum guards throughout your tour of the museum.
Wednesday, November 22, 2006
96th Annual @ Carnegie Museum update
Well, I still have to make it over to the museum again to really take a look at the exhibit myself. Now that the Bright and Shiny and small works shows are installed at the gallery, I have a breather so I will try to make it over next week. In the meantime, Mary Thomas at the Pittsburgh Post Gazette has reviewed the show. Mary Thomas has been a staunch supporter of Associated Artists for years.
Although Associated Artists does not see itself as one of the many guilds in the area, its structure is very similar. The guilds, and there are dozens of them in Pittsburgh, have been in place for decades. Many of the mid- and late- career artists in Pittsburgh have multiple memberships but it is unusual for the younger artists to participate in the guild system. The guilds have tried to interest younger artists in membership, at least since I have been here, which is several years now.
Associated Artists has been operating as a group for nearly a hundred years, the last forty-five or so as a non-profit. The guild's home is the Pittsburgh Center for the Arts, which has seen some rough weather over the last couple years. Recently, PCA merged with Pittsburgh Filmmakers to the advantage of both organizations. PCA's campus is charming, set at the edge of Frick Park in Shadyside.
I plan to go to CMOA next week, after the holiday. Time has gotten away from me this month, with one thing or another. Stay tuned!
Although Associated Artists does not see itself as one of the many guilds in the area, its structure is very similar. The guilds, and there are dozens of them in Pittsburgh, have been in place for decades. Many of the mid- and late- career artists in Pittsburgh have multiple memberships but it is unusual for the younger artists to participate in the guild system. The guilds have tried to interest younger artists in membership, at least since I have been here, which is several years now.
Associated Artists has been operating as a group for nearly a hundred years, the last forty-five or so as a non-profit. The guild's home is the Pittsburgh Center for the Arts, which has seen some rough weather over the last couple years. Recently, PCA merged with Pittsburgh Filmmakers to the advantage of both organizations. PCA's campus is charming, set at the edge of Frick Park in Shadyside.
I plan to go to CMOA next week, after the holiday. Time has gotten away from me this month, with one thing or another. Stay tuned!
Monday, October 16, 2006
Associated Artists of Pittsburgh 96th Annual
The Word - GenesisIt is my pleasure to be included in this year's Annual exhibit at the Carnegie Museum of Art. The show is previewed in the Carnegie Online magazine. The juror for the exhibit was Douglas Fogle and you can view his juror's statement on the Associated Artists of Pittsburgh site.
Save the date!
96th Annual Associated Artists of Pittsburgh Exhibition
October 27, 2006-January 14, 2007
Opening reception: October 26, 6:30 - 9:00pm
Carnegie Museum of Art - Heinz Galleries
4400 Forbes Avenue
Pittsburgh, PA 15213-4080
Each year the Associated Artists of Pittsburgh invites artists living within 150 miles of the city to submit work for this survey exhibition. Douglas Fogle, Carnegie Museum of Art Curator of Contemporary Art and organizer of the 2008 Carnegie International is the exhibition's juror.
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