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November 2009 Archives

November 11, 2009

2010 Women of African Descent Film Festival Call for Film Submissions

The Women of African Descent Film Festival, co-presented with the Brooklyn Chapter of the Links Inc., seeks feature length and short films directed, written or produced by female filmmakers of African descent. The festival is now accepting submissions of narrative feature and short films, documentaries and animations for the festival, which
will take place in May 2010 in Brooklyn, NY.Submissions can be registered through the festival's Withoutabox site, which also includes additional information about the event. To access the application form through Withoutabox please visit - https://www.withoutabox.com/login/6442.

Formed in 1952, The Brooklyn Chapter of The Links, Inc., an organization of African American professional women, is dedicated to the support of educational, civic, and cultural activities in Brooklyn. A chapter of The Links, Inc., an international organization comprised of 276 chapters and over 11,000 members in 42 states, the District of Columbia, South Africa, the Bahamas and Germany, the Brooklyn Chapter works under the guidelines of the national body in providing services to its Brooklyn community in four mission areas: services to youth, health and wellness, the arts, and civic involvement. The foundation for all of the chapter's programs and services is rooted in the African American tradition of giving and volunteerism. Members share a deep sense of communal responsibility, and for the past 50 plus years have been committed to actively initiating and supporting educational, cultural, and civic programs, that positively impact the lives of people from Brooklyn's African American/Caribbean communities. To mark the milestone of its 50th Anniversary, and to continue its legacy of showcasing the talent and accomplishments of the African American arts and artists, the Brooklyn Chapter began co-sponsoring with Brooklyn Arts Council a film festival for women filmmakers. On May 18, 2002, the chosen films explored the impact of the positive linkages that women of African descent have to their families, friends, communities and the broader world. This tradition has continued annually since then and takes place at the Spike Lee Screening Room at the Brooklyn Campus of Long Island University in May of each year.

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November 12, 2009

Peter Schuyff and the Woodwards

28 November 2009 -- 09 January 2010
Round and round and round it goes. There are some new paintings by Peter Schuyff in which the canvas is filled with a line - a thick wobbly painted line - one that swirls and twists in a big knotted web. One can't help but look at it and think, "I know the feeling." For over thirty years, Schuyff has been exploring, in the broadest sense, abstraction. Symbols, forms, icons of abstraction are taken by Schuyff and transformed and misassociated into paintings and drawings that are strange, funny, compelling. His works offers an endlessly inventive exploration of abstraction's possibilities and its relationship to the pictorial. This will be Peter Schuyff's first solo exhibition in Holland for over fifteen years.

His language is an expanding, distorting one of grids, targets, blobs, squares, chain-links. These pieces, either amorphous or hard-edged, are used in isolation and combination with each other. And recently letters, often writing his name, have been finding their way into the mix. A current part of Schuyff's practice comes from working over found drawings and paintings. One cannot deny how brutal it is to add something to another's work. Sure, artists are always quoting, pastiching, satirising each other, but to amend - and some would argue therefore to obliterate - another's original artwork...that's something altogether more problematic. What Schuyff offers, however, is a kind of reinvention. He perceives his role as one of reviving the mediocre - working on paintings and drawings collected from antique shops and markets, that often exhibit technical skill and are evocative of their era, but are ultimately undistinguished and likely to be consigned to obscurity. In his hands they take on another life, with a new dialogue opening up between his shapes and the drawings on which they rest.


For And the Woodwards, Schuyff will present a series of found drawings on paper over which he has added black and white forms. The drawings are atypical classic art subjects - portraits, profiles, studies of hands and feet - and Schuyff's contributions are poppy shapes such as arrowed frames around faces, scattered circles and cloud-like blobs. In one piece Schuff circles the face in a portrait of a young woman with long, sharp triangles. The rapid, rippled movement of these triangles somehow corresponds to the frilly, garnished dress of the sitter. It targets our attention on her face, creating also a humorous imbalance between her dour, bored expression and the brash punch of Schuyff's marks. What constantly surprises is that his additions make sense; they are a natural fit. Afterall, these bold, flat forms, over whispish antique drawings, should be jarring and inelegant. But the results create a new balance and movement within the composition - focusing the attention on certain areas, whilst obliterating others, and bestowing the sketches a muscularity, impact and visual movement.

PETER SCHUYFF | UNTITLED | Acrylics on old drawing | 40 x 30 cm | 2009

In his paintings, Schuyff affords colour, shapes, weight to his forms. Some are paintings on found paintings, whilst others are full 'originals'. One untitled painting shows an overlaying series of squares. There is something at once simple and deceptively complex going in in this arrangement of colours; the tricks it plays in our reading of the shapes and the complications of depth derived from the rounded borders and shadows cast by the entire matrix. On top of all these convolutions and contradictions, Schuyff signs it - he writes P. SCHUYFF - big, bold, unapologetic - adding another pictorial element to the mix.

It seems incongruous - kind of goofy - to see these shapes which we associate with heady abstraction and, of course, flatness, presented with curves, shadows, depth. Indeed, there is consistently a cartoon- like attitude in his take on abstraction - one that is purposefully irreverent and non-sensical. His composition and handling of the paint, however, is entirely controlled and deliberate. In the looped- line paintings for instance, whether it is the regular, woven thread of 'Little Screen' or the chaotic mass of 'Big Gold', these dense bodies have a sophisticated understanding of composition, colour and technique. His handling of the paint is very considered, quite classical, successfully counteracting the surreal playfulness of the images, which often recall improvised, gestural painting and furthering their sense of quotation and displacement.

Currently living and working in Amsterdam, Peter Schuyff was born in Baarn, Holland, in 1958. He moved to Vancouver as a child and lived for much of the 80's and 90's in New York, where he was associated with the Neo-Geo movement alongside painters such as Peter Halley and Philip Taafe, exhibiting with Pat Hearn Gallery and Leo Castelli Gallery, as well as in Los Angeles at the Gagosian Gallery. Recent exhibitions include Galerie Karl Pfefferle (Munchen), Studio d'Arte Rafaelli (Trento) and Nicole Klagsbrun (New York). His works are in such collections as The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, The Fisher Landau Center for Art, New York and the Saatchi collection .

Alongside painting, Schuyff performs and records music as The Woodwards.

GALERIE GABRIEL ROLT | Elandsgracht 34 | 1016 TW Amsterdam | The Netherlands Open: Wednesday to Saturday 12.00 - 18.00 hrs. Tel: +31 (0)20 785 5146 | gallery@gabrielrolt.com | www.gabrielrolt.com

November 15, 2009

Gwyneth Scally - The Rise of the Original Eden

Cella Gallery is excited to present a series of new paintings and a larger-than-life sized installation by American artist Gwyneth Scally.

Gwyneth Scally was born and raised in Washington, D.C. After receiving degrees in both Art and Literature, Scally moved to Arizona, where she received her MFA from the University of Arizona. Her work has been inspired by her time on various coastlines, and she has turned her attentions to issues of Global Warming, melting ice, and the rising oceans. Juxtaposing images of aquatic life and human subjects, Scally explores issues of displacement, nostalgia, and climatic longing, while suggesting deeper issues of an environmental order overturned. The jellyfish sculptures, tangled and transparent in the gallery space, evoke both beauty and disgust in the viewer. Delicate and strangely graceful, these creatures also suggest slimy tissues and a quiet sense of menace. Their gelatinous bodies remind us of our relationship with our own bodies, of the tangled emotions of beauty and disgust that are part of the human biological experience. It is not only our biological evolution from the oceans that Scally explores, but also the strange state in which the ocean is returning to claim us, its prodigal children. As ice melts and seas around the globe rise, we are witnessing displacement on a grand scale- the displacement of human populations, the displacement of aquatic creatures, and the displacement of the ocean itself, the amniotic fluid of humanity, as it breaches the shores of our rash world. Cella Gallery, 5229 Lankershim Blvd. North Hollywood, CA 91601 Exhibition Dates: November 21st - December 23rd, 2009 Scally's work has been described as "delicate and strangely graceful with a quiet sense of menace".
More from: Shannon Currie Holmes - info@cellagallery.com

About November 2009

This page contains all entries posted to QUE PASA in November 2009. They are listed from oldest to newest.

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