Juror: Carmen del Valle Hermo
Assistant Curator for Collections at the Solomon R. Guggenheim Museum, NY
Juror Carmen Hermo selected 41 works from over 400 submissions. Hermo said “It’s interesting to note the high levels of anxiety– personal, political, bodily, and even environmental-–that permeates this group.” The majority of the work accepted was painting and collage with a strong showing of photography.
Artists: Thomas Acevedo, MA; Sarah Amacker, LA; Susan Barrett, NY; Sarah Bielski, GA; Judith Brice , NJ; Amy Charmatz, NJ; Derek Cracco, AL; Leila Novak Dorne, NY; Bin Feng, GA; Donna Festa, PA; Mack Gingles, TX; Sarah Glickman, NY; Kathleen Greco, PA; Melissa Dargan Heintjes, NJ; Susan & John Hensel, MI & MA; Yasemin Kackar-Demirel, NY; Ann Kim, OH; Kathleen A. Kneeland, MA; Sassoon Kosian, NJ; Emily Lazerwitz, NY; Yelena Lezhen, NJ; Lydia Loy-Santelli, ME; Dan McCormack, NY; Russell Mehlman, NY; Laura Mosquera, NY; Selena Nawrocki, GA; Jaimee Newman, PA; Sabeen Raja, VA; Amelie Rider, CA; Diane Rosen, NY; Carey Parks Schwartz, CT; Lisa Steiner, NY; Linda Storm & Pablo Perea, NM; Elizabeth White, CT; Zachary Williams, IL; Nancy OD Wilson, MD Jennifer Wright, CA; and Harold Zabady, PA
In their own words: Nawrocki: The effect I am seeking is a mechanized, industrial structure designed to simulate architectural construction elements. Glickman evolved from a traditional painter to a more experimental collage artist working with her own painted materials. Cracco focuses on investigations of masculine and feminine archetypes, and the roles these idealized men and women play within our fantasies. White explores connection to the natural world and desire for harmony. For Lazerwitz, surveillance and constant terror threat, have existed as long as she can remember, so government actions such as the Freedom of Information Act and the Patriot Act become instigators of a collective myth as opposed to an independent action. Loy-Santelli: Tactile rhythmic patterning and texture, incised, rutted, eroded; glaze breaks over sharp edges and pools within pockets. The dimensional textures transform into a type of braille, allowing beauty to be seen through the sense of touch. Kneeland's work considers the natural world, its various organisms, and the issues that affect them. She is inspired by biology, politics, and memory, Charmatz is a self-taught artist with disabilities who believes very strongly in the positive impact art has on physical and mental health. Art gives me a feeling of empowerment and control. Storm and Perea an American artist who collaborates with a Cuban artist. Our inevitable artistic collaboration began in 2010, when we became neighbors in rural NM. We create with confidence and humility as we paint stories about our state of affairs on planet Earth. Kim: the constant paradox of destruction and dependence in the midst of perpetual longing for redemption has been the overarching question in my work. Acevedo: one of the basic principals of art is the absence of lying. It means creating greater vision and greater sanity. Mehlman I'm a storyteller; it's why, and how I paint. Rider inspired by the stories of students-all with issues of identity and self-image. Barrett Transformative Light and the Collective Memory. Mosquera I make geometric abstract paintings predominantly using acrylic and gouache. Raja paints in the miniature Pakistani tradition that goes back sixteen hundred years. Williams: deals with themes of children affected by violence within a context strongly reminiscent of childhood in America in the 1980's but inspired by current events. Schwartz: my focus is on capturing the character, personality, movement and perspective of random people walking in the city. Kackar-Demirel Shifting in between abstraction and representation, she explores and experiments the push-pull effects between the concepts of longing vs. apathy, insecurity vs. comfort, order vs. chaos, unfamiliarity vs. belonging and stability vs. ephemeral. She is intrigued by the idea of fragmenting and connecting which reinvestigates a place by reconstructing or renovating while destroying it. Festa explores those heavy burdens that we carry with us making our shoulders droop. We push them down. Bury them with food, drink, pills. Meanwhile, they make our hips wider, our hair grayer, our worry lines deeper. But we manage. Just manage. Beilski’s work confronts sports as cultural metaphors for sex. These paintings reverse the still male-dominated nature of these events by locating them in the very private space of women’s undergarments. Gingles The ambiguities of the space can also serve to recall the ambiguities of the Southern experience. If time exists in this place, it would be as the sun rises over and the morning fog starts to burn off. Hensel amother and son asks questions and tells multilayered stories about ageing in America. It is a feminist story that seeks to subvert the habits of exclusion. Feng explores the idea of ?American Dream? from an eastern male gaze. McCormak uses use the extreme wide angle distortions of the round oatmeal box pinhole camera and the digital colorization to create a series of visceral images. Greco examines the perception of women while investigating private and public social connotations related to the body: oppression, desire, dominance, and absence. She uses the materiality of the body and fluidity of the cloth. Wilson furnishes negative spaces with tactile material emphasizing what a color does when it is next to another color. In Kosian’s work, motions, feelings, and thoughts are represented by a dynamic interplay of color and abstract geometric forms.
From left: Zabady, Loy-Santellii, Kneeland, Raja, Hensel, White, Kosian, Lezhen