News & Exhibitions / New York
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Art & Dialogue: New York Summary by Valerie Cassel Oliver
For over twenty years, Artadia has sought to provide working artists with the necessary resources of time and money to continue their practice. Their much-needed support has now expanded to offer awardees the opportunity to converse with arts professionals. I was both delighted and honored when Jonathan Gardenhire reached out to me with an invitation to visit New York to meet with individual artists and engage in public dialogue. The visit came against the backdrop of the New York marathon, a nice metaphor for the working artist in New York. Beyond the obvious dimension of sustainability in a city where most working class, full time employees cannot afford to live where they work; there is also the element of endurance in the artist’s career, how much time and energy must be given over.
Working in various venues… a coffee shop, live/work spaces; old buildings and rehabbed spaces– the artists who I met are earnest, talented and determined. Many of them have emerged from graduate school and have found a strong visual articulation of themselves. Many have met with some commercial success while others continue to negotiate what it means to sustain a practice in the midst of an unyielding art landscape. I applaud them all and Artadia for being an important reprieve and catalyst in their lives and practice.
Stepping off the plane in Newark, I had some anxiety if I would actually make my meeting with Demetrius Oliver. The journey into the city was remarkably smooth and I actually arrived earlier than expected. I was eager to meet with Demetrius who I not only knew personally, from our time in Houston, but professionally, as someone who had organized his first museum exhibition. More than a decade had passed, but once Demetrius arrived, I found our conversation easy and that the work had evolved to the next level. Working primarily in photography, Oliver has been engaged in working not only with modes of the photographic process and composition, but also with presentation. His studio often revolves some aspect of performativity, either of the object or the artist. At present, he artist is considering what it means to create immersive environments. Our conversation was directed more towards this new body of work and means in which the artists could incorporate ideas of transference of such environments moving forward.
Heading across the river via subway, I was excited to meet Patricia Trieb. The studio in Brooklyn was a tidy affair was the artist had recently shipped a number of works to Scandinavia where she would present them in a commercial gallery exhibition. What remained in the studio were some remnants of this work–several paintings and some works on paper. Her color palette immediately struck me–hues of purple, emerald green and pale blues. Moreover, several paintings appeared to mirror one another, a visual echoing affect that the artist has skillfully developed by painstakingly painting still life in a laborious and repetitive manner. In doing this, Trieb is looking of the nuance of how images become abstracted–how known quantities dissolve into frames of form and color. The use of paper as both a tool for negotiating composition and color felt a natural asset to the installation allowing a variance of unconscious seeing to take place. Through the repetitive actions of painting, the artist has found a means to expand the detailed minutia of an object, dissolving it into fields of color and form.
I met Park McArthur at the Museum of Modern Art where her current installation is on view. Drawing upon conceptual ideas around materiality and performativity, McArthur explores architecture and the discrepancies of spaces made for individuals requiring assistance. Delving into the institutional politics, the artist examines the expansion of MoMA–its history via its Project series. The artist’s installation is both a form of protest–she disrupts the sequencing of the series–and a call to awareness using the formalist aesthetic of stainless steel sculptural elements that can be fluidly arranged. For McArthur, the action of using the museum for advocacy is the same as the opportunities now afforded to developers who are erecting luxury apartments just above the museum. The artist incorporates the sales brochures into her installation in an act of institutional critique that should move us closer to understanding the price of art and what is often sacrificed while the inherent needs of others go unmet.
The colorful miniatures of Larissa Bates were a pleasant surprise. We met in the back offices of Monya Rowe Gallery, who has supported the artists over the arch of her career. I had not known the artist before, but was delighted to see an installation of her small scale, colorful cosmologies. Situated between the autobiographical and the historical, her works drew upon the strange “mash ups” of cultural collisions and their impact. I loved the artists handling of paint and her precise and expert draftsmanship. The works serve to chronicle her recent illness and the fears and anxieties that come with such bodily struggles. Not satisfied to dwell on the negative, Bates infuses her protagonist’s life with color and anime-like creatures that embrace a bright future.
Heading to Summer Wheat’s studio via Uber was nearly an hour’s journey. Between the arrival of marathoners and spectators and general New York traffic, I had resigned myself to relaxing into the long ride. En route, I “Googled” the artist’s name, finding a range of images that celebrated womanhood and indigenous cultures with strong matriarchal linages. What I had not expected and which I encountered upon finally arriving to the studio, was the inventive technique with which the artist would present her works. Using mesh wire fencing, the artist would initially extrude paint into the fence creating a directional painting style that when dried resembled more of a tapestry. Colorful fields of paint popped on the surface and stood in various stages of completion. Using a suspension system of grommets and metal frames, Wheat’s assistant moves quickly and skillfully among the large scale works, literally paint that were being completed for the Untitled Art Fair scheduled for December in Miami. Basel affair. Inventive techniques in using fence mesh in which paint in extruded and placed upon the surface. The resulting works are akin to textiles drawn from many cultures–Greek, Indigenous American, Peruvian– that celebrate women’s work and place in society.
The next and final studio of the day was with Jessica Vaughn. Her studio was small in relation to the others visited, but served to underscore the conceptual nature of the artist’s work. For Vaughn, the process of assembling information is primary and that information in the form of statistics are later rendered as visual composition. Using ordinary materials–ones encountered every day–Vaughn points with deft accuracy the plight of bodies in the workplace. In the past, she has used seats taken from public buses to expose through the language of Minimalism, the configuration of our existence. Her sculptures and immersive environments expose the fissures of the widening gap of wages earned by women and men and among that, the gap between women of color and their white counterparts. Her statistics look deeply into the economic engines of our everyday lives–the salaries of teachers, police officers, secretaries and service providers. The resulting discourse is rendered to the use of stackable goods–trays, laundry baskets, and document holders–objects that reverberate with each category. I am encouraged to see how this artist will continue to evolve balancing her very important work as an artist, which the one that pays for her to inhabit a cubicle.
Dialogue with Catherine Morris at the Brooklyn Museum
The visit to New York culminated in a conversation with Catherine Morris at the Brooklyn Museum. My longstanding acquaintance and admiration of this curator enabled our conversation to move along freely. At the heart of the conversation was my own sixteen-plus year practice and recent transition from a non-collecting institution to that of an encyclopedic, collecting museum. How would my work change and/or evolve with this new transition and what impact would it have on me as a curator who has championed the work of women and artists of color for most of my career. The exchange was lively and engaging as it also highlighted parallels within our aesthetic interest and exhibition projects.
Valerie Cassel Oliver is the Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. Prior to this position, she spent sixteen years at the Contemporary Arts Museum Houston, Texas, where she was senior curator. She was director of the Visiting Artist Program at the School of the Art Institute of Chicago and a program specialist at the National Endowment for the Arts. In 2000, she was one of six curators selected to organize the Biennial for the Whitney Museum of American Art in New York. Cassel Oliver has organized numerous exhibitions including the acclaimed Double Consciousness: Black Conceptual Art Since 1970 (2005); Cinema Remixed and Reloaded: Black Women Artists and the Moving Image with Dr. Andrea Barnwell Brownlee (2009); Hand + Made: The Performative Impulse in Art and Craft (2010); and Radical Presence: Black Performance in Contemporary Art, (2012), which toured through 2015. Cassel Oliver has also mounted numerous solo exhibitions including a major retrospective on Benjamin Patterson, Born in the State of Flux/us, as well as the surveys Donald Moffett: The Extravagant Vein (2011); Jennie C. Jones: Compilation (2015); Angel Otero: Everything and Nothing (2016) and most recently, Annabeth Rosen: Fired, Broken, Gathered, Heaped (2017). Her forthcoming exhibition, “Howardena Pindell: What Remains to be Seen,” is co-organized with Naomi Beckwith, Larry and Marilyn Fields Curator at the Museum of Contemporary Art Chicago (MCA). The retrospective will open at the MCA Chicago in February before traveling to the VMFA in August, 2017 and later, the Rose Art Museum at Brandies University in 2018.
Announcing the 2018 New York Artadia Awardees
New York, NY – Artadia is pleased to announce the Awardees for the 2018 New York Artadia Awards: Terence Nance and Jessica Vaughn. As the 2018 New York Artadia Awardees, Nance and Vaughn will receive $10,000 in unrestricted funds as well as access to the ongoing benefits of the Artadia Awards program.
In the first round of jurying, Monique Long, Independent Curator and Writer, New York and Assistant Curator, Zeitz MOCAA, South Africa; Lorna Simpson, Artist; and Jamie Stevens, Curator, Artists Space, New York, selected five Finalists: Heather Hart, Terence Nance, Christie Neptune, William Staples, and Jessica Vaughn. Carmen Hermo, Assistant Curator, Sackler Center for Feminist Art, Brooklyn Museum, joined Stevens for the second round of evaluations. The jurors conducted studio visits with the five Finalists to determine the Awardees.
Of the Awardees, Hermo stated, “Jessica Vaughn’s ongoing project exploring abstraction and the body as located in the social space of transportation—and her upcoming projects considering labor and educational systems—unpack the subtle mechanisms of control in our lives. Terence Nance’s performances and films destabilize any expected narratives to focus instead on individuals, bodies, and gestures with a cinematic lushness punctuated by political resonance.”
Stevens continued, “Jessica Vaughn’s work stood out for its ability to probe large questions about public space and the world of work with intense focus and economy. Terence Nance, on the other hand, is restless and remorselessly energetic in approach but undertakes a similarly critical unlayering of how infrastructures we all depend upon can, both deliberately and unwittingly, re-materialize flawed and violent value systems.”
In regards to the Round Two studio visits, the jurors noted: “It was an exciting day of studio visits with a varied group of artists, exploring their individual approaches to materials, subjects, and contexts. We look forward to following the upcoming projects from all of the shortlisted artists.”
This is Artadia’s third year providing unrestricted Awards to artists in New York. Applications for the Awards were open to any visual artist living in New York City, for over two years working in all media, and at any stage of their career. Artadia is a national non-profit organization that supports visual artists with unrestricted, merit-based Awards followed by a lifetime of program opportunities. Artadia is unique in that it allows any artist to apply, engages internationally recognized curators to review work, and culminates in direct grants. Since 1999, Artadia has awarded over $3 million to more than 310 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.
Announcing the 2018 New York Artadia Awards Finalists
New York, NY – Artadia is pleased to announce the five Finalists for the 2018 New York Awards: Heather Hart, Terence Nance, Christie Neptune, William Staples, and Jessica Vaughn. The Finalists will receive studio visits with second round jurors, who will ultimately select two artists as Awardees to receive $10,000 in unrestricted funds.
The Finalists were selected by jurors Monique Long, Independent Curator and Writer, New York; Assistant Curator, Zeitz MOCAA, South Africa; Lorna Simpson, Artist; and Jamie Stevens, Curator, Artists Space, New York.
Of the process of selecting Finalists, Long said: “It was rewarding to review hundreds of submissions on the occasion of the New York Artadia Awards. During the process, it was compelling to see what artists are currently concerned with formally, thematically, etc. in one critical mass. Some of these are things I myself am engaged with and some were a revelation to me.”
Simpson praised the act of supporting artists: “The Artadia Awards to artists in support of their continued growth and need for unfettered experimentation is one of the vital mechanisms of sustaining individual and collective artistic expression. Acklowleding these five artists acknowledges that as a society we cannot effectively move forward without the voices of artists.”
Artadia Executive Director Carolyn Ramo said of the finalists: “At a time when it is becoming increasingly unsustainable for artists to live and work in cities, it is crucial that the community recognizes the importance of the artistic voices that are shaping New York today. Artadia is so pleased to be offering support to artists in New York and cities across the country. All five finalists for the third annual New York Artadia Awards represent a richly diverse and dynamic cross-section of the New York art world.”
Long continued, “To those artists who were not selected: we see you. I hope you apply again.”
Artadia received more than 500 applications for the Awards, which were open to all visual artists living in New York City for over two years, working in any media, and at any stage of their career. Finalists and Artadia Award recipients are selected through Artadia’s rigorous, two-tier jury review process. In the first round of review, jurors evaluated the merit of all submissions and collaboratively determined the five Finalists.
Artadia is a national non-profit organization that supports artists with unrestricted, merit- based Awards followed by a lifetime of program opportunities. Artadia is unique in that it allows any artist to apply, engages nationally recognized artists and curators to review work, and culminates in direct grants. Since 1999, Artadia has awarded over $3 million to more than 300 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.
Farah Al Qasimi Receives 2018 NADA New York Artadia Award
Artadia and the New Art Dealers Alliance (NADA) are pleased to announce Farah Al Qasimi as the recipient of the 2018 NADA New York Artadia Award, a $5,000 unrestricted, merit-based Award granted to one artist exhibiting at the fair. Al Qasimi’s work is exhibited at the Helena Anrather booth 4.02 at NADA New York. A jury comprising two renowned curators, Natalie Bell, Associate Curator, the New Museum, and Alexis Lowry, Associate Curator, Dia Art Foundation, selected Al Qasimi. This is the eleventh time NADA and Artadia have partnered to present the Award.
“Farah Al Qasimi’s richly textured, strikingly composed photographs address want, expectation, identity, and global consumer culture, and stood out for their incisive eloquence, stated Lowry. “In spite of their directness, Farah’s photos function on a number of levels and in a very simple sense, I find them interesting both for what they allude to — here, the aesthetics and material culture of hospitality (from upholstery to the soap bar on the bidet) — and what they obscure, which is often the specific identity of the sitters,” continued Bell.
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which nonprofit organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program internationally. The curator-driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field. Al Qasimi will have access to the lifetime benefits of the Artadia Awards program, including participation in Art & Dialogue, exhibition opportunities, studio visits with curators and collectors, and a profile page on the Artadia Artist Registry.
Al Qasimi (b. Abu Dhabi, 1991) is an artist working in photography, video, sound and performance. Farah received an MFA in Photography from the Yale School of Art in 2017, and recently completed residencies at the Delfina Foundation in London and the Skowhegan School of Painting and Sculpture in Maine. Selected exhibitions include More Good News at Helena Anrather, New York, No to the Invasion: Breakdowns and Side Effects at the Center for Curatorial Studies at Bard (Annondale-on-Hudson, NY), Doublespeak at Shulamit Nazarian (Los Angeles), A Scream Runs Through The House at Helena Anrather (New York), and Coming Up Roses at The Third Line (Dubai).
Al Qasimi’s work considers the shared visual traditions of hospitality across cultures as they relate to global markets for textiles and domestic spaces. She is particularly drawn to the floral-printed polyester blanket, frequently seen in Arab and Hispanic homes across New York: its recent ubiquity across the Arab world reflects the trade relationship with furniture producers in China, who also produce most of the UAE’s baroque-style furniture, derived from a European design tradition. Tracing the lineage of these notions of taste, as they work towards creating a welcoming environment for guests, reveals a history of cultural exchange and a hybrid aesthetic produced by layers of coded translation. The booth at NADA New York aims to reflect this sense of cultural amalgamation and create a welcoming atmosphere for visitors to consider how ideas of beauty or belonging might transcend a culturally specific language.
Artadia is a national nonprofit organization that supports visual artists with unrestricted, curator-driven Awards and a lifetime of professional opportunities. Since 1999, Artadia has provided over $3 million to more than 300 artists in Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.
The New Art Dealers Alliance (NADA) is the definitive nonprofit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.
Application Now Open for the 2018 New York Artadia Awards
The New York Artadia Awards are open to all visual artists living and working throughout New York City (five boroughs of the Bronx, Brooklyn, Manhattan, Queens, and Staten Island). Individual artists and collaboratives working in all media, and at any stage in their career are strongly encouraged to apply. Artadia Awardees are selected through a two-tier jury process that combines local expertise with outside perspective from leading curators and artists. A preliminary panel will evaluate all online submissions and select five Finalists in April. A second panel will conduct studio visits with each Finalist, gaining a broader context for the artists’ work. Two Awardees will be selected from the Finalist pool to receive unrestricted Artadia Awards of $10,000. The 2018 New York Awardees will be announced in mid-May.
The New York Artadia Awards are:
– Open to anyone living in New York City
– Free of application fees and project outline requirements
Apply if you:
– Have lived in New York City for at least two years
– Are not currently enrolled in an art-related degree program
– Would like to have your work seen by a panel of prominent curators
Application due April 1, 2018
11:59 pm EST
Art & Dialogue: New York Summary by Miguel Lopez
Last November, I travelled to New York to participate in the Art & Dialogue series of studio visits and conversations. I was very happy to have been invited by Artadia for this program. Across four days I had the chance to participate in a public program at the Brooklyn Museum and to meet five Artadia’s awardee artists: Robert Pruitt, Fred Hayes, Ryan Foerster, Yevgeniya Baras and Accra Shepp –I was also scheduled to meet Park McArthur and Kameelah Rasheed but unfortunately due to last minute events they had to cancel. Even though I had been in New York several times before, I hadn’t had the opportunity to do studio visits beyond Latin American art community there, so this invitation was a fantastic occasion to get to know new artists and to reconnect with NYC dynamic cultural scene.
My first visit was with Robert Pruitt. Having seen some of his drawings online, I knew that his work was sharp way to talk about current social struggles in the US. For this visit I met Jonathan Gardenhire, the new Artadia’s Program Coordinator, and we both had an amazing conversation with Pruitt about how science fiction and black history appears in his large-scale drawings and paintings. In his studio, Pruitt was working mainly with portraits, including elements of popular culture, African mythology, futurist references, civil movements and comic books. Most of his work delves around the power of physical presence of female black bodies, creating ambitious scenarios where they challenge and expand traditional representations of race.
Later that day, my visit with Fred Hayes was in a way a continuation of my previous conversation with Pruitt. Hayes has been an important figure of African American art since 1990s. His work also uses portrait as an exploration of black identities but through a sort of expressionist, caricaturesque realism that emphasizes subjective impressions. Most of his work is inspired by urban life, like a recent series of black and white drawings he showed me that depicted a number of portraits of bus drives and politicians, pointing how usually black people are misrepresented in politics.
The next day I met Ryan Foerster, a Canadian NY-based young artist. His work is centered on the impact of time and weather in materials, using recycled and found objects to construct complex assemblages that evokes various layers of history. I was fascinated with his amateur video recordings, fanzines and publications and, in particular, with his huge collection of snapshots that he took since he was a child in Canada. His very fluid relationship with photography appears also in some experiments where he place photosensitive paper outdoors, which results in abstract compositions that are powerful comments about change and deterioration.
When I visited Yevgeniya Baras she was in preparations for a large solo exhibition in Los Angeles in January 2018, which make it a good moment to be with her in the studio as she was finishing and deciding what works to show there. Her abstract painting on small canvases usually evokes unexpected bodies, language, science fiction landscapes, and even erotic sensations –that appears in the form of orifices, fluids, and skin. She also incorporates quilting, embroidery and collage to create sculptural reliefs and intuitive colorful shapes that built a powerful and evocative vocabulary of marks and enigmatic sings. My last visit was with Accra Shepp, whose work I knew a little because I saw online part of his photographic series Occupying Wall Street (2011) dedicated to the protests in Zuccotti Park. Shepp, however, decided not to focus on that well-known work but in a series of photos printed on leaves, a process that he created in early-1990s. The traces of faces and hands on the leaf surfaces suggested a sensation of fragility and decay, juxtaposing the persistence and the ephemeral.
I was grateful that my visit gave me the chance to see great shows such as brilliant “José Leonilson: Empty Man” dedicated to the Brazilian artists, “Trigger: Gender as a Tool and a Weapon” at The New Museum, or “Carolee Schneemann: Kinetic Painting” at the MoMA PS1.
The invitation to give a talk at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum was truly special for me. I met Catherine Morris more than three years ago, when we both were invited to accompany and give critical feedback to the curatorial process of “Radical Women: Latin American Art, 1960-1985”, and since then I was following the program of this fantastic feminist art center. My public presentation reflected on opportunities that archived offers to curatorial and artistic research: first, by sharing some ideas related to a queer, experimental museum “Museo Travesti del Perú” founded in 2004 by drag queen and philosopher Giuseppe Campuzano (Lima, 1969-2013), and secondly, commenting few curatorial projects developed in TEOR/éTica in relation to art historical and research projects. The conversation with Catherine Morris that followed was a great chance to rethink my work and the challenges for a feminist institution. The audience was also very responsive and offered good questions about feminist curatorship and the importance to create cultural value around woman and queer artists in Latin America.
I am deeply grateful to Artadia and the whole team for making this amazing program possible and for creating the space for us to think and have meaningful conversations. Thank you!
Miguel López (Lima, 1983) is a writer, researcher, and Chief Curator of TEOR/éTicain San Jose, Costa Rica. His work investigates collaborative dynamics and transformations in the understanding of and engagement with politics in Latin America in recent decades. His work also focuses on queer re-articulations of history from a Southern perspective. He has published in periodicals such as Afterall, ramona, Manifesta Journal, e-flux Journal, Art in America, Art Journal,andThe Exhibitionist, among others. He has recently curated Frágiles. Obras de Patricia Belli, 1986 – 2015 at TEOR/éTica, San José (2016); Teresa Burga. Estructuras de aire (with Agustín Pérez Rubio) at the MALBA, Buenos Aires (2015) and the section ‘God is Queer’ for the 31 Bienal de São Paulo (2014). Among others, recent publications include The Words of Others: León Ferrari and Rhetoric in Times of War (with Ruth Estevez and Agustín Diez Fischer, REDCAT and JRP-Ringier, 2017) (Forthcoming);Agítese antes de usar. Desplazamientos educativos, sociales y artísticos en América Latina (with Renata Cervetto, MALBA and TEOR/éTica, 2016); Caderno Sesc_Videobrasil 11: AliançasdeCorpos Vulneráveis (Videobrasil, 2015); and A wandering body. Sergio Zevallos in the Grupo Chaclacayo, 1982 – 1994 (MALI, 2014). López is co-founder of the independent art space Bisagra, active in Lima, Peru, since 2014. In 2016 he was recipient of the Independent Vision Curatorial Award from ICI – Independent Curators International, New York.
Announcing the 2017 New York Artadia Awardees
Artadia is pleased to announce the Awardees for the 2017 New York Artadia Awards: Mika Tajima and Patricia Treib. As the 2017 New York Artadia Awardees, Tajima and Treib will receive $10,000 in unrestricted funds as well as access to the ongoing benefits of the Artadia Awards program. This is Artadia’s second year providing unrestricted Awards to artists in New York. Applications for the Awards were open to any visual artist living in New York City, for over two years working in all media, and at any stage of their career.
In the first round of jurying, Kimberly Drew, Social Media Manager, The Metropolitan Museum of Art, New York, NY; Jonah Freeman, artist, New York, NY; and Matthew Lyons, Curator, The Kitchen, New York, NY, selected five Finalists: Dawn Kasper, Michael Portnoy, Mika Tajima, Patricia Treib, and Jessica Vaughn. Laura Raicovich, President and Executive Director, Queens Museum, New York, NY, joined Lyons for the second round of evaluations. The jurors conducted studio visits with the five Finalists to determine the Awardees. Lyons and Raicovich highlighted the distinguishing characteristics of each artist’s practice:
“Mika Tajima translates far-reaching threads of contemporary life into works that highlight our relationships to modernity. Her work reflects and even predicts our collective selves as data producers and consumers, as products of industrial and technological design, affecting and potentially controlling our emotional states.”
“Patricia Treib has developed a highly nuanced and engaging language of painting that explores perception and memory through the use of color and shape, which is very much her own. By returning to existing motifs again and again, she creates a time-based experience of painting.”
Tajima was named the 2017 UOVO Artadia Awardee: “UOVO was born out of a love for the arts and our desire to provide collectors, artists, galleries, and institutions with the level of care and services their collections deserve. We’re excited to continue our support of artists and to give back to the community through our partnership with Artadia,” said UOVO CEO Steve Novenstein.
Through a holistic approach to collections management, UOVO has developed a new paradigm for the stewardship of the art, design, fashion, and archival collections that comprise a cultural legacy. From climate-controlled storage and private viewing rooms, to transportation, packing, crating, and installation services, UOVO provides an array of storage options and innovative service and management solutions tailored to meet the specialized needs of any collection. Each UOVO facility is purpose-designed and managed by a team of industry-leading experts dedicated to ensuring that works are safeguarded with the highest caliber of security, discretion, professionalism, and care.
The 2017 New York Artadia Awards are generously supported by UOVO and the May and Samuel Rudin Family Foundation, Artadia’s Board of Directors, and Council members. Special thanks to UOVO for sponsoring the UOVO Artadia Award.
Image, from left to right: Mika Tajima, installation view at Palais de Tokyo (detail), 2017, Setu chair, plastic, aluminum, light socket, Wifi enabled LED bulb, cocoon resin, custom sentiment analysis program, Twitter streaming API, dimensions variable; Patricia Treib, Ensemble, 2016, oil on canvas, 66 x 50 inches.
Announcing the 2017 New York Artadia Awards Finalists
Artadia is pleased to announce the five Finalists for the 2017 New York Awards: Dawn Kasper, Michael Portnoy, Mika Tajima, Patricia Treib, and Jessica Vaughn. The Finalists will receive studio visits with second round jurors, who will ultimately select two artists as Awardees to receive $10,000 in unrestricted funds.
The Finalists were selected by jurors Kimberly Drew, Social Media Manager, The Metropolitan Museum of Art, New York, NY; Jonah Freeman, artist, New York, NY; and Matthew Lyons, Curator, The Kitchen, New York, NY.
Drew said of the Finalists: “I am deeply excited to advance applications from Dawn Kasper, Michael Portnoy, Mika Tajima, Patricia Treib, and Jessica Vaughn. I believe that they are five artists—working through a wide range of medium—that truly capture New York’s art scene right now. Their intelligence as creators and their acute awareness of color, shape, and form encapsulate the New York scene’s interest in deconstruction and experimentation.”
Lyons lauded the diversity of the group: “The impressive pool of applicants included artists working across a broad range of practices within visual art, and I am happy that the Finalists reflect this range. I look forward to visiting with them.”
This is Artadia’s second Award cycle in New York. Artadia received 683 applications for the Awards, which were open to all visual artists living in New York City for over two years, working in any media, and at any stage of their career. Finalists and Artadia Award recipients are selected through Artadia’s rigorous, two-tier jury review process. In the first round of review, jurors evaluated the merit of all submissions and collaboratively determined the five Finalists.
The 2017 New York Artadia Awards are made possible thanks to the generosity of UOVO and The May and Samuel Rudin Family Foundation.
Image: clockwise, from top left: Dawn Kasper, On Desire or The Method, 2016; Patricia Treib, Ensemble, 2016; Jessica Vaughn, Surplus (detail), 2016; Mika Tajima, Meridian Gold, 2016; Michael Portnoy, 27 Gnosis, 2012.
Artadia and Kickstarter: A discussion on art and politics
Artadia and Kickstarter collaborated to sponsor a discussion on art and politics for artists on March 13, 2017 at the Kickstarter offices in Greenpoint, Brooklyn. The panel featured Christa Blatchford (Joan Mitchell Foundation), Matthew Higgs (White Columns), Katie Hollander (Creative Time), and Rachel Uffner (Rachel Uffner Gallery). Participants shared how their organizations can respond to the current civic landscape and discussed how they can be more responsive to artists’ needs — collectively and individually.
Announcing the 2017 New York NADA Artadia Award
Artadia and the New Art Dealers Alliance (NADA) are pleased to announce Josh Mannis as the recipient of the 2017 New York NADA Artadia Award, a $5,000 unrestricted, merit–based Award granted to one artist exhibiting at the fair. Mannis’ work is exhibited at Galerie Éric Hussenot, booth 4.05 at NADA New York. A jury comprising two renowned curators, Gianni Jetzer, Curator-at-Large, The Hirshhorn, and Rebecca Shaykin, Leon Levy Assistant Curator, The Jewish Museum, selected Mannis. This is the ninth time NADA and Artadia have partnered to present the Award.
Jurors Jetzer and Shaykin said of Mannis: “The work of Josh Mannis stands out in today’s realm of figurative painting. His effortless combination of art history tracing an arc from Neue Sachlichkeit to Sinister Pop is countered by postcard views of American politics. The protagonists of his paintings live in a feverish dream that is fueled by conspiracy and ultimately violence.”
Heather Hubbs, Executive Director, NADA, and Carolyn Ramo, Executive Director, Artadia, articulated the intention behind the Award: “We are thrilled to be recognizing Josh Mannis’ work at NADA New York – with the fair, we champion the galleries, and with the NADA Artadia Award, we champion the artists. In this exciting week full of so many dynamic participants, it’s important to recognize the individuals behind the objects we admire.”
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which nonprofit organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program internationally. The curator–driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field. Mannis will have access to the lifetime benefits of the Artadia Awards program, including participation in Art & Dialogue, exhibition opportunities, studio visits with curators and collectors, and a profile page on the Artadia Artist Registry.
Mannis was born in Boston in 1976, and received his BFA from the University of Michigan School of Art and Design in 1999, and his MFA from the School of the Art Institute of Chicago in 2005. He works across genres and is known for his video pieces, ink-on-paper drawings, and oil on canvas paintings. He was most recently featured in the solo exhibition, KNOWLEDGE OF THE FUTURE ESTATE, at M+B Gallery in Los Angeles, CA. His work has been reviewed in BLOUIN ARTINFO, LA WEEKLY, Artforum, and the Los Angeles Times, among others. Mannis currently lives in Los Angeles, CA.
The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.
Image: Josh Mannis, Going Through the Rough Way, 2017, oil on canvas, 56 x 48 inches.
Application Now Open for the 2017 New York Artadia Awards
The New York Artadia Awards are open to all visual artists living and working throughout New York City (five boroughs of the Bronx, Brooklyn, Manhattan, Queens, and Staten Island). Individual artists and collaboratives working in all media, and at any stage in their career are strongly encouraged to apply. Artadia Awardees are selected through a two-tier jury process that combines local expertise with outside perspective from leading curators and artists. A preliminary panel will evaluate all online submissions and select five Finalists in April. A second panel will conduct studio visits with each Finalist, gaining a broader context for the artists’ work. Two Awardees will be selected from the Finalist pool to receive unrestricted Artadia Awards of $10,000. The 2017 New York Awardees will be announced at the end of April.
The New York Artadia Awards are:
– Open to anyone living in New York City
– Free of application fees and project outline requirements
Apply if you:
– Have lived in New York City for at least two years
– Are not currently enrolled in an art-related degree program
– Would like to have your work seen by a panel of prominent curators
Application due April 1, 2017
11:59 pm EST
The 2017 New York Artadia Awards are generously supported by UOVO and the May and Samuel Rudin Family Foundation.
NADA New York 2017
Artadia is thrilled to be participating at NADA New York, March 2 – 5, booth 1.05. The booth will feature three new works by Kameelah Janan Rasheed (2015 New York), and limited editions by Joseph Havel (2004 Houston), Richard T. Walker (2009 San Francisco), and James Welling. NADA New York will be held this year at the Skylight Clarkson North.
2017 Whitney Biennial Will Feature Three Artadia Awardees
The 2017 Whitney Biennial will feature work by three Artadia Awardees: Irena Haiduk (2015 Chicago), Park McArthur (2015 New York), and Cauleen Smith (2015 Chicago). The biennial is curated by Christopher Y. Lew, Associate Curator, Whitney Museum of American Art, and Mia Locks, Independent Curator. Lew served as a juror for the 2014 Atlanta Artadia Awards. According to the Whitney’s official announcement, “[t]he formation of self and the individual’s place in a turbulent society.” This will be the first year that the biennial will be held in the new building.
Irena Haiduk’s multi-faceted works reach beyond their anchors in Balkan history to mingle with other corrosive forces and slice away at the well-fed bodies of power. She has exhibited at the Institute for Contemporary Art, Philadelphia; the Museum of Contemporary Art Chicago; Museum of Arts and Design, New York; Reva and David Logan Center for the Arts at University of Chicago; AKUD, Berlin; the 4th Athens Biennale; and other locations. A monograph of her writing, SPELLS, has just been published Sternberg Press. Haiduk teaches at Northwestern University.
Park McArthur was born in 1984 in North Carolina and lives and works in New York City. She received her BA in 2006 from Davidson College, Davidson, North Carolina and her MFA (Summa Cum Laude) in 2009 from the University of Miami, Miami, FL. McArthur studied at the Whitney Museum Independent Study Program, New York, NY in 2011 and 2012, and at Skowhegan School of Painting and Sculpture, Skowhegan, ME in 2012. Recent solo exhibitions include Poly, Chisenhale Gallery, London, UK, 2016 and Ramps, ESSEX STREET, New York, NY. McArthur served as a guest curator on the Brooklyn Museum exhibition Beverly Buchanan—Ruins and Rituals in 2016.
Cauleen Smith, born in Riverside, California in 1967, is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Her films, objects, and installations have been featured in group exhibitions. Studio Museum of Harlem, Houston Contemporary Art Museum; Yerba Buena Center for Art, and the New Museum, New York, D21 Leipzig and Decad, Berlin. She has had solo shows for her films and installations at The Kitchen, MCA Chicago, Threewalls, Chicago. She shows her drawings and 2D work with Corbett vs. Dempsey. Smith is the recipient of several grants and awards including the Rockefeller Media Arts Award, Creative Capital Film /Video, Chicago 3Arts Grant, and the Foundation for Contemporary Arts, and Ruaschenberg Residency. She earned a BA in Creative Arts from San Francisco Sate University and an MFA from the University of California, Los Angeles School of Theater Film and Television. Smith is based in the great city of Chicago and serves as faculty for the Vermont College of Fine Arts low-residency MFA program.
Diversity in Practice: A Conversation with Ian Alteveer and Amanda Hunt
NADA Presents: Diversity in Practice
Thursday, May 5 at 5:00 pm
Basketball City, New York, NY
A Conversation with Ian Alteveer, Associate Curator, Department of Modern and Contemporary Art at The Metropolitan Museum of Art, and Amanda Hunt, Assistant Curator at the Studio Museum in Harlem.
Ian Alteveer and Amanda Hunt discussed contemporary artists of color and the importance of diversity in the work that they present at their respective institutions. The curators touched on upcoming exhibitions, including Kerry James Marshall: Mastry, curated by Alteveer, opening on October 25 at The Met Breuer, and the Artists in Residence 2015-16 exhibition, curated by Hunt, opening on July 13 at the Studio Museum, where Marshall was an Artist-in-Residence from 1985-86.
UNRESTRICTED The Artadia 2016 Benefit Auction
UNRESTRICTED The Artadia 2016 Benefit Auction took place on Wednesday, June 1 at an enchanting studio in the East Village, NY. The evening featured a silent auction, tarot card readings by Meghan Boody, personalized haiku by The Haiku Guys & Gals, and balloon art by Brooklyn Balloon Company. Dishful Catering provided bountiful Mediterranean fare and Casa Dragones Tequila served up “Unrestricted”, the evening’s signature cocktail. The night ended with an inspiring live auction hosted by Sotheby’s auctioneer Gabriela Palmieri.
All proceeds raised at the event go towards supporting the Artadia Awards program, which provides curator-driven direct grants to artists in the seven Artadia Award cities: Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco. Artadia Awards are always unrestricted; Awardees use the funds for their individual needs, enabling artists who demonstrate exceptional promise to continue doing what they do best — making art.
Thank you to all the generous artists who donated work to support fellow talents, to the enthusiastic Artadia Board for their ongoing support, and to the 2016 Benefit Committee for making the event successful in every way.
All images courtesy of BFA.
Announcing the 2016 New York NADA Artadia Awardee
New York, NY – Artadia and New Art Dealers Alliance (NADA) are delighted to announce Summer Wheat as the recipient of the 2016 NADA Artadia Award, a $5,000 unrestricted, meritbased Award granted to one artist exhibiting at the fair. Wheat’s work is exhibited at Fridman Gallery, booth 3.01 at NADA New York. A jury comprised of two renowned curators, Ian Alteveer, Associate Curator, Department of Modern and Contemporary Art at The Metropolitan Museum of Art, and Amanda Hunt, Assistant Curator at the Studio Museum in Harlem, selected Summer Wheat. This is the seventh time NADA and Artadia have partnered to present the Award.
Jurors Alteever and Hunt stated, “Selecting the 2016 NADA Artadia Awardee has been a great experience that made us look at the fair with a different purpose. We were intrigued by Summer Wheat’s process and use of material, pushing the boundaries of acrylic paint to create works that are compelling and visceral, and are thrilled that the Award goes directly to the artist in Artadia’s great tradition.”
The NADA Artadia Award acknowledges innovative voices working in contemporary art today. This unique collaboration highlights the ways in which nonprofit organizations and art fairs can come together to celebrate artistic excellence. Through its partnership with NADA, Artadia is able to extend the reach of its Awards program nationally, and the curator-driven selection process, integral to all Artadia Awards, provides exhibiting artists exposure to influential professionals in the field. Wheat will have access to the lifetime of benefits of the Artadia Awards program, including participation in the Art & Dialogue series, exhibition opportunities, studio visits with curators and collectors, a profile page on the Artadia Artist Registry, and access to ongoing professional services.
Summer Wheat was born in 1977 in Oklahoma City, OK. She currently lives and works in Brooklyn, NY. Her recent exhibitions include: Institute of Contemporary Art Boston (Boston, MA); deCordova Museum and Sculpture Park (Lincoln, MA); The Torrance Art Museum (Torrance, CA); Cress Gallery of Art (Chattanooga,TN), and Samson (Boston, MA).
Artadia is a national nonprofit organization that supports visual artists with unrestricted, curator-driven Awards and a lifetime of professional opportunities. Since 1999, Artadia has provided over $3 million to more than 300 artists in participating cities of Atlanta, Boston, Chicago, Houston, Los Angeles, New York, and San Francisco.
The New Art Dealers Alliance (NADA) is the definitive nonprofit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.
Image details: Summer Wheat, Monkeys in Trees, 2016, acrylic on aluminum mesh, 72 × 96 in (182.9 × 243.8 cm)
Art & Dialogue: New York Public Program with Kristan Kennedy and Donna Huanca at Skowhegan
3/23/16Presented as part of Artadia’s Art & Dialogue series, Kristan Kennedy, Visual Art Curator at Portland Institute for Contemporary Art presented a Public Program in conversation with Donna Huanca, Artadia Awardee and Skowhegan Alumna, at Skowhegan in New York, NY. Wednesday, March 9, 2016.
Kristan Kennedy is a Portland-based artist, curator, and educator. She is the Visual Art Curator at the Portland Institute for Contemporary Art (PICA). For the last decade, Kennedy has focused on commissioning new work by international emerging artists in the form of large-scale, site-specific installations and solo projects that exist at the borders of genres. Kennedy takes an expansive view of visual art; in addition to presenting the plastic arts, she organizes music, performance art, publications, and new media projects as part of PICA’s year-round programming and for the organization’s annual Time-Based Art Festival.
Kennedy teaches Contemporary Art History at Portland State University, where she directed the MFA Visiting Artist Program and Lecture Series (2011-2016) and founded the programs companion journal STUDIO. She is represented by Fourteen30 Contemporary, Portland, Oregon.
Donna Huanca stages surreal architectural collages activated by live performers. She uses socially coded artefacts of the body such as cosmetics and found clothing to create paintings and sculptures, which become backdrops for these durational
performances. Painted models, presented as canvases, move glacially through her installations; their morphing tableaux vivants leaving behind scars and ghostly remnants.
Donna Huanca (b. Chicago, USA) studied at the Städelschule, Frankfurt as well as the Skowhegan School of Painting and Sculpture. In 2012 Huanca was awarded a Fulbright Scholarship to live and work in Mexico City. Huanca is a recipient of the Art Matters Grant (2010) and the Artadia Award (2015).
Recent exhibitions include: POLYSTYRENE BRACES presented by Art in General, NY at Kim? Riga, Latvia; MUSCLE MEMORY at Peres Projects, Berlin,Germany, WATER SCARS at Valentin, Paris; PSYCHOTRIA ELATA at Art Berlin Contemporary, Berlin, Germany, SADE ROOM (famously reclusive) at MoMA PS1 Printshop New York.
Skowhegan is an intensive nine-week summer residency program for emerging visual artists established in 1946, which seeks each year to bring together a diverse group of individuals with a demonstrated commitment to artmaking and inquiry for a concentrated period of artistic creation, interaction and growth. Located on a historic 350-acre farm in rural Maine, the campus serves as a critical component of the program and serves as a backdrop for the most stimulating and rigorous environment possible. Neither a school in the traditional sense nor a retreat, Skowhegan draws its vitality from the community created through the talent and energy of the participants, and the distinguished Faculty of Resident and Visiting Artists who provide them with support and critical assistance. Founded by artists, and still governed by artists, the program provides an atmosphere in which participants are encouraged to work free of the expectations of the marketplace and academia.
In 2014, to support the residency program in Maine, Skowhegan opened its first permanent home in New York City to house its archives, a flexible program space, and the administrative office. In the spirit and tradition of campus, the New York program space functions as a cross between a think tank and a community center. The Skowhegan program space fosters a similar atmosphere to campus: one where the answers are not provided but investigated through lectures, seminars, events, performances, town hall meetings, and as a test site for new works. In conjunction with the artist driven nature of campus, the space is open for use by our community through collaborative programming with alumni and other artist-driven organizations and affiliates.
2015 Artadia NADA New York Awardee Jackie Saccoccio
New York, NY — Artadia and the New Art Dealers Alliance (NADA) are delighted to announce Jackie Saccoccio as the recipient of the Artadia NADA Award, a $4,000 unrestricted cash prize at the 2015 NADA New York art fair. Saccoccio’s work is exhibited at Eleven Rivington, booth 1.09 at NADA New York. A jury comprised of two renowned curators, Tom Eccles, Executive Director, Center for Curatorial Studies, Bard, and Kelly Taxter, Assistant Curator, the Jewish Museum, determined the Awardee.
Eccles and Taxter unanimously agreed that while “coming from different directions, we were both struck by Jackie Saccoccio’s substantial, complex and accomplished painting.”
Artadia ISCP Artists-In-Residence
Artadia’s Artist-in-Residence program at the International Studio & Curatorial Program (ISCP) enables four Artadia Awardees to come to New York for a six-week summer residency to make work and build relationships. Four Artadia Awardees were selected to participate by Associate Curator of Media and Performance at MoMA, Thomas J. Lax and artist Ryan McNamara. The 2015 Artists-in-Residence are:
Mequitta Ahuja (2008 Houston)
Andreas Fischer (2004 Chicago)
Delilah Montoya (2008 Houston)
Ian Weaver (2012 Chicago)
Artadia at NADA New York 2015
Artadia is committed to supporting and showcasing innovative artistic practice. For the sixth season, we’re partnering with NADA, the leading art fair for new voices in contemporary art, to present an exceptional artist exhibiting work at NADA New York with a $4,000 unrestricted NADA Artadia Award.Chosen by a jury of two renowned curators on the opening day of the fair, the NADA Artadia Awardee will be announced Friday, May 15th. The selected artist will receive all lifetime benefits of the Artadia Awards program. Previous Artadia NADA awardees include Margaret Lee (2012 Miami), Meg Cranston (2013 New York), Ryan Foerster (2013 Miami), What Pipeline (2014 New York), and Sergei Tcherepnin (2014 Miami).Artadia’s booth will feature work from the 2015 New York Artadia Award Finalists:
Announcing the 2015 New York Artadia Award Finalists
The ten finalists were selected by first round jurors Matthew Higgs, Director and Chief Curator of White Columns; Amanda Hunt, Curator at The Studio Museum and artist Michele Abeles, following a panel review of 1,050 applicants in mid-April.
The ten finalists for the 2015 New York Artadia Awards are:
Amanda Hunt said of the process: “We reviewed an enormous amount of applicants, and I am completely thrilled by what New York has to offer. This list is reflexive of my values and interests working as a curator – the artists we selected each make work that is equally challenging, political and rigorous.”
Of the finalists, Matthew Higgs stated: “there aren’t any obvious connections between [them] – in terms of medium, material, or motives – but together they represent an energy that we feel is palpable and even contagious.” Higgs will be joined by John Rasmussen, Executive Director of Midway Contemporary, and Ingrid Schaffner, Senior Curator of the Institute of Contemporary Art, Philadelphia, to conduct studio visits with the finalists. The 2015 New York Artadia Awardees will be announced in late May. Artadia will exhibit a selection of work from the finalists at NADA New York from May 14th – 17th.
The 2015 New York Awards are Artadia’s first Award cycle in New York. Since 1998, Artadia has recognized artistic excellence is cities across the United States with unrestricted, merit-based Awards to contemporary artists chosen through a rigorous jury process involving a panel of internationally recognized curators. In addition to New York, Artadia currently funds Awards on a rotating cycle in Atlanta, Boston, Chicago, Houston, Los Angeles and San Francisco.
Artadia Presents Open Call
In celebration of the first New York Artadia Awards
a conversation with
Fractured Atlas, Idealist, International Studio & Curatorial Program, Lower Manhattan Cultural Council, and The Shandaken Project
Artadia is pleased to invite you to join us for Open Call, a discussion of current practices in the field of support for New York City’s artists. Featuring guest speakers from Artadia, Fractured Atlas, Idealist, International Studio & Curatorial Program, Lower Manhattan Cultural Council, and The Shandaken Project, Open Call will consider the resources most needed by the city’s art community and examine best practices for finding and securing financial support, mentorship, space and other vital resources in a competitive arts funding environment.
Wednesday, March 18th
302 Fifth Avenue, 11th Floor
New York, NY 10001
RSVP for guaranteed entry by March 11th: email@example.com
Carolyn Ramo, Executive Director, Artadia
Dianne Debbicella, Senior Program Director for Fiscal Sponsorship, Fractured Atlas
Caroline Contillo, Community Manager, Idealist
Susan Hapgood, Executive Director, ISCP
William Penrose, Program Manager, Artist Residencies, LMCC
Nicholas Weist, Director, The Shandaken Project
Followed by a Q&A with the audience.
We hope that you will join us for this timely and important conversation.
Inaugural New York Artadia Award Application Now Open
Artadia is pleased to announce its inaugural New York Awards. The online application is now open to all visual artists living within the five boroughs, working in any media, and at any stage in their career. The application will close on April 15th, and funds will be distributed to Award recipients in summer 2015. The 2015 New York Awardees will each receive up to $20,000 in unrestricted funds and will gain access to a lifetime of professional support.
Artadia Awardees are selected through a two-tiered jury process that combines local expertise with outside perspective from leading national curators and artists. A preliminary panel will evaluate all submissions and select ten Finalists based on the merit of their work. A second panel of curators will then conduct studio visits in New York with the Finalists, gaining a broader context for the artists’ work. In May 2015, up to five Awardees will be selected and announced from the Finalist pool.
The New York Artadia Awards are open to any artist who has lived within New York City’s five boroughs for two or more years, and is not currently enrolled in an art-related degree program. Artadia’s application is free of charge and does not require a project outline. We highly encourage artists to apply if they are interested in having their work seen by a panel of prominent curators and artists.
For the online application, please visit:
All applications must be submitted online by:
April 15, 2015 by 6:00 PM (EST)
Join Artadia in supporting New York City’s incredible artists! Make a tax-deductible contribution here.
15th Anniversary Benefit Auction
Artadia’s 15th Anniversary Exhibition
Artadia: the Fund for Art & Dialogue Celebrates 15th Anniversary with Exhibition
curated by Gianni Jetzer
Opening Reception: Saturday, September 13, 2014, 5 – 8 pm
Exhibition Dates: September 13-October 25th, 2014
2014 Artadia / NADA Award Winner: What Pipeline
New York, New York— Artadia and the New Art Dealers Alliance (NADA) are delighted to announce What Pipeline as the recipient of the 2014 Artadia / NADA Award, a $4,000 unrestricted merit-based award selected at the 2014 edition of NADA New York. A jury comprised of two internationally renowned curators, Ingrid Schaffner, Chief Curator, Institute of Contemporary Art, Philadelphia, University of Pennsylvania, and Carin Kuoni, Director, Vera List Center for Art and Politics, The New School for Public Engagement, determined the award winner. The award is generously funded by Artadia and NADA.
Artadia Awardees in the 2014 Whitney Biennial
Gaylen Gerber (Chicago 2001, 2007)
Joseph Grigely (Chicago 2004)
Carol Jackson (Chicago 2002)
Object Underscore Objekt
An exhibition concerned with the conditions of the art object, the artists who make them, and what that means in relationship to the spirit of ownership.
Curated by James Cope and featuring artists Brian Fridge, Lily Hanson, Servane Mary, Johnny Mullen, and Eli Ping
Summer Open Studios presents Dianna Frid
Artadia’s Summer Open Studios program presents an exhibition of new works by Dianna Frid (Chicago 2004 Awardee). The show, Three Transcriptions and Their Membrane, consists of site-specific components as well as mixed media works selected from an ongoing series of Transcriptions. Responding to the architecture of the space, Frid, attaches a membrane of graphite drawings to its walls.
Summer Open Studios presents Gyun Hur
Summer Open Studios presents Gyun Hur’s work “In a Landscape Anew,” made from hand-shredded silk flowers, mirror, and stone.
Specific methodical destruction and labor-intensive reassembly of the silk flowers create an aesthetic happening, turning public or art space into an introspective site of dialogues.Â A sentimental installment of materials and insertion of a physical body facilitate an occupied territory as a platform for opened dialogues, both internal and external.
Summer Open Studios presents Micah Stansell
2011 Atlanta Awardee Micah Stansell was featured in our Artadia Summer Open Studios from June 6-28, 2013 at our exhibition space in DUMBO. Micah’s exhibition “The Water and the Blood” is a synchronized multi-channel sound and video installation.Â Set in the rural south, “The Water and the Blood” presents a kaleidoscopic view of five characters’ interwoven stories. These stories are pulled from family histories and blended with a mix of imagined and documented events.
Artadia featured in Modern Mag
Meg Cranston will receive the 2013 Artadia NADA New York Award for her presentation at this year’s fair, at the booth of New York’s Fitzroy and Newman Popiashvili galleries. The award comes with a $4,000 unrestricted cash prize that is funded by Artadia and NADA. Lia Gangitano, the founder and director of Lower East Side nonprofit Participant Inc., and Daniel Byers, a curator at the Carnegie Museum of Art, served as jurors for the prize. Founded as The ArtCouncil in 1997 by investment banker and art collector Christopher E. Vroom, Artadia supports visual artists with unrestricted awards and connections to a network of opportunities, while providing local communities with national exposure.
2013 Summer Open Studio Awardees
Founder Christopher Vroom featured as WSJ’s “Donor of the Day”
Christopher Vroom believes that art is one part of the connective fabric that links communities and people.
The 48-year-old chairman and co-founder of Artspace, an online art retailer, is also the founder and president of the Brooklyn-based nonprofit, Artadia, which was founded in 1997 under a different name. The organization provides a network of social and professional support to artists.
NADA Artadia Award
UNRESTRICTED: A benefit to support the living artist.
For more information about our 2013 benefitÂ click here.
What Happens When We Start Looking
Compelled to create new frames of thought from fresh forms of sight and the manner in which elements surface and re-surface through space and time, Artadia friend and Curator Melissa Bent has organized What Happens When We Start Looking presenting works by Alyssa Gorelick, Glynnis McDaris and Ali Naschke- Messing. By referencing careful observation, revisiting the familiar in a new light and an ever-present, evolving reveal, each artist works from the relevance of what remains with the lapsing of time. Reflecting heavily on the natural spun through technology and the bones of the gallery space itself a new conversation springs to life between three artists.
April 4, 2013 6 to 8 pm
Relocated: Artadia’s first in-house exhibition on view until October 30!
Artadia is pleased to announce its new office and exhibition space in Dumbo, providing a platform for awardees to show work in New York. The inaugural exhibition features work by artists that have relocated here since receiving an award.
Alice Shaw and Mira Dancy
Artadia: The Fund for Art and Dialogue presents the work of Alice Shaw (SF Awardee) and Mira Dancy (NY Based artist) as part of a series of two person shows in our NYC Exhibition Space. In an effort to promote an intimate transnational dialogue on a platform developed in Artadia’s home base, New York City, Artadia staff has brought together Shaw and Dancy in conversation. Instead of placing focus on the geography of one’s practice, we look at how space transforms into place via the exchange of ideas and relationships. Also join the artists for a discussion on collaborative working on Saturday at 2pm, February 9th
Artwork on view through March 22nd
Hours: Monday-Friday, 10:00-6:00 pm and Saturday, 12:00-5:00 pm.
WE ARE THE NEW YEAR
Artadia: The Fund for Art and Dialogue presents the work of a variety of artists, including Artadia Awardees, who work in various media in an effort to promote a conversation around community building and to structure a transnational exchange. The artwork selected for exhibition suggests, similar to a landscape, a space for a person to inhabit, engage, use or mimic. The works activate a landscape that resists consumer gratification in order to make space for a thoughtful and observant member of society. Rather than focus on the geography of one’s practice, we look at how space transforms into place via the exchange of ideas and relationships.
Leslie Shows exhibits two works at Artadia’s exhibition space
Image: Leslie Shows, Face B2, 2012, Ink, acrylic, mirrored Plexiglas, mylar, schist, metal filings & engraving on aluminum, 60 x 48 inches, courtesy Haines Gallery