Contemporary artist and abstract projectionist painter are not often terms one associates with a 14- year-old, but prodigy artist Qua is painting against the grain. Beginning in June 2017, Qua began a 17-evening live painting performance in New Haven, Connecticut, that began during the International Festival of Arts & Ideas and stretches into September. Qua has been inhabiting a 500-square-foot storefront of a downtown commercial space and filling the walls with a single abstract expressionist composition.

His performance, like his name, is unique: it includes collaborations with local artists and live music, and is centered around his high speed painting style fused with “local narratives and surreal imagery.” “I am a self-taught painter,” Qua writes via email. His name, while originally an accidental misspelling of the word “prequel,” now seems more prescient, he says, referencing the use of the word in the Latin phrase art qua art, or that art can be judged by aesthetics only.

Originally drawn to realism, Qua began experimenting with large abstraction when he began working in an artist studio by the Mill River almost two years ago. The large walls of the studio entranced Qua as he was able to paint compositions that “dwarfed me in size” and required more physical exertion. “Painting on a large scale requires the use of my full body, a more physical process including intensive arm movements and the use of my body as medium to house paint supplies and tools.”

Canvas 14, 4 1/2′ x 5′ mixed oil and acrylic, 2017. Image courtesy of the artist.

While Qua does not consider himself a “professional artist”—yet—the breadth and intensity of his work demonstrates raw skill. Moving between sharp details and abstract movement of color and cascading images, Qua’s work is dreamlike and poignant, capturing the emotion of his paintings as well as the viewer. He also brings a unique force of performance to his painting process.

Canvas 3, 4 1/2′ x 5′ mixed oil and acrylic, 2015. Image courtesy of Qua.

Originally a “private performance,” Qua began to invite viewers into the grandiose exercise of his painting technique. Adorned in costume and immersed in choreography, Qua paints to music, and uses light and video projection—and sometimes darkness—to “create a private space for me to be with my shadow self.”

Due to the generous sponsorship of a commercial realtor in downtown New Haven, Qua has been making live performance paintings at 817 Chapel Street since early June. He performs there at sundown 4-5 nights a week on the second floor and then displays his work during the day. The show is scheduled to end September 15th.

Qua
Deep River, Connecticut
Website

All images courtesy of Qua

The post All Eyes on Qua appeared first on Take Magazine.

In a former lifetime in which the person inhabiting the Oval Office had an actual vision based on facts, the arts were recognized as an integral measure of our society. President John F. Kennedy, for instance, said this about the arts: “We must never forget that art is not a form of propaganda. It is a form of truth.”

Truth, of course, has taken a hit since 45 took office. That whole “alternative facts” bit. But numbers, or so the saying goes, don’t lie. So with that in mind, we took a quick look at the potential math implications of 45’s federal budget.

First the overview:

• Number of programs and agencies due for elimination: 62
• Number of programs within the Environmental Protection Agency alone: 50

Other programs due for funding cuts—or outright elimination—focus on everything from literacy to low-income home energy improvements to investigating chemical accidents. The enormous breadth and scope of impact on those least able to manage without these programs is breathtaking.

But since we’re an arts and culture magazine, we’re going to focus our hyperventilation on the potential impact of these devastating cuts to art and culture in New England. The proposed budget calls for eliminating all funding for the National Endowment for the Arts ($152 million) and the National Endowment for the Humanities ($155 million).

What NEA funding means to New England:

For fiscal year 2017, New England states received $2.591 million in NEA grants overall, according to the NEA website. Here’s who got what:

• Connecticut: 15 organizations, $310,000
• Massachusetts: 62 organizations, $1,672,000
• Maine: 11 organizations, $242,000
• New Hampshire: 6 organizations, $120,000
• Rhode Island: 9 organizations, $152,500
• Vermont: 4 organizations, $95,000

But the math adds up even less when you look beyond straight grants. Ann Wicks, communications manager for the New England Foundation on the Arts (NEFA)—one of six regional arts organizations funded by the NEA and private donations—explains. Arts organizations can potentially receive NEA dollars in three ways:

• an outright allocation of a grant the organization applies for itself
• an allocation from NEFA through NEA dollars provided to NEFA
• from NEA dollars given to state arts organizations, such as the Massachusetts Cultural Council

Wicks says about 15 percent of NEFA’s annual budget comes from NEA dollars. Beyond grants, NEFA uses those dollars to support artists in other, less direct ways, Wicks says. The Creative Ground Directory, for instance, is a free resource that lists artists and other creators around New England so that it’s easier to find appropriate collaborators for projects. In FY2016, NEFA made a total of 462 grants equaling $3.4 million. New England states received $829,947 of those NEFA grants.

In other words, the loss of funding to New England arts and humanities organizations could be even larger. “NEA support is very important to New England and the creative sector,” she says.

It’s a point that is echoed nationally. The National Assembly of State Arts Agencies (NASAA), a national nonprofit that assists state arts agencies, offers this math about how NEA dollars improve the economy at large:

• The arts return $22.3 billion in tax revenue to federal, state, county, and municipal governments.
• Rural areas, low-income communities, and schools would feel the effects of this funding loss disproportionately from reductions. State arts agencies (using state and federal funds) award more than 25% of their grants to rural areas, 54% to low-income communities, and 45% to arts education projects.
• Every NEA dollar leverages more than $9 in matching funds, meaning that the impact of the NEA loss is just the beginning of the potential financial loss for arts organizations.

Cutting the NEA and NEH seem especially confusing given this math offered by NASAA: The NEA receives 0.004% of the total Federal budget, which is less than ½ of one hundredth of a percent.

That math also doesn’t add up when you consider the numbers presented by The Guardian. The British paper reports the following expenses incurred by taxpayers less than 50 days into 45’s residency:

• $56.6 million (or a cool $500,000 a day) to protect Trump Tower. That was through March 1. Assuming that Mrs. 45 stays until June for Mini-45 to finish school, that dollar amount could add another $46 million, bringing the total to $102 million.
• $3+million estimated cost for EACH weekend jaunt to golf work at his Mar-a-Lago Resort (a place where he doubled entry fees from $100,000 to $200,000 the day after he was elected).
• $97,380 for hotels for Secret Service to protect Eric Trump (that would be his son on those business interests 45 still hasn’t divested himself of) while he visited a condominium development in Uruguay. This is just one trip.

And finally this statistic: 45’s proposed military spending increase in his federal budget? $54 billion.

Something definitely doesn’t add up.

Does this irritate you as much as it does us? Here are a few links if you want to #TakeAction. See you on the streets.

Pen.org
artsactionfund.org
Change.org
The Official White House Petition to Save Arts Funding
Contact Your Representative
Arts Advocacy Day – Washington, DC
#SaveTheNEA

Top image courtesy Royal Talens

The post #TakeAction: Doing the NEA Defunding Math appeared first on Take Magazine.

The painted wooden sign was one of New England’s earliest art forms, starting back when colonial innkeepers lured customers with bold hand-lettering and eye-catching imagery such as bulls, lions, and goblets.

Portland, Maine artist Will Sears has a thing for wooden signs. His company Better Letter Hand Painted Signs makes signs for restaurants, shops, farms, and other small businesses that evoke the look of commerce in the early 20th century. But when it comes to Sears’ art, the medium is the message.

“My fine art is very closely tied to sign painting,” he says. Recent works involve sawing his own hand-painted, pre-weathered wooden signs into pieces, then re-assembling them to create really cool Americana-inspired abstract patterns.

Born and raised in Philadelphia, the 27 year old also does paintings and collages that cheekily combine hand lettering with old newspaper images, business stationery, blueprints, pornography, and photos from CPR manuals. Shortly after graduating from Syracuse University in 2010, he landed in Portland via a residency for young artists led by prominent sculptor John Bisbee.

“I really loved New England – my dad grew up in Hanover, New Hampshire,” says Sears, who also spent summers at Camp Belknap on Lake Winnipesaukee. “Before I knew it, it was home.”

Sears helped design the Oxbow Brewery’s taproom in Portland. Photo by Bret Labelle Photography

Sears is entrepreneurial, moving comfortably in and out of the commercial and artistic worlds. That’s also true of some of his clients, a major one being the local Oxbow Brewing Company of Newcastle and Portland. These days, where there is an art scene, there is usually also a craft brewery (or three). The artisanship behind Oxbow’s Belgian farmhouse ale-inspired brews is reflected in Sears-designed labels, as well as wall murals in the Newcastle brewery and, in the Portland taproom, barstool tops made from – you guessed it – wooden signs.

Sears is excited to be co-curating a show this summer called Ode to Letters through the Biddeford, Maine art collective Engine. “It’s a three-part show of work – graffiti art, sign painting, and letterpress – that exhibits a love for letters,” he explains. And he and his girlfriend, artist Tessa Greene O’Brien, recently received a grant through the Space Gallery’s Kindling Fund to start a mural initiative in Portland – one with a focus on contemporary art.

“It’s a chance to bring contemporary art, which might not be found outside of a museum or a gallery, to a public forum,” Sears says. Now, that’s a good sign.

The artist with his installation of sculpture and signage at Portland’s Space Gallery. Photo by Bret Labelle Photography

The article first appeared on the Take site on February 18th, 2015.

Will Sears and Better Letter Hand Painted Signs are on Instagram and facebook.

The post It’s a Sign appeared first on Take Magazine.

“Traditional museums are inside out,” says Suzette McAvoy. “They are great temples of art, with formal façades that sit at the top of steps. We break down the barrier and are more welcoming to the community.”

McAvoy, executive director and chief curator of the Center for Maine Contemporary Art (CMCA), is framed by a backdrop of glass, cement and a jagged, light-emitting roof that mimics the ocean waves two blocks away. After more than five decades in a former firehouse and livery stable, the new CMCA opened this past June, a key component of the current wave of cultural revitalization in Rockland, Maine.

The exterior of the building is galvanized zinc with brushed stainless trim. The exterior glass walls reveal the art inside; there is a courtyard with space for art. Inside, the sightlines are wide enough to really see the art, says Mcvoy. The former space was limited by, “scale and vertical dimensions. Being a 19th Century livery stable, even though renovated, it had structural issues.”

Three contiguous galleries can exhibit the work of three artists or the work of 25 artists, which will be the case this November when CMCA holds its biennial.

McAvoy toured Take just prior to the opening of the new facility.

We enter the empty building via the loading dock and face a long highly polished concrete floor. We are joined by McAvoy’s daughter, Elizabeth, who is home from the Rhode Island School of Design. She once sat for Alex Katz who painted her portrait in his studio in Lincolnville. She was just a kid at the time.

McAvoy motions to a curving front desk leading to a large expanse of wall space. “We’re making art front and center rather than wasting the space with information about the gallery,” she says. The gift shop is tucked away like a Murphy bed.

CMCA executive director Suzette McAvoy | Photo by Amy Wilson

This isn’t your father’s or mother’s art museum. CMCA is an American Kunsthalle, a German term for a building that hosts art exhibitions.

“It makes us nimble,” says McAvoy. “As an exhibition space, we can take a chance on artists, which is what CMCA has always done – and it always works out.” McAvoy ticks off additional benefits to being an exhibition space rather than a museum.

“First of all, museums have permanent collections,” she says. “They require time, effort and expense.”

We walk into the large gallery space and watch the light play on the bare white walls.

“Second,” says McAvoy, “there is the cost and the work of conservation. Then there is the effort to acquire the gifts. And there is the storage, of course.”

We move from one gallery space to another observing through the skylights, a 20-foot sign that says “EAT” in giant letters. It is Robert Indiana’s piece originally created for the 1966 World’s Fair and now on the roof of the Farnsworth Museum next door.

Architect Toshiko Mori designed the CMCA building to capture the light of Penobscot Bay and bestow it on Maine, and Maine-connected, artists who will show there. The new building on Winter Street came into being due to a large bequest by Nellie Taft, descendant of two presidents, a board member of the Whitney and also a painter.

The town of Rockland itself is experiencing a revival. As of six years ago, the little working-class community on the coast was known for sardine processing, but the plant closed and galleries began to migrate north from Portland, 75 miles to the south. There are 25 art galleries in Rockland and three art-making spaces. New restaurants, coffee roasters, a bakery or two, and consignment shops compete for business a block from the waterfront. New boutique hotels opened over the summer, constructed by boat builders. Another new hotel acts as a gallery, catering to the type of clientele that might be inclined to purchase a five figure painting, it has art for sale as well as rooms with floor-to-ceiling windows facing the bay.

“The final thing to fall into place was the availability of a piece of property right next to the Farnsworth Museum in Rockland,” says McAvoy.  She expects foot traffic to improve now CMCA is in the heart of what is beginning to look like the new center for art in Maine.

Prior to her engagement with CMCA in 2010, McAvoy was head curator of the Farnsworth Museum, which specializes in art related to Maine and to the art of the Wyeth family.

“I gave Jamie a little tour earlier this week,” she said of the surviving member of the art dynasty. “He thought it was wonderful.”

Artists are a natural resource in a state where paintings have been made from points along the coasts by the likes of Edward Hopper, Winslow Homer and NC, Andrew and Jamie Wyeth.

Along the craggy coastline of Maine there are pocket beaches where stones get caught within the embrace of bedrock. Time and the tide polish the stones to a deep luster. Some stones are veined with white quartz.

These objects of beauty are prized by jewelry makers and have even been confiscated at airports by officials. Protected from jewelry-making predators, the stones are considered natural resources, like Maine’s painters. Year after year artists return for the Maine light to paint. Their work gains luster; the artists sometimes gain fame.

First to exhibit in CMCA’s main gallery was an artist who lives and works in Maine but had never shown in the state before. Jonathan Borofsky is a busy man on the international art circuit in Berlin, Korea, the Beijing Olympics. He agreed to create work for the new CMCA building’s inaugural show when he had a look at the looming main gallery space with 26-foot ceilings. The 50′ x 52′ space is the exact size of his studio in Ogunquit and the light from the vertical windows in the sawtooth roof brought back memories.

Interior CMCA | artist Jonathan Borofsky | Photo by Amy Wilson

“It was exactly like the kunsthalle in Basel,” he says, referring to an installation in Switzerland called Dreams 1973-81. Borofsky is best known for his series of massive site-specific sculptures “Hammering Man” in Frankfort and “Molecule Man” in Berlin.

The sculptor’s work is sometimes towering totems of abstracted figures in galvanized steel and polished aluminum, sometimes painted, sometimes not.

“The reason for this show at the new CMCA is for people to look at great art,” says Borofsky. “Not to show it or sell it.”

Borofsky says his work is of a spiritual nature. His initial inspiration was Gauguin. “When I first saw the Gauguin painting “Where do we come from? What are we doing? Where are we going?” as a kid, I realized I could do that, I could find out the answers to those questions. Gauguin gave me permission.”

The other two exhibitors to open CMCA were Alex Katz and Rollin Leonard, both Maine summer residents. Katz exhibited a series of “direct” paintings, a first pass at his 9” x 12” oil portraits in oil and Leonard, a virtual unknown, exhibited a multi-media work called “Vernal Pond.”

Programming for CMCA also includes ArtLab, which focuses on the local community, with classes and workshops for students and adults.

“The exhibits support the programming,” says McAvoy. “We exhibit to serve the educational programming. That exposes people to art who wouldn’t normally have access to shows of this work.”

When asked if the light is really what draws artists to Maine, McAvoy responds that it is the light and also the affordability of the wilds of Maine. And one other thing.

“Painters come here because of the light but also because of the isolation,” she said. “Maine is where the work gets done.”

Top Image: Installation of Particle Soul-014, 2016 | CMCA courtyard | (From L to R) executive director Suzette McAvoy, artist Jonathan Borofsky  | Photo by Amy Wilton

The post An American Kunsthall appeared first on Take Magazine.

Claremont-based contemporary artist Joe Carton, says his art imitates life—if that’s true we’re apt to call him Joe Cartoon.

Your work primarily features symbols such as diamonds, eyes, halos, the #7, horseshoes –what’s the story there?

Of late, many paintings have incorporated imagery related to luck, enlightenment, man’s ruin, the fool’s journey, and other themes.

An important component of my work is that pieces use images pulled from popular culture. These images, whether subtle or blatant, serve as reminders of society’s impact on an individual.

Cartoon characters also appear to play a large role in your work, why is this?

I’ve always loved cartoons. Bungling, anxiety-filled characters, placed in normal situations. Simple drawings showing the features of their subjects in exaggerated ways. Art imitates life you could say. I was almost hit with a falling anvil last week.

It looks like you work with only a few mediums, what are they?

I currently work with acrylic paint on raw canvas. I prefer raw canvas for the clean surface it provides and how the paint plays with the texture of the canvas. The paint is applied in many layers to achieve the desired effect. Once finished, each painting is stretched on wooden canvas stretchers and its surface is coated with a varnish.

Your background is in sculpture, what made you decide to spend your recent years working with printmaking and painting?

I have a deep love for sculpture, but realized painting and printmaking were still my passion after college. In many ways, my paintings are “assembled” much like my sculptures were, so there was little transition back to painting for me.

Follow Joe’s progress online on his website, Facebook, or Instagram.

All images courtesy of Joe Carton.

The post Take Q&A: Joe Carton—Contemporary Artist appeared first on Take Magazine.

What have you been up to in the last nine months since we spoke?

Well, let’s see… it’s been a busy year so far. At the very beginning of the year, the dead of winter, I hibernated, planned new projects, and snuggled with my three dogs. In the spring, I did a residency at the Mass MoCA studios in North Adams, MA through a cool organization called Assets for Artists. While I was there, I started on the lion’s share of work for the deCordova Museum and Sculpture Park and Center for Maine Contemporary Art (CMCA) Biennials coming up this fall, and met a group of super talented artists and equally good people.

Installation view: Left:”Hangover rag rug”, ink drawing on cut paper 2015 | Right: “New England Short Stack” crochet thread, panel nails on wall, ink on thread | photo by Michael Winters

Shortly after that, my day job as a producer for a small creative branding agency brought me to Munich and the Alps, a place I had never been, and was promptly blown away by those mountains! In late spring/early summer I had work in group shows at Trestle Gallery in Brooklyn, New York, and George Marshall Store Gallery in York, Maine. Also, I got really into container gardening this year, and built a vertical planter, which I’ve wanted to do for years.

Index (Mountains)
Ink on paper in color stained frame, 2016 | 20.5 x 27.25 inches | Photo by Stewart Clements

In late summer, I found out I was the 2016 recipient of an Artist Advancement Grant from the New Hampshire Charitable Foundation and I could not be more grateful and excited! And here we are—at present, I’m mentoring a few students this semester as part of the New Hampshire Institute of Art low-residency MFA program, finishing up work for the CMCA biennial, starting new work for a solo show at Carroll and Sons in Boston during late January, and looking forward to the deCordova Biennial opening on Oct. 6th.

What can visitors expect to see from you during the upcoming biennials at the deCordova and CMCA?

The work that I have in the deCordova Biennial is all new, and mostly new at CMCA. In the last year, my work has been very focused on landscape and ecology—and connecting these subjects conceptually with everyday objects, and asking questions like: How do everyday objects in the domestic realm relate to a natural landscape? How does our everyday world expand and connect to a larger framework? I am working with the Life Nature Library book series a lot this year—making painted trompe-l’oeil objects that look like the books, and at the same time are asking—is this a landscape painting? As well as making drawings where I copy the entire index of these books and am asking—is this a landscape drawing? Examples from this body of work is in both Biennials.

What is your art—whether a recreation of a rug, phone book, beach chair, or some other everyday object—trying to communicate?

I want my work to inspire viewers to look closer at everyday life. I want to help educate perception. I think that we can find wonder in the everyday, if only we just slightly shift our view, keep our eyes open, and are willing to see the connection between things.  I want to make work born from this place and have it inspire in others a desire to interact with the tangible/ physical world. To roam, to touch, to seek, to ask questions and to have reverence for the history that is contained in places, and also the grandeur of nature and this planet we inhabit.

(Untitled) Blanket acrylic, ink and correction fluid on wood, 2015
52hx49wx1d | Photo by Michael Winters 20

Drawing great attention to the unremarkable calls into question what can be considered precious and worthy of investigation. Rooted in observation and taking the form of drawings, painted objects, and installations, my work aims to bend perceptions of the things we recognize and experience as common and everyday, thus creating a deeper awareness of the experience of “seeing,” and allowing for unexpected connections to be made between concept, materials, and the iconography of objects. As much an experiment with materials as a behavioral study of the familiar and analog, my work engages the viewer in an active game of questioning perceptions by dissecting, duplicating and mimicking the objects, underlying patterns and organizing systems that make up the backdrop of our lives.

The term ‘Trompe L’oeil’ literally means “to fool the eye” but I like to think of it as meaning “pay attention, look closer, have awareness, alter your perception.” If my work can disarm the viewer and cause them to truly be in present time for just a moment when they are looking at my art, that’s what I consider a successful piece.

Undoubtedly a lot of time goes into each of your pieces. Can you describe the process?

At its beginning/discovery phase, it is non-linear, experimental, and subject to chance. Once a project is underway my process slows and becomes more about the repetitive and meditative.

My background is in painting, and I guess at some point, I wanted to allow myself the freedom to think outside of one particular media, and only two dimensions. Once I gave myself that permission, I realized that there are lots of materials I want to work with and learn about, and lots of different objects in the world that I was curious about. I think keeping that sense of wonder and curiosity alive about the everyday stuff and sites of life are what drive me to make work.

I will come across “perfect objects” out in the world, and these things have often been used, like an old beach chair or map, and I like to dissect them, figure out how they were made, and how they behave. I combine that with an interest in materials themselves—like loving the way hand-folded metal looks, or how multiple lines drawn on paper can add up to mimic thread or woven textile—and I make honest work about it. I look, handle, inspect and recreate in an effort to understand. Deception is not the major goal—it’s understanding. That process is everything to me. The final piece is like an artifact of this investigation.

Untitled (plant hardiness zone map) Acrylic and ink on folded aluminum 20 x31 inches | Photo by Stewart Clements 2016

My process of recreating objects to mimic the original is derived from a desire to really understand how an object behaves, how it is made, and how it causes or reacts to human encounters. I’m also interested in how the process of repetitive mark making has a rhythmic, satisfying, meditative quality.

Photo by Tammy Byron

Carly Glovinskiis a multi-media artist working in Dover, New Hampshire. Be sure to visit her website and sign up for her newsletter for updates and messages from the artist.    

Top photo second multi-rag rug, ink and correction fluid on paper, 2014 | 34h x 46w | Photo courtesy of the Carly Glovinski

The post Carly Glovinski – is this a landscape painting? appeared first on Take Magazine.

MATRIX was first.

Housed in the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, MATRIX was the first gallery space in a traditional art museum dedicated to a changing series of contemporary art exhibitions. It is an idea that has since been replicated by more than 50 museums across America since MATRIX launched in 1975.

MATRIX has also been home to the first solo exhibitions for many of the world’s most important contemporary artists: Carrie Mae Weems, Glenn Ligon, Barbara Kruger, and Gerhard Richter to name just a very few. All told, more than 160 emerging artists have been exhibited to date.

“It was considered groundbreaking,” says Patricia Hickson, the museum’s curator of contemporary art. “Most encyclopedic museums never had exhibits with contemporary art at that time. It was not part of the canon. This was the first time putting contemporary art in dialogue with the storied collections of the Wadsworth Atheneum.”

(Top and Above photo) An Andy Warhol exhibition in the MATRIX gallery of the Wadsworth Atheneum Museum of Art in 1979.

Andrea Miller-Keller was there from the beginning when then-Atheneum Director James Elliot started conceptualizing the idea. She wrote the National Endowment for the Arts grant that enabled the idea to become a reality.  

“Back then, contemporary art had no secular place in any art museum,” Miller-Keller says. “[MATRIX] was that bridge between a traditional art museum and a desire to share contemporary ideas.”

Miller-Keller ultimately became the first MATRIX curator, a position she held for 23 years. In that time, she considered helping the public to understand contemporary art as one of her main functions. “Traditional art is always soothing and makes you feel elevated,” she says, “and contemporary art is often challenging and makes people feel confused. My number-one job was to dispel the confusion.”

To that end, a MATRIX exhibit has always been multifaceted. Miller-Keller made sure exhibits included publications and handouts as well as gallery talks. “No one should walk into a room and feel lesser because they don’t get it,” she says. “My mission was always to show the toughest work but to offer the public some explanations.”

Photos Courtesy of The Wadsworth Atheneum

The post Did You Know? This MATRIX is Real appeared first on Take Magazine.