Amy Feldman’s large scale gray-on-gray abstractions are recognized for their bold display of form, isolation and distillation of image, and for their reductive yet impactful language. Oscillating between figure and ground, her seemingly simple compositions undermine the logic of their own stability, and pivot immediacy with resonance. The suspension between surface, iconography, and geometry highlights the significance of her selected imagery. Contemporary signs, symbols, digital ideograms, and figures emerge from gray drips and open strokes. Coming in and out of legibility, the forms push and pull, move and undulate, alluding to the instability of images and signs, and their increasingly unstable role in contemporary culture.
Feldman received her Bachelor of Fine Arts from the Rhode Island School of Design and Master of Fine Arts from Rutgers University (2003, 2008). She has exhibited at James Cohan Gallery, New York; Sorry We’re Closed, Brussels, Belgium; ANNAELLE Gallery, Stockholm, Sweden; Museo Britanico Americano, Mexico City; Musée d’art Moderne, Saint-Etienne, France; New Britain Museum of American Art, CT; The American Academy of Arts and Letters, New York, NY; and Bronx River Arts Center, New York, NY. She is the recipient of numerous awards, residencies, and grants including the Joan Mitchell Foundation Grant (2013) and VCUarts Fountainhead Fellowship in Painting (2008-09). She lives and works in Brooklyn, NY.
Past Exhibitions
Summer Steals
Markings: New Work
Hot Fun In The Summertime
Mirror Cool
Other Imperfect Provisions
Links
ArtForum April/May 2015
Art In America October 2012
The New York Times 2012
Carlton Newton’s interest in science, nature and technology weaves itself into his Sumi ink drawings on paper which render imagined subjects both organic and manufactured. His precise black forms appear specimen-like; self-contained clumps of undulating lines and intertwined structures contrast a pristine white background as though laid out for careful study and inspection. These drawings demonstrate Newton’s understanding of three-dimensionality, as they exist as both unique works of art and studies of sculptural counterparts. Newton’s sculptures, made from myriad materials including plaster, wood, stainless steel, and gypsum cement, challenge our preconceptions of space, form, and weight.
Born in 1946, Carlton Newton currently lives and works in Richmond, VA. After teaching appointments at the College of William and Mary and Princeton University Newton joined Virginia Commonwealth University’s School of the Arts where from 1987 to 2017 he served in several key teaching and leadership capacities for the Department of Sculpture and Extended Media. Newton received both his BFA and MFA degrees in sculpture from the San Francisco Art Institute. His work has been exhibited at the Virginia Museum of Fine Arts and 1708 Gallery in Richmond, Richmond; Danese/Corey Gallery and the New Museum in New York; the Art Museum of the Americas, Washington, D.C; Aqua Art Miami, Florida; the Paule Anglim Gallery, Atholl McBean Gallery, and the South of Market Cultural Center in San Francisco; the Peruvian North American Cultural Institute, Lima, Peru; and the Keith Talent Gallery, London, England. He is the recipient of the VCU School of the Arts Faculty Achievement Award of Excellence, an Individual Artist Fellowship from the Virginia Commission for the Arts, an Artist Fellowship from the National Endowment for the Arts, the Rome Prize Fellowship from the American Academy in Rome, an Honorarium from the New York State Council on the Arts through the New Museum, and a residency in Captiva, Florida from the Robert Rauschenberg Foundation. Newton’s work is included in the collections of several major corporations including Markel, Altria, and Dominion.
Interested in an object’s allusion to time and space, Don Crow projects abstract imagery onto myriad backdrops including canvas, digital print, and paper. Collaged geometric forms become compositional obstructions, revealing tension between objects removed and inserted. The shapes’ juxtapositions become a metaphor for belonging, or lack thereof. Exploring color and shape relations, Crow unearths underlying concepts of silence versus noise, environment as memory, and how varied surface application magnifies these concepts. Crow lives in Richmond, Virginia and Doha, Qatar where he works as assistant professor in design and art foundations at VCU-Q. He received his Master of Fine Arts in Painting from Virginia Commonwealth University. He has shown at the Virginia Museum of Fine Arts, Richmond, VA; Design Box, Raleigh, NC; Seoul Hae-Tae Gallery, South Korea; Corcoran Museum, Washington, D.C., Bronx River Art Center, NY. He is a recipient of a Pollak Award for Excellence in the Visual Arts.
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