Fosdick-Nelson Gallery hosting 'Painting As Is'
Alfred University’s Fosdick-Nelson Gallery will host an exhibition, Painting as Is, opening Friday, Jan. 31, and remaining on view through Feb. 25.
ALFRED, NY – Alfred University’s Fosdick-Nelson Gallery will host an exhibition, Painting as Is, opening Friday, Jan. 31, and remaining on view through Feb. 25.
The exhibition is curated by Heidi Hahn, assistant professor of painting, Alfred University School of Art and Design, and Tim Wilson, a painter who has artwork included in the exhibition. Most of the participating artists currently live and work in Brooklyn and or New York City and graduated from top MFA programs such as Yale, Columbia and School of the Art Institute of Chicago.
An opening reception will be held in the Fosdick-Nelson gallery from 6-8 p.m. Friday, Jan. 31.
Artists with work in the exhibition are: Beverly Acha, Julia Benjamin, Henry Chapman, Adam Henry, Dana Lok, Stephanie McMahon (professor of painting, School of Art and Design, Alfred University), James Miller, Bridget Mullen, Alice Tippit, Owen Westberg, Roger White, and Tim Wilson.
Full curators’ statement, Painting as Is:
“This show brings together a group of artists with a keen interest in the blunt facts of painting. Facts, that when deployed, demonstrate a wide range of pictorial languages that stretch across and live within abstraction and representation. The paintings in this show perform a kind of formal call-and-response that is tethered to painting’s rich history but also give rise to each artist’s unique voice.
“The structure and fluidity of painting is palpable in these works, opposing attempts at covering their tracks in service of image or idea. Yet ideas, images, and the mystery of their making abound. No matter the application, whether poured, sprayed, brushed, scraped, or glued, these artists navigate their own systems of materiality in confident and pragmatic ways. Historical influence and painted surface are baked together like glaze on ceramic tiles.
“In these works, we ostensibly see color and form, the accumulation of flat marks that register as images of a recognizable world: measured shapes of color evoke objects, arabesque forms hold together the picture plane, and observations tempered by a delicate touch seemingly convey recollections of a fleeting moment. However, these readings, like much of our understanding of the perceptual world, are conjectures that serve as evidence of the porous threshold through which inert materials pass into thought.”