Archive for June, 2011

Vince Contarino – Studio Visit – June 28th, 2011

Studio Visit: Vince Contarino
Date: Tuesday June 28th
Location: Marie Walsh Sharpe Studios – DUMBO, Brooklyn

http://www.vincecontarino.com/

Vince Contarino

Split Decision, 2011, acrylic on canvas, 40" x 34"

Studio Visit Synopsis:

Vince Contarino started his studio visit by introducing a drawing project started about a year ago, before he moved into his current studio in the Marie Walsh Sharpe Space program. The project, a collection of small paintings, drawings, works on paper, exists in tandem with photographs and other ephemera produced and collected by Vince. A black shrine of sorts, this intuitively assembled drawing project gives off a film noir-like feeling of gesture. While paralleling and informing the body of work created upon moving into the Sharpe Studio it has thus far remained separate.

Vince is not the kind of abstractionist that takes recognizable images and objects and makes them unrecognizable, but he is not pulling from chaos either. He instead, through a discerning eye, identifies shapes, colors and marks that he then pulls into the work. Thinking of gestures as objects, Vince refers to his painting process as “building a painting”. During his residency at the Marie Walsh Sharpe he has taken the opportunity to vary strategies for making his paintings, challenging size and mark making, and testing the parameters necessary for a painting to “hold the wall”.

Vince states that he does not wish to fetishize paint or to create a “perfect” surface but that his work is should be a dance between gesture and hard edge utilitarian marks.

The discussion on mark making led to a conversation about whether Vince’s marks act as quotes or as “ideas of a gesture”, whether they are a depiction or a demonstration.

For Vince abstraction is based on faith, not in a religious or spiritual sense but as belief in a language and trust in a process.

Abstraction is often an activity of isolation. In the case of Vince Contarino’s practice, he challenges this notion by active engaging the outside world with other artists and through writing and blogging. He is involved in Progress Report and KCLOG blogs and recently co-curated The Working Title, a group exhibition at the Bronx River Art Center.

-Amanda Lechner

Discussion Links:

David Reed

Map of Metal

Article : The ecstasy of influence: A plagiarism

Quote below from Howard Hurst’s interview on March 21st, 2011-

“Vince Contarino is a New York based painter. His multi-layered canvasses explore the language of abstraction. From first glance there is something illusive in Contarino’s canvases, a tension between the forthright and the concealed. The artist often repurposes forgotten brushstrokes and colors, pasting them into his collages and works on paper. The result is something both beautiful and challenging, a floating soup of the painterly. Contarino’s belief in the ongoing relevance of abstraction is mirrored in his extracurricular activities.”

To read the full interview click on the link below.
http://artcards.cc/review/featured-artist-vince-contarino/3503/

Notes on abstraction

In preparation for the upcoming summer studio visits, please spend some time with a few notes on abstraction by New York Magazine writer, Jerry Saltz. When asked the question, is abstract art for real?, Saltz emphatically responded with The Jerry Saltz Abstract Manifesto, posted below. Enjoy.

Dear ______,

You are not alone. I too have heretical thoughts like yours. It can also take 30 years to understand why an all-white painting by Robert Ryman or a pencil grid on canvas by Agnes Martin is art.

I can’t tell you what abstraction is, but I can tell you a number of things that I think that it allows artists to do. What I say about abstract art could also be applied to representational art. With that in mind here’s “The Jerry Saltz Abstract Manifesto, in Twenty Parts.”

1. Abstraction is one of the greatest visionary tools ever invented by human beings to imagine, decipher, and depict the world.

2. Abstraction is staggeringly radical, circumvents language, and sidesteps naming or mere description. It disenchants, re-enchants, detoxifies, destabilizes, resists closure, slows perception, and increases our grasp of the world.

3. Abstraction not only explores consciousness — it changes it.

4. All art is abstract. A painting of a person or a still-life is a two-dimensional representation of three-dimensional reality and therefore infinitely abstract. Whenever an artist sets out to make something it turns into something else that he or she could never have imagined or predicted.

5. Think of an abstract painting as very, very low relief — a thing, not a picture.

6. Abstraction exists in the interstices between the ideal and the real, symbol and substance, the optic and the haptic, imagination and observation.

7. Abstraction brings the world into more complex, variable relations; it can extract beauty, alternative topographies, ugliness, and intense actualities from seeming nothingness.

8. Abstraction, like ideas, intuitions, feelings, and life, is not mimetic.

9. Abstraction is as old as we are. It has existed for millennia outside the West. It is present on cave walls, in Egyptian and Cypriot Greek art, Chinese scholar rocks, all Islamic and Jewish art — both of which forbid representation. Abstraction is only new in the West.

10. Abstraction gained ground in Western art after centuries of more perfected systems of representation. By the mid-nineteenth century, representation felt like a trap, and seemed empty, false, or limiting. A similar situation existed in the early aughts, after artists of the nineties re-deployed realisms in numerous ways. The field appeared closed off for younger artists. That’s why contemporary artists have not only begun to reexplore the possibilities of abstraction, they’re shedding much of the Greenbergian cant and academic-formalist dogma that attached themselves to it over the last 50 years. Abstraction is breaking free again.

11. Abstraction offers ways around what Beckett called “the neatness of identification.”

12. Rothko’s glowing floating rectangles of color are more than abstract patterns. They are Buddhist TVs or what Keats called “good oblivion. One sees what nothing looks like in them. They make you ask, “What light through yonder painting breaks?” (Now do you see how full emptiness and abstraction can be?)

13. Abstraction is just a tool. It is no less “real” than philosophy or music.

14. Abstraction is something outside of life that allows us to be present at our own absence or alternatively absent in our own presence.

15. Abstraction creates patterns of meaning and its own extremely flexible intricate syntax. It is astral synthesis.

16. Abstraction teeters on making empty gestures while also making deep statements.

17. The camera was supposed to supplant painting but didn’t. Instead, painting — ever the sponge, always elastic — absorbed it and discovered new realms.

18. Abstraction may speak in a sort of intra-species visual-electronic-chemical-pheromonal code, creating optical-cerebral networks and wormholes, organic maps of unknown yet familiar territories, may have a kind of plant intelligence that allows it to grow, proliferate, flower, change directions, and survive relentless aesthetic predation from a lay public.

19. Abstraction contains multitudes.

20. I’ve left out No. 20, because I want to hear your opinion: What else does abstraction do that’s special? Comments are open below…

To follow the original article, click HERE

-Audra Wolowiec


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