Amy Feldman

El trabajo de Amy Feldman (n.1981) ofrece al espectador una conversación vívida entre el lenguaje físico y formal de la pintura abstracta. Esto se evidencía a través de las interacciones que Feldman crea entre la figura y el fondo, cuestionando la jerarquía de los dos. Las gotas de pintura son imprevisibles; sin embargo, incorporadas por la artista, al romper el límite de la figura en la base de un lienzo prístino, casi blanco, una superficie siempre modulada con toques de color, desde el violeta hasta pálidos grises plateados. 

Trabajando constantemente en tonos de gris, Feldman ha desarrollado un sistema de signos abstractos que alude a los sistemas de escritura y transmisión de información: el espectador puede recordar la monocromía del papel periódico y la caligrafía, o la escala de grises de la televisión antigua. Con esta paleta reducida, también pretende eliminar las asociaciones y limitaciones que muchos colores introducen en la pintura. De manera similar, las formas bulbosas, esbozadas e irregulares que pinta son lo suficientemente familiares como para ser evocadoras, como su paleta de colores, pero suficientemente esquivas como para evadir la decodificación literal. Sin embargo, la alusión al cuerpo y la posición de Feldman como una pintora femenina persiste en su trabajo.

Sus exuberantes y caricaturescas formas también tienen un efecto cómico; junto con el humorístico juego de palabras en los títulos y su ligereza en el manejo de la pintura, se contrarrestan los tonos sombríos y la imponente escala de las obras. Con bastidores que a menudo superan los 2 metros, los lienzos quedan ligeramente más allá del alcance de su brazo, imponiendo la dimensión física como un elemento adicional en el resultado de la pintura.

Amy Feldman’s (b.1981) work offers the viewer a vivid conversation between the physical and formal language of abstract painting. This is evidenced in the interactions she creates between the figure and ground, questioning the hierarchy of the two. Drips of wayward paint are unplanned yet embraced by the artist as they break the boundary from the figure of the painting into the ground of a pristine, almost-white canvas, a surface always modulated with hints of colour, from violet to pale, silvery greys.

Consistently working in just shades of grey, Feldman has developed an abstract sign system that alludes to systems of writing and the transmission of information: the viewer might be reminded of the monochrome of newsprint and calligraphy, or the grey scale of early TV. With this reduced palette, she also aims to strip away associations and limitations that many colours would introduce to the painting. Similarly, the bulbous, sketchy and irregular forms that she paints are just familiar enough to be reminiscent yet – as with her colour palette – elusive enough to dodge literal decoding. Yet a clear allusion to the body and to Feldman’s position as female painter persists in the work.

Her ebullient, cartoonish shapes also have a comic effect; along with the humorous wordplay in the titles and her light-hearted way of handling paint, they counter the sombre tones and imposing scale of works. With stretchers that often exceed 2 metres, the canvasses are slightly beyond the extent of her arm’s reach, which imposes an extra element of physicality on the performance of painting. 

Exposiciones | Exhibitions
Libros | Books
Noticias | News
Biografía | Biography

EDUCATION


2009  

Skowhegan School of Painting and Sculpture, Skowhegan, Maine

 

2008  

Rutgers University, New Brunswick, New Jersey Master of Fine Arts, Painting


2003

Rhode Island School of Design, Providence, Rhode Island

Bachelor of Fine Arts, Painting, Concentration Art History, Theory, and Criticism


SOLO EXHIBITIONS


2018

Anna Bohman Gallery, Stockholm Sweden, Counter Ground

The Journal, Brooklyn, New York, Tennis Elbow


2017

James Cohan Gallery, New York, Nerve Reserve

Blain Southern, Berlin, Germany, Breath Myth


2016

Ratio 3, San Francisco, CA, Psyche Shade

Corbett vs. Dempsey, Chicago, IL, Good Gloom


2015

Brand New Gallery, Milan, Italy, Moon Decorum

Anna Bohman Gallery, Stockholm, Sweden, Trice Electric

Reynolds Gallery, Richmond, Virginia, Mirror Cool


2014

Blackston, New York, New York, High Sign *(catalogue with essay by Raphael Rubinstein)

Sorry We’re Closed, Brussels, Belgium, Gray Area


2013

Anna Bohman Gallery, Stockholm, Sweden, Stark Types* (catalogue with essay by Barry Schwabsky)


2012

Blackston, New York, New York, Dark Selects* (catalogue with essay by Stephen Westfall)


SELECTED GROUP EXHIBITIONS


2018

Schloss Derneburg Museum, Hall Art Foundation, Derneburg, Germany, This and That: Recent


ACQUISITIONS


2018

Billy Brady Gallery, Miami, FL, Ground Reversal


2017

Sheldon Museum of Art, Lincoln, NE, nonObjectives, curated by Wally Mason

Blain Southern, London, UK, Playground Structure, curated by Craig Burnett Albert Baronian , Brussels, BE, Artemisia

Rosenwald-Wolf Gallery at The University of the Arts, Philadelphia, PA, Quicktime, curated by Sid Sachs

Invisible Exports, New York, NY, Heartbreak Hotel


2016

MCA Chicago, IL, MCA DNA: RIOT GRRRLS, curated by Michael Darling

Palazzo Fruscione Salerno, Italy, Face to Face, curated by Eugenio Viola

Jack Hanley, New York, NY, The Congregation, curated by Joshua Abelow

11R, New York, NY, Amy Feldman, Lucio Fontana, Maximilian Schubert, Alan Wiener


2015

Kunstmuseum Bonn, Germany, New York Painting, curated by Christoph Schreier Museo Britanico Americano, Mexico City, curated by Brand New Gallery, Milan Arndt, Singapore, The Empire Strikes Back, curated by Amir Shariat


2014

New Britain Museum of American Art, CT, This One’s Optimistic: Pincushion, curated by Cary Smith

Museum of Modern and Contemporary Art, St. Etienne, France, The New York Moment, curated by Lorand Hegyi

Jan Kaps, Cologne, Germany, Perfume, curated by Elena Brugnano

Galerie Zürcher, Paris, France, Brian Belott, Paul De Muro, Amy Feldman


2013

The Abrons Art Center/Henry Street Settlement, New York, NY, An Exhibition on the Centenary

of the 1913 Armory Show: DECENTER, curated by Daniel S. Palmer and Andrianna Campbell The Academy of Arts and Letters, New York, New York, The Academy of Arts and Letters

 

AWARDS


2018


The Guggenheim Foundation Fellowship 2014 Casa Wabi Invitational Residency

Chandelier Creative Invitational Residency 2013 Joan Mitchell Foundation Grant

Emerging artist Andree Stone award at EXPO Chicago (Museum of Contemporary Art Chicago award and acquisition)


2012

Marie Walsh Sharpe Fellowship


2011 
Henry Street Settlement/Abrons Art Center Residency

2011 The Robert Motherwell Fellowship, awarded by The MacDowell Colony & The Dedalus Foundation 2011 Yaddo Fellowship

2011 New Jersey State Council on the Arts Grant

2009 Skowhegan School of Painting and Sculpture Residency Fellowship

2008 VCU Arts Painting and Printmaking Residency Fellowship at Plant Zero

2008 Giza Daniels Endesha Award

2007 Rutgers University TA/GA Competitive Pool Funds Scholarship

2006 Rutgers University Teaching Assistant Fellowship

1999 Rhode Island School of Design Trustee Scholarship

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TEACHING AND SPEAKING


2018

Rutgers University, New Brunswick, New Jersey, Visiting Faculty: Advanced Painting The Ohio State University, Columbus, Ohio, Visiting Artist Vermont Studio Center, Johnston, VT, Visiting Artist


2015

The Cooper Union, New York, NY, Visiting Faculty: Advanced Painting

Maryland Institute College of Art, Baltimore, MD, Visiting Artist

Rutgers University, New Brunswick, New Jersey, Visiting Faculty: Advanced Painting


2014

The Cooper Union, New York, NY, Visiting Faculty: Advanced Painting Rhode Island School of Design, Providence, RI, Visiting Artist/Lecturer


2012

Lehman College, Bronx, NY, Visiting Artist/Lecturer


2008-09

Virginia Commonwealth University, Richmond, Virginia, Associate Professor/Resident Fellow:

Instructor of Basic Painting and Basic Drawing

Virginia Commonwealth University, Richmond, Virginia, Visiting Artist/Lecturer


2008

Rutgers University, New Brunswick, New Jersey, Instructor of Drawing Fundamentals


SELECTED PRESS AND JOURNALISM


Colaizzi, Vittorio. “Robert Ryman”, Phaidon, 2017.

Stampinato, Francesco. “Art Record Covers”, Taschen, 2017.

Saltz, Jerry, “To Do: May 31 - June 14, 2017”, New York Magazine, 31 May 2017.

Yerebakan, Osman Can, “Amy Feldman”, artspeak, 10 May 2017.

Völzke, Daniel. “Porträt Amy Feldman: Grau ist eine frohe Farbe”, Monopol, p. 30-35, March 2017.

Schreiber, Daniel, “Amy’s Shades of Grey”, Welt AM Sonntag, 12 February 2017.

Monorchio, Tommaso. “Amy Feldman / Pascual Sisto”, Flash Art Italia, February 2016.

Campbell, Andrianna. “Amy Feldman at Brand New Gallery”, Mousse, 7 December 2015.

Waltemath, Joan. “Means of Approach: New York Painting”, The Brooklyn Rail, 8 September 2015.

Dalla Villa Adams. Amanda. “Critics’ Pick: Amy Feldman” Artforum, 23 April 2015.

Sundberg, K. “Taking Cues from Stand-Up Comedy, Amy Feldman Whips Up Dynamic Paintings”, Artsy Editorial, 5 May 2015.

Schwabsky, Barry, “The Zeitgeist of No Zeitgeist”, The Nation, January 2015.

Schrier, Christoph. “Painting as Pictorial Art: New York Painting in the 21st Century” New York Painting,

Kunstmuseum Bonn, Hirmer 2015 Palmer, Daniel. “Amy Feldman: Popular Mantra” New York Painting, Kunstmuseum Bonn, Hirmer, 2015 Bleckner, Ross. “Best Emerging Artists” Manhattan Magazine January 2015.

Trejis, Erica. “Stockholms bästa konstutställninger just nu”, Svenska Dagbladet, 19 September 2015. Matterson, Leif. “Amy Feldman, Trice Electric, AnnaElle Gallery, Stockholm”, Omkonst, 9 September 2015. Wilson, Michael. “Amy Feldman: Blackston” Artforum December 2014.page3image20616

Rubinstein, Raphael. “Amy Feldman’s Condensed Poetics” catalogue essay for solo exhibition Amy Feldman High Sign. New York: Blackston, 2014.

Church, Amanda. “Amy Feldman;Blackston” ArtNews December 2014.

Rhodes David. “Amy Feldman High Sign” The Brooklyn Rail October 2014.

Esparza, Israel. “Fundación de arte ‘Casa Wabi’ en Oaxaca” Vogue 27 Oct. 2014.

Hurst, Howard. “Fortuitous Painting, Between Plan and Action” Hyperallergic 20 October 2014.

Indrisek, Scott. “5 Must-See Gallery Shows” ARTINFO 2 October 2014.

Jones, Mary. “Amy Feldman by Mary Jones” BOMB Magazine 26 June 2014.

Schwabsky, Barry. “Great Gray” catalogue essay for solo exhibition Amy Feldman Stark Types. Stockholm: ANNAELLE Gallery, 2013.

Sløør, Susanna. “Amy Feldman Stark Types, ANNAELLE Gallery” OMKONST Stockholm, Sweden 9 Oct. 2013.

Palmer, Daniel S. “Rethinking DECENTER” catalogue essay. The George Washington University, Washington, DC, and The Abrons Art Center, New York, NY, 2013

Nataraj, Nirmala. “Amy Feldman Melds Poise, Rough Edges” San Francisco Chronicle 6 Mar. 2013.

Curiel, Jonathan. “Amy Feldman: Raw Graces” SF Weekly, 7 Mar. 2013

Parmer, Amanda. “Blackston: Amy Feldman” Art in America October 2012.

Smith, Roberta. “Art in Review, Amy Feldman: Dark Selects” The New York Times Friday 13 July 2012.

Smith, Roberta. “Museum and Gallery Listings for July 20-26, Amy Feldman: Dark Selects” The New York Times 19 July 2012.

Westfall, Stephen. “Tough Love” catalogue essay for solo exhibition Amy Feldman Dark Selects. New York: Blackston, July 2012.

McClemont, Doug. “On the Shows Not to Miss in New York” Saatchi Online Magazine 31 July 2012.