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Karen SchiffKaren Schiff, Space Eyes, 2016, Wood, Acrylic Paint, Watercolor2016
2016
About the Item
Karen Schiff is an artist and wordsmith based in New York; she has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine these pursuits by wondering about our conceptual frameworks for linguistic and physical experience.
For “Scribing the Void,” Schiff is showing works on paper from 2014 through the present. In single lines of blank “writing,” her forms suggest a curious union between a snake and some leaning planks from a Serra sculpture. In other drawings these shapes form irregular grids, which Schiff associates with fields of language. (Texts used to be made from rectangular lead “sorts” of individual letters, compressed into metal frames for letterpress printing, but our experience of immersion in language is not so tight or regularly angled.) Schiff’s most recent drawings show these fields getting more irregular, and more spatially confounding. She likes to think about critic Jan Verwoert’s idea that the writer is immersed in language like a cow stands cooling in a pond; she also stays aware of a film on visualizing the fourth dimension which she first saw in 1985.
In addition to this exhibition at ODETTA (in the Bushwick neighborhood of Brooklyn), Schiff’s work has been shown at galleries such as BravinLee Programs and Danese Gallery, both in New York City, and Fred Giampietro Gallery in New Haven, Connecticut. Her artwork (and writing) was part of “Art = Text = Art” at museums including the Zimmerli Museum of Art at Rutgers University and the Hafnarborg Art Museum in Iceland. Schiff has also created online projects for the College Art Association’s Art Journal, such as “Counter to Type,” an invited artist’s project that included drawings that play with the journal’s page layouts, an essay, and an online video.
Schiff is a Lecturer in Graduate Studies at the Rhode Island School of Design. She holds an M.F.A. in Studio Art (School of the Museum of Fine Arts / Boston, 2006), and a Ph.D. in Comparative Literature and Literary Theory (University of Pennsylvania, 1998).
Recently she has published in Art in America and Hyperallergic Weekend, as well as for the blog she co-edits with an artist she met at a Yaddo studio residency, Wallscrawler. Her writings tend toward issues of art and language, artist Agnes Martin, and complexities of identity.
Her artworks are held in public, private, and corporate collections, such as the Kramarsky Collection (NYC), the Colby College Museum of Art (Maine), and the MCS Collection of Contemporary Drawing (Portugal).
- Creator:Karen Schiff (American)
- Creation Year:2016
- Dimensions:Height: 1 in (2.54 cm)Width: 2 in (5.08 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Darien, CT
- Reference Number:1stDibs: LU17221149483
Karen Schiff
Karen Schiff is an artist and wordsmith based in New York. She has always been a reader as well as a visual artist. Her drawings, paintings, installations, and performances combine these pursuits by wondering about our conceptual frameworks for linguistic and physical experience. Schiff’s work has been shown at galleries such as BravinLee Programs and Danese Gallery, both in New York City and Fred Giampietro Gallery in New Haven, Connecticut. Her artwork (and writing) was part of “Art = Text = Art” at museums, including the Zimmerli Museum of Art at Rutgers University and the Hafnarborg Art Museum in Iceland. Schiff is a Lecturer in Graduate Studies at the Rhode Island School of Design. She holds an MFA in Studio Art (School of the Museum of Fine Arts / Boston, 2006), and a Ph.D. in Comparative Literature and Literary Theory (University of Pennsylvania, 1998). Recently, Schiff has published in Art in America and Hyperallergic Weekend, as well as for the blog she co-edits with an artist she met at a Yaddo studio residency, Wallscrawler. Her writings tend toward issues of art and language, artist Agnes Martin, and complexities of identity. Schiff's artworks are held in public, private and corporate collections, such as the Kramarsky Collection (NYC), the Colby College Museum of Art (Maine), and the MCS Collection of Contemporary Drawing (Portugal).
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Diane Englander uses formal means to create a place between discord and tranquility, a zone with a charged harmony that energizes as it also provides refuge. That often requires that the prettiness of an initial surface is made ugly, or there’s a conscious choice to avoid balance in the composition.
Hers is a largely intuitive process, the materials entice her. Inspiration from the world that we don't call “art” is where she finds her muse: a wall, a landscape, a window shade transfused with light, a stretch of sand and shadow. Most influential are predecessors like Burri, Vicente, Tapies, Motherwell, Rauschenberg, medieval cloisonné, Vermeer, Breughel, and many, many more.
A native New Yorker, Diane had an earlier career including 17 years as a management consultant to local nonprofits concerned with poverty or disenfranchisement; work in NYC government; and several years as a lawyer at a large NYC law firm.
“I was brought up going to galleries and museums, a sometimes reluctant attendant to my parents’ passion for looking and for collecting. My own expressive energy must have simmered internally for years, occasionally emerging in photography, in quilt-making, in other tentative explorations, and certainly in providing opportunity and materials for my children to create. Not until those children were nearly grown did I come unequivocally to the need to make art myself.”
In late 2006 Diane began making collages that started her on her current path; in late 2007 she left her consulting job to focus on her artwork full-time.
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