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[whitneymuseum]

COMING SOON! Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 spans over sixty years of conceptual, video, and computational art.

[Nam Jun Paik (1932–2006), Fin de Siecle II, 1989. Video installation, 207 television sets with seven video channels, 168 x 480 x 60 in. (426.7 x 1219.2 x 152.4 cm). The Whitney Museum of American Art, New York; Gift of Laila and Thurston Twigg-Smith 93.129]

[whitneymuseum]

COMING SOON! Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 spans over sixty years of conceptual, video, and computational art.

[Nam Jun Paik (1932–2006), Fin de Siecle II, 1989. Video installation, 207 television sets with seven video channels, 168 x 480 x 60 in. (426.7 x 1219.2 x 152.4 cm). The Whitney Museum of American Art, New York; Gift of Laila and Thurston Twigg-Smith 93.129]

[spotteart]

Catch the last weeks of Christina Massey's "CLADE, VAGUELY" solo exhibition with Spotte. The collection is available for purchase online until September 18th, 2018.

The show includes 9 biomorphic sculptures and 3 botanical monoprint collages in a range of sizes.

https://www.artsy.net/show/spotte-art-clade-vaguely

See the artist's magnificent studio in Sunset Park, BK here: https://bit.ly/2NLuy5M

[spotteart]

Artist Profile: Christina Massey, Brooklyn, NY | Sculpture & Fiber Arts

©Artist Christina Massey. Studio shot, 2018. Photo: Courtesy of the artist

Facts: 

Christina Massey is a Brooklyn-based sculptural painter & installation artist.

Massey’s practice is concerned with the manifestations of nature and the systemic organization of clade-like free-form organismal objects created from common, everyday materials. 

Artist’s work has been exhibited in over a dozen solo exhibitions including with the Noyes Art Museum, Rush Arts Galleries, Brown University and abroad in cities such as London, Toronto and Tokyo. 

She has won multiple awards for her work including most recently the SIP Fellowship at the EFA Robert Blackburn Printmaking Workshop, Puffin Foundation Grant, Mayer Foundation Grant and Merit Scholarship at Urban Glass. Massey’s work can be found in multiple private and public collections including the Janet Turner Museum and Credit Suisse.

“Artisanal 23″ 2017 24" H x 19" W x 7" D (61 cm x 48.25 cm x 18 cm) acrylic, enamel and image transfer on wire, mesh, paper and aluminum beer cans

“I am greatly inspired by textiles and fiber arts, yet at the same time drawn to and unable to escape the pull of a painting. I use techniques such as weaving and hand stitching to highlight, enhance and contradict the typical painter’s canvas, turning the works into highly textural, abstracted versions of paintings themselves, blurring the definition between fiber art, painting, and sculpture.”

The artist is influenced by John Chamberlain, Susan Bengali, El Anatsui and Lee Bontecou

Massey’s work shares a sensitivity to materials, form, and process with an inspiration from textiles and re-purposed products. 

Artist’s studio routine: 

I’m a very intuitive creator. I tend to react to the materials and play with their limitations, unique qualities and challenge myself to see how I can manipulate them and create in that space of both abstraction and recognition. I tend to create quickly, building and sculpting the materials into forms that then need that reflective time for more extended periods of time as the process of getting to its completion slows and ultimately halts.

The beginning stages of her creative process are very sculptural. It develops from choices about materials, form, texture and shape before paint is applied. 

Her work is highly intuitive, reacting to the materials and building upon them as the work evolves. 

In 2018, Spotteart is excited to present Clade, vaguely, a solo exhibition of the artist’s recent work. This is the second collaboration between the artist and our platform. The collection is available for purchase online from July 20th, 2018. The show presents 12 biomorphic sculptures and botanical monoprint collages in a range of sizes. The artist speculates on a future of Anthropocene, shining the light on the possible man-made impact onto the biological forms. The preservation of our environment and appreciation for nature reveals itself through her choice of materials and form. Each work asks the viewer to stretch their imagination and invites their curiosity in a struggle to identify their marks, engaging in the creative process through the act of exploration of the Art.

CHRISTINA MASSEY “Artisanal 9” 2016 20" H x 24" W x 5" D (50.8 cm x 61 cm x 12.7 cm) acrylic and enamel on wire, mesh, fabric, paper and aluminum beer cans

Artisanal 24" 2018 35” H x 22” W x 7” D (89 cm x 56 cm x 18 cm) acrylic and water-based enamel on monoprint image transfer on paper with repurposed aluminum, plastic fencing and wire

CHRISTINA MASSEY  “Artisanal 25” 2018 30” H x 28” W x 9” D (76.2 cm x 71 cm x 22.86 cm)  acrylic and water-based enamel on monoprint image transfer on paper with repurposed aluminum and wire

[spotteart]

Artist Profile: Christina Massey, Brooklyn, NY | Sculpture & Fiber Arts

©Artist Christina Massey. Studio shot, 2018. Photo: Courtesy of the artist

Facts: 

Christina Massey is a Brooklyn-based sculptural painter & installation artist.

Massey’s practice is concerned with the manifestations of nature and the systemic organization of clade-like free-form organismal objects created from common, everyday materials. 

Artist’s work has exhibited extensively in over a dozen solo exhibitions including with the Noyes Art Museum, Rush Arts Galleries, Brown University and abroad in cities such as London, Toronto and Tokyo. 

She has won multiple awards for her work including most recently the SIP Fellowship at the EFA Robert Blackburn Printmaking Workshop, Puffin Foundation Grant, Mayer Foundation Grant and Merit Scholarship at Urban Glass. Massey’s work can be found in multiple private and public collections including the Janet Turner Museum and Credit Suisse.

“Artisanal 23″ 2017 24" H x 19" W x 7" D (61 cm x 48.25 cm x 18 cm) acrylic, enamel and image transfer on wire, mesh, paper and aluminum beer cans

“I am greatly inspired by textiles and fiber arts, yet at the same time drawn to and unable to escape the pull of a painting. I use techniques such as weaving and hand stitching to highlight, enhance and contradict the typical painter’s canvas, turning the works into highly textural, abstracted versions of paintings themselves, blurring the definition between fiber art, painting, and sculpture.”

The artist is influenced by John Chamberlain, Susan Bengali, El Anatsui and Lee Bontecou

Massey’s work shares a sensitivity to materials, form, and process with an inspiration from textiles and re-purposed products. 

Artist’s studio routine: 

I’m a very intuitive creator. I tend to react to the materials and play with their limitations, unique qualities and challenge myself to see how I can manipulate them and create in that space of both abstraction and recognition. I tend to create quickly, building and sculpting the materials into forms that then need that reflective time for more extended periods of time as the process of getting to its completion slows and ultimately halts.

The beginning stages of her creative process are very sculptural. It develops from choices about materials, form, texture and shape before paint is applied covering the surfaces with painterly gestures. 

Her work is highly intuitive, reacting to the materials and building upon them as the work evolves. 

For her past series for Spotte in 2015, Christina has assembled a collection of pieces in a range of mediums, blending the boundaries between fiber arts, painting, and wall installation

“Stripes Earned 1” 2015 32" x 37" x 4" (81.28cm x 93.98cm x 10.16cm) Acrylic and Watercolor on canvas, linen and paper with clothing, fabric, yarn and vintage beads

In 2018, Spotteart is excited to present Clade, vaguely, a solo exhibition of the artist’s recent work. The collection is available for purchase online from July 20th, 2018. The show presents 12 biomorphic sculptures and botanical monoprint collages in a range of sizes. The artist speculates on a future of Anthropocene, shining the light on the possible man-made impact onto the biological forms. The preservation of our environment and appreciation for nature reveals itself through her choice of materials and form. Each work asks the viewer to stretch their imagination and invites their curiosity in a struggle to identify their marks, engaging in the creative process through the act of exploration of the Art.

CHRISTINA MASSEY “Artisanal 9” 2016 20" H x 24" W x 5" D (50.8 cm x 61 cm x 12.7 cm) acrylic and enamel on wire, mesh, fabric, paper and aluminum beer cans

Artisanal 24" 2018 35” H x 22” W x 7” D (89 cm x 56 cm x 18 cm) acrylic and water-based enamel on monoprint image transfer on paper with repurposed aluminum, plastic fencing and wire

CHRISTINA MASSEY  “Artisanal 25” 2018 30” H x 28” W x 9” D (76.2 cm x 71 cm x 22.86 cm)  acrylic and water-based enamel on monoprint image transfer on paper with repurposed aluminum and wire

[spotteart]

Clade, vaguely by Christina Massey | Spotte Art | Press Release

Clade, vaguely by Christina Massey | Spotte Art | Press Release - https://mailchi.mp/spotteart/christinamassey_clade_vaguely-643385

CHRISTINA MASSEY: CLADE, VAGUELY ONLINE OPENING JULY 2019 Spotte Art is pleased to present CHRISTINA MASSEY: CLADE, VAGUELY, a solo exhibition of the artist's recent work. It is the second collaboration between the artist and Spotte Art platform. The collection is available for purchase online from July 20th, 2018. The show presents 12 biomorphic sculptures and botanical monoprint collages in a range of sizes. Massey's practice is concerned with the manifestations of nature and the systemic organization of clade-like free-form organismal objects created from common, everyday materials. In her practice, Christina speculates on a future of Anthropocene, shining the light on the possible man-made impact onto the biological forms. The preservation of our environment and appreciation for nature reveals itself through her choice of materials and form. Each work asks the viewer to stretch their imagination and invites their curiosity in a struggle to identify their marks, engaging in the creative process through the act of exploration of the Art.

Christina Massey’s work has exhibited extensively in over a dozen solo exhibitions including with the Noyes Art Museum, Rush Arts Galleries, Brown University and abroad in cities such as London, Toronto, and Tokyo. She has won multiple awards for her work including most recently the SIP Fellowship at the EFA Robert Blackburn Printmaking Workshop, Puffin Foundation Grant, Mayer Foundation Grant and Merit Scholarship at Urban Glass. Massey’s work can be found in multiple private and public collections including the Janet Turner Museum and Credit Suisse. She currently lives and works in Brooklyn, NY.

For press inquiries or to request images: Nelba Delmedico | [email protected] or [email protected] | [phone]   Visit us online at spotteart.com

[spotteart]

Artist Profile: Jaena Kwon, Korea/USA| Sculpture & Painting

Facts:

Brooklyn-based artist Jaena Kwon (b. 1986) was born in South Korea and currently lives and works in New York. 

She received an MFA in Painting and Printmaking at Yale University School of Art, CT and her BFA at Seoul National University, South Korea. 

Her works have been shown at The Painting Center, NY; Amy Simon Fine Art, CT; SongEun Art Space, Seoul; and ING Art Project; Seoul. 

Artist's studio is based in the industrial part of Sunset Park neighborhood in Brooklyn, NY. 

She has received awards including 2014 Boston Young Contemporaries RGH Prize, the 2014 Carol Schlosberg Memorial Prize, and the 2008 Hwajeon Paint Award. 

She has recently participated in The Studios in Mass MoCA program.

"My practice is concerned with the components of painting, the construction of the painting space, and the expansion of painting through incorporating environmental conditions. I intend to create viable painting moments as a spatial experience, heightened by the bodily movement, tactile emotion, and the viewer’s subjective involvement. I experimented with formal elements such as the surface, support, color, light, texture, and how this vocabulary composes a space. Such analytical approach investigates how paintings can implicate space beyond its surface through illusory, psychological, or emotional means. In between tangible matter and intangible effect, the intention is to weave those concepts together.

Jaena's pieces carry anywhere between 12 to 20 layers of spray paint in order to achieve a matte, velour-like texture of the objects.

Based on my background in making paper engineered models for pop-up books, my work expands on the idea of the folded paper as a medium that possesses dimensional flexibility.  Layers of paper, a series of two-dimensional surfaces, can be folded and popped up into a three-dimensional form and collapsed back to its flat state. 

The paper’s malleability through folding and unfolding connects to the idea of the painting’s pictorial space, a perceived dimension expanding from a two-dimensional surface of a painting. To adapt this condition without relying on the rectangular canvas, paint patches and paint layers are re-elaborated into wooden shapes. By assigning each paint layer a shape and a support backing of medium density fiberboard, the space between the paint layers become visible and the structure simultaneously exposes the layers and the process of painting." 

Artist is speaking about her process in her studio in Brooklyn

For Tactile Space, her digital solo exhibition with SPOTTEART, Jaena Kwon is showcasing 20 wall pieces, ranging in size from A4 format to colossal, floor-to-ceiling shields with unique textures and creases. 

JAENA KWON "Bluepoint" 2015 83" x 66" (211 cm x 167.6 cm) Acrylic on Medium Density Fiberboard

JAENA KWON "Crane" 2017 45.5" x 41" (115.5 cm x 104 cm) Acrylic on Medium Density Fiberboard

JAENA KWON "Dimple" 2017 23" x 25" (58.4 cm x 63.5 cm) Acrylic on Medium Density Fiberboard

JAENA KWON "Ribbon" 2015 95" x 96" (241 cm x 243.85 cm) Acrylic on Medium Density Fiberboard

[spotteart]

(via exhibitions & events | ArtSlant)

PRESS RELEASE

JAENA KWON: TACTILE SPACE ONLINE OPENING MAY 2018 Spotte Art is pleased to present Jaena Kwon: Tactile Space, a solo exhibition of the artist's recent work. It is the first collaboration between the artist and Spotte Art platform. The collection is available for purchase online from May 10th, 2018. The show presents 20 sculptural pieces from A4 scale to wall-size objects organized in small and large sizes. Kwon's practice is concerned with the construction of the painting space and the expansion of painting through incorporating environmental conditions. Jaena intends to create viable painting moments as a spatial experience, heightened by the bodily movement, tactile emotion, and the viewer’s subjective involvement. Each shape is cut and sanded to have ergonomic features responding to body parts and the bodily movement. Each work is an experiment with formal elements such as the surface, support, color, light, texture, and how this vocabulary composes a space. Such analytical approach investigates how paintings can implicate space beyond its surface through illusory, psychological, or emotional means. In between tangible matter and intangible effect, the intention is to weave those concepts together.

 Jaena Kwon (b. 1986, South Korea) lives and works in New York. She received an MFA in Painting and Printmaking at Yale University School of Art, CT and her BFA at Seoul National University, South Korea. Her works have been shown at The Painting Center, NY; Amy Simon Fine Art, CT; SongEun Art Space, Seoul; and ING Art Project; Seoul. She has received awards including 2014 Boston Young Contemporaries RGH Prize, the 2014 Carol Schlosberg Memorial Prize, and the 2008 Hwajeon Paint Award. She has recently participated in The Studios in Mass MoCA program. For press inquiries or to request images: Nelba Delmedico | [email protected] or [email protected] | [phone]   Visit us online at spotteart.com

[spotteart]

Artist Profile: Beverly Rautenberg, USA| Sculpture

“RED [Dots], (for Yayoi Kusama)”, (2017)

Facts:

Beverly Rautenberg is a sculptor and mixed media artist based in Chicago, USA

The Artist has graduated from The School of the Art Institute of Chicago with a BFA in Sculpture,  where she studied with Richard Rezac and Stephanie Brooks.

Her intimate, minimalist wall sculptures are influenced by the likes of the talents such as Donald Judd, Piet Mondrian, Barnett Newman and Mark Rothko

“BLUE [2,4,6…space between], (Homage to Judd)”, (2018)

Rautenberg has exhibited in some 40+ group and solo exhibitions in the US and abroad, including The Aldrich Museum of Contemporary Art, MASS MoCA, and MCA (Museum of Contemporary Art Chicago), 57w57arts.

I am an Interdisciplinary Conceptual Artist.  My current practice is focused mainly on making Objects.  My work is very small and intimate and is almost always square.  It combines a minimalist aesthetic with autobiographical subject matter.

She has received a prestigious CHANGE, Inc. Grant (Robert Rauschenberg Foundation) in 2015.

“[My] FAVORITES”, (2017).

Wood is the main material I use for most of my work.  It is ‘my canvas’.  I then add other materials such as enamel and aluminum.  I also use text and language in my work at times and enjoy interjecting humor into my work (usually in the titles of my works).

I do my best creative work in the evening (between 10pm and 2am), when it is most quiet

‘The Circle’ appears in my work in 2 current shows for the first time (all of my work has been Square for the past 15 years)!!

Her series for spotteart.com combines the reductive formalism of a minimalist aesthetic with an intimate subject matter.  The material, color, and surface are used as signifiers to communicate a personal narrative. The Works in this New Series are inspired by observing the Colors of the End of Summer and the Beginning of Fall, Sunrise, and Sunsets in Chicago.

BEVERLY RAUTENBERG"SHADES [ Summer to Fall ] Polyptych" 2017 10”h x 40”w x 1”d (25.4 cm x 1036.32 cm x 2.54 cm) Enamel on archival board, mounted on wood panels; individual: 10”h x 10”w x 1”d (25.4 cm x 25.4 cm x  2.54 cm)

BEVERLY RAUTENBERG"[ Sun ] UP / DOWN" 2017 20”h x 10”w x 1”d (50.8 cm x  25.4 cm x  2.54 cm) Enamel on archival board, mounted on wood, 6 sections

BEVERLY RAUTENBERG"[ Sun ] SPOTS #2 Triptych (for Yayoi Kusama) " 2017 4”h x 12”w x 1”d  (10.16 cm. x  30.48 cm x  2.54 cm)  Enamel on archival board, mounted on custom wood panel

[spotteart]

Artist Profile: Vigintas Stankus, Lithuania| Painting

Facts:

Vigintas Stankus started his career in the early 90's. To the date, the artist has carried out more than 80 solo and group exhibitions in Lithuania and abroad (France, Germany, USA, Spain, Norway, Netherlands, etc.). 

His paintings have traveled to collectors from South Korea, USA, Italy, France, Holland, Norway, UK etc.

In his work, you see the influences of Antoni Tàpies, Cy Twombly, Jackson Pollock, Jean-Michel Basquiat, and ancient Japanese ink painting

Since the very beginning, the style and media, colors and rhythm of my canvases went through many incarnations allowing me to grow while continuing to search for the new forms of abstraction. 

In 1991 the artist has graduated from Lithuania Academy of Arts. Vigintas is a member of Lithuanian Artists' Association since 1999.

VIGINTAS STANKUS "Red Skylines" 201612.6" x 12.6" (32 x 32 cm) oil on canvas

My creative work credo “Positive thoughts and emotions reflect in each work“ strongly effects my paintings. That is why I work only when I feel peace and brightness inside.

I admire Japanese painting and I am largely influenced by Eastern philosophy. 

His series for spotteart.com is from the artist’s latest creative period, made through experiments with ashes and oil paints to reach a maximum feeling of nature.

VIGINTAS STANKUS "Yellow Town" 2016 12.6" x 12.6" (32 cm x 32 cm) oil on canvas

His works from the series “Time Passing” are currently available on Artsy

"Mainly abstract, the works in Time Passing are spontaneous and rich in texture. These collage abstractions leave the space for imagination, reading time on their own accord." - Vigintas

[spotteart]

Artist Profile: Ricky Vior, AR/US| Painting

Facts:

Ricky Vior, artist and illustrator from Buenos Aires, Argentina. 

In 2014, he has moved to Miami. His practice is a mix of street cultures, languages and colors.

Ricky’s work has been exhibited in group shows in galleries and art fairs like ArteBA and Gallery nights in Buenos Aires, Mexico, San Paulo, and Miami, US.

The artist has studied at the Central Saint Martins College of Art and Design in London.

In 2008 along with 2 of his friends (Baragli/Prat) Ricky created TINAG (ThisIsNotaGAllery) the smallest gallery in the world, that showcased art 24/7 through a tiny window. Initially, TINAG was based in Buenos Aires and Miami. Later TINAG became a Solar Itinerant gallery. It moved art around a city, powered by the solar energy ( Buenos Aires 2011/ Miami Art Basel 2012).

Along with Converse, he created two public art programs to support street artists in Mexico City and San Paulo.“Highways” was a project that recovered the spaces under the highways and transformed them into underground galleries and venues where local artists can show their art and music. Another program was titled “Donate your Shadow”. After the city council in Sao Paulo banned street art, Vior invited people to donate their shadows to artists so they could transform them into colorful statements against the gray all around the city. 

In 2017 he’s been selected as one of the 18 creative leaders in America by Adweek magazine. 

His series for Spotte includes a collection of illustrations titled “Be Yourself”

"I like to paint real people. People that I don’t know. I like to paint everyday objects, palm trees, sneakers, tattoos and things like ice creams, water ice creams. I don’t like to paint cars, buildings or chairs. I like to paint the reality as I remember it, not as it is." 

"Be yourself 8" 2017 19.5”x 24” (49 x 60cm) Acrylic on BFK Rives Printmaking Paper, 280 gsm

"Be yourself 9" 2016 44" x 30"  (112 x 76 cm) Acrylic on BFK Rives Printmaking Paper, 280 gsm

"Haiti (I)" 2016 18" x 24" (45.7 x 61 cm) Acrylic on BFK Rives Printmaking Paper, 175 gsm

[spotteart]

Artist Profile: Floris Felix, FR | Painting

Facts:

Floris Felix is a visual artist from in Heemstede, Netherlands, currently based in Paris, FR.  A quaint setting of the artist's hometown, located between Amsterdam and the coast, has largely influenced his practice.

Floris has studied at the Rietveld Academy of Fine Arts in Amsterdam and has graduated from the Vogue Academy with a degree in fashion design.

One of the artists who inspire me the most is Egon Schiele. The way he paints and draws the human body is extremely raw and direct. Through his fast, decisive lines he captures the vulnerability of his subjects.

The dynamic in the work of Francis Bacon has inspired me to capture the human body as a moving object, versus a still, for which I have studied and recorded my own movements.

His series for Spotte is titled La dance des Ecorchées. It is a compilation of seven paintings. Each painting embodies a unique image but when layered on top of each other, like playing cards, together they form one.

Ecorché literally means pealing off and is often used to describe our emotions. On every painting, more skin is peeled off and more flesh appears. Magenta is the color of the flesh, of my vulnerability, of my emotions.

[spotteart]

Ricky Vior, Summer 86, 2017, Spotte Art

[spotteart]

Ricky Vior, Be yourself 9, 2016, Spotte Art

[spotteart]

Artist Profile: Roger Mudre, CT | Paintings

Facts:

Roger Mudre, Connecticut-based abstract painter

Roger’s CV includes numerous solo and group exhibitions all over American North East.

His paintings are part of countless public and private collections

(photos from Upper East Side Waterfall Mansion Gallery, NYC)

The process begins with preparing the paper or canvas with a ground and then applying metallic leaf to the surface. Next the leaf is sealed and I begin to transform the surface with sheer layers of glazed color. Numerous layers are later applied to the surface in an additive and subtractive process, either with a brush, rag or scraper. The organic forms are created in the moment as the paint reacts to the process. This layering process also adds another dimension of depth to the paintings.

Nocturnality is an animal behavior characterized by activity during the night. I begin with the most basic and universal symbol, the circle.  Late at night, every night, since June of 2007, I have drawn complex, tangled variations of the circle into a sketchbook with 35 books to date.   The practice “has become prayer-like substituting mark-making for words.” I began to use the nighttime drawings first in a series of prints, then as the basis for finished artworks. Artwork titles reference the date of the original nighttime drawing.The concept of infinity is the inspiration for the circular imagery. The images created, reference microscopic worlds, cellular growth, auras, and the cosmos. The square format of the finished work allows for a field of pattern that continues equally in all directions, amplifying the idea of infinity.

Roger’s collections for SpotteArt includes 3 series: Ring & Nighttime Prints, along with Nocturnal Paintings:

[spotteart]

“working in the garden” 

Artist Vigintas Stankus started his career in the early 90's. To the date, the artist has carried out more than 80 solo and group exhibitions in Lithuania and abroad (France, Germany, USA, Spain, Norway, Netherlands, etc.). His paintings have traveled to collectors from South Korea, USA, Italy, France, Holland, Norway, UK etc.

[spotteart]

Ricky Vior, Army of me, 2017, Spotte Art