Oda Abstract Paintings

Graphic abstract painting on paper in in complementary hues of red-orange, dark teal and yellow "Duo" by Jenny Kemp, painted in 2020 acrylic on linen over panel 14 x 11 inches Signed, verso Jenny Kemp’s abstract paintings are inspired by the artist’s desire to represent unseen phenomenon. With intricate and calculated line-work, the artist builds parallel layers against opaque backgrounds, while shifts in color and shape call attention to organic forms that give reference to the human body or atomic structures. Precise lines in light green arc over a layer of opaque moss green before colliding with forms of bright red-orange. A serene layer of dark teal complements these contrasting colliding forms, allowing a visual reprieve. The gouache painting on paper is complimented with a light wood frame, protected by non-glare glass. Wire is installed on the back for seamless hanging. About the artist: Jenny Kemp received a BS in Art from the University of Wisconsin - Madison and an MFA in Painting from the University at Albany. Her work has been exhibited in galleries and museums across the country, most recently at Gold/Scopophilia* in Montclair, NJ and the Mandeville Gallery at Union College in Schenectady, NY. She has been featured in publications such as 100 Painters of Tomorrow published by Thames & Hudson, New American Paintings, The Huffington Post, Seattle’s City Arts, New York Times, and The New England Review. Kemp is also a recipient of the 2015 NYFA fellowship in painting and the 2015 Emerging Artist Award recipient from the Art Center of the Capital Region in Troy, NY. She sits on the board of Collar Works, an art space dedicated to the support of emerging and under-represented artists exhibiting challenging and culturally relevant contemporary artworks in Troy, NY where she lives and works. EDUCATION MFA - Painting, University at Albany, SUNY 2012 BS - Art, University of Wisconsin, Madison 2002 EXHIBITIONS 2019 Gold / Scopophilia* Art on Paper, Pier 36, NYC Steady Curve Gold / Scopophilia*, Montclair, NJ (solo) 2018 Slow Grow Mandeville Gallery, Union College, Schenectady, NY (solo) FENCE + ECHO, Far x Wide, Brooklyn, NY (curated by Jes Cannon) Crazy Beautiful III, Kenise Barnes Gallery, Larchmont, NY Three Square, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) 2017 When We Were Young: Rethinking Abstraction from the University at Albany Art Collections (1967-present) University at Albany Art Museum, Albany, NY Surface 4, ARENA at Brooklyn Dermatology, Brooklyn, NY (curated by Renée Riccardo) The Whitney Houston Biennial: Greatest Love of All, Chashama, NYC (curated by Christine Finely) 2016 Reality is Wrong, Dreams are Real, David&Schweitzer Contemporary, Brooklyn, NY (curated by Phil and Sue Knoll) Squared, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Something Else, The Painting Center, New York, NY (curated by Dee Shapiro and Miriam Brumer) Living Color, Art Center of the Capital Region, Troy, NY (2 person) 2015 Howdy Doody, Collar Works, Troy, NY (curated by Leona Christie) Remains to be Seen, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Painting Parallels, GRIDSPACE, Brooklyn, NY (solo) Double Vision, Laffer Gallery, Schuylerville, NY (2 person) Mohawk Hudson Invitational Albany Center Gallery, Albany, NY Snowbirds Kenise Barnes Gallery, Larchmont, NY Valentine’s Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Variations in Paint (invitational), The Painting Center, New York, NY 2014 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Mohawk Hudson Regional, Albany Institute of History and Art (juror: Stephen Westfall) Tracery, PS209 Gallery, Stone Ridge, NY Connections Todd Art Gallery at Middle Tennessee State University, Murfreesboro, TN (2 person) Perceptions Opalka Gallery at Sage College, Albany, NY Modern Artists Carrie Haddad Gallery, Husdson, NY 2013 Second Nature Albany Airport Gallery, Albany, NY Admit One Collar Works Gallery, Troy, NY Works by Jenny Kemp and Richard Harrington Gallery 105, curated by MCLA Gallery 51, N. Adams, MA An Early Spring Carrie Haddad Gallery, Hudson, NY 2012 Recent work and new paintings on paper Fulton Street Gallery (solo) FISSURE GalleryEll online exhibition, curated by Amanda Kates In Orbit Little Gallery at Sage College of Albany. Albany, NY. Works on Paper Carrie Haddad Gallery, Hudson, NY MFA National Competition First Street Gallery, NYC. Juror: John Yau BioLogical Salem Art Works Carry House Gallery, Salem, NY MFA Thesis Exhibition University at Albany Art Museum, Albany, NY 2011 Back to School Fulton Street Gallery, Troy, NY Fence Select The Art Center of the Capital Region, Troy, NY. Juror: Carrie Haddad Honorable Mention Chain Letter Samson Projects, Boston, MA SUNY Best of Show New York State Museum, Albany, NY Members Only Collar Works Gallery, Troy, NY Fountain Art Fair Pier 66, New York, NY Nathan Meltz with Jenny Kemp and Doug Holst...

This painting is being sold on consignment by the gallery for an estate. The artist is known for her abstract paintings. She is also an instructor in the arts. More information avai...

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This work is from the Wonderment of Otherness series of paintings by New York City-based artist Christopher Stout, whose pronouns are he/him or inclusive they/them. Each work within the Wonderment of Otherness series is a sculptural monochrome painting and is part of the contemporary genre of art referred to as queer abstraction. A statement of practice regarding all of Christopher Stout’s work is that it intends to surround us with the notion of radical joy and a vision of queerness as found in our imaginations. But what do the term queer abstraction mean and represent? In the artist’s own words: “I would suggest that queer abstraction might be most easily defined as activist art about the queer experience that does not employ representation of the human figure. Queer abstraction, along with Black abstraction, feminist abstraction, and even Arte povera are examples of 4 distinct types of sociopolitical protest work birthed in the late 1960s and early 1970s, which primarily eschew the use of figuration. In providing additional context, art critic and curator Eric Sutphin theorizes that contemporary artists practicing queer abstraction, 'are in close dialogue with their forbears, and bring to the milieu of queer abstraction a new set of social, economic, and political concerns…including a series of questions: What is the relationship between queerness and formalism? Without explicit political references, how can abstract work transmit the urgency of its content?'” In returning the conversation to the Wonderment of Otherness paintings, each painting in this body of work has been designated as a 'quilt painting' because the central visual element and topography of the works are textile pieces of Belgian linen and cotton sewn together with wire in a manner akin to quilting. It should be noted that quilting here is not a reference to the AIDS quilt, but rather an extension of the tradition of quilting as a form of political art by marginalized people. These quilts are stretched on stacks of wooden panels, so that the works retain elements to suggest being textile pieces, and also elements of being sculptures, and also elements of being paintings. This is a reference to the nonbinary. An equally important concentration within these works is to express a linear relationship between queer abstraction and queer theory. Alongside each painting has been designated a notable academic text, biography, or resource book documenting a spectrum of queer ideas and experiences. Stout noted that, “Some of these books are longtime friends, and some of the more contemporary works were read as part of my research for these paintings.” Whilst these paintings are not designed to illustrate the work of these queer academics, they do hope to activate a through line, manifesting the shared goals within queer abstraction. This painting is titled, Wonderment of Otherness Quilt Painting 001, A Monument to the Work and Queer Personhood of José Esteban Muñoz (which is slightly longer than the 80 characters permitted in the online catalog) and is a monument to the work and Queer personhood of José Esteban Muñoz. Stout painted this piece after re-reading Muñoz’s text, “Cruising Utopia, The Then and There of Queer Futility.” A much-loved quote from this book: “Queerness is not yet here. Queerness is an ideality. Put another way, we are not yet queer. We may never touch queerness, but we can feel it as the warm illumination of a horizon imbued with potentiality. We have never been queer, yet queerness exists for us as an ideality that can be distilled from the past and used to imagine a future. The future is queerness’s domain. Queerness is a structuring and educated mode of desiring that allows us to see and feel beyond the quagmire of the present. The here and now is a prison house. We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds, queerness is a longing that propels us onward, beyond romances for the negative and toiling in the present, queerness is that thing that lets us feel that this world is not enough, that indeed something is missing. Often we can glimpse the worlds proposed and promised by queerness in the realm of the aesthetic. The aesthetic, especially the queer aesthetic, frequently contains blueprints and schemata of a forward-dawning futurity. Both the ornamental and the quotidian can contain a map of the utopia that is Queerness.” ― José Esteban Muñoz ... Process: Stacked wooden panels, on which is stretched a quilt that I fashioned from Belgian linen and cotton fabric sewn together with wire. The finished work is a monochrome painted...

Vuk Vučković was born in 1986 in Pančevo, Serbia. He graduated in 2010 from the Faculty of Fine Arts in Belgrade, where he started his doctoral studies in painting the same year. He ...

Oil on linen stretched on panel - Unframed. Snow sees her work as a constant play between order and chaos, logic and emotion. She combines playful shapes with bright colour, organic...

Oil on linen stretched on panel - Unframed. Snow sees her work as a constant play between order and chaos, logic and emotion. She combines playful shapes with bright colour, organic...