Melissa Meyer

January 7, 2019

Drawing with Paint – Painting Collage

 

melissa meyer 640 summer in the city i hyperallergic

Melissa Meyer, Summer in the City

 

Melissa Meyer is called a lyrical abstractionist. She paints free-floating, painterly ribbons of vibrant colors and shapes with oil paint thinned to the transparency of watercolor. She draws with paint.

I visited the exhibition Melissa Meyer: New Paintings (November 1-December 22, 2018) at Lennon, Weinberg Inc., 514 West 25 Street, N.Y. the week before it closed. The exhibition included large paintings, several smaller diptychs and one collage. This is Meyer’s fifth solo exhibition at Lennon, Weinberg, Inc. The paintings are bold and vibrant.

The image above, titled Summer in the City I, is oil on canvas (2018), 80 x 60 inches (image courtesy Lennon, Weinberg, Inc.).  It’s a grid with calligraphic glyphs drawn with a paintbrush with thinned oil paint in different colors. Notice there are patches of palest, almost transparent pink and yellow below the painted glyphs.

 

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Melissa Meyer, Draw the Line

The image above is titled Draw the Line (2015) oil on canvas, 72×96 inches (image courtesy Lennon, Weinstein, Inc.). Here, the background is a patchwork of warm and cool whites with a second layer of warm and cool blacks painted in a calligraphic design.

John Yau, who wrote a review for Hyperallergic, is a big fan, and has reviewed many of Meyer’s solo exhibitions at Lennon, Weinberg, Inc.  He said: “When Meyer started using oil paint that was closer in consistency to watercolor, she broke through into a territory that is now all her own.” See his review (November 25, 2018) at hyperallergic.com.

 

DIPTYCHS

 

melissa meyer 640 trellis too at hyperallergic

Melissa Meyer, Trellis Too

 

The image above is titled Trellis Too (2017), oil on canvas, 36×72 inches, diptych (image courtesy Lennon Weinberg, Inc.).

In his exhibition review (November 25, 2018), Yau said he counted at least three layers of marks compressed together in Trellis Too, saying the first layer is a patchwork of palest colors (durian yellow, cantaloupe orange and watery blue), the second layer includes glyph-like brushstrokes in different colors where the brush can be dry or full, the color can be saturated or faded, and one glyph often slides over another. The third layer is a drawing in black with a geometric web of tangled lines that hold the first two layers together. In his review, Yau writes he likes the way the painting asked him to pay attention to how the glyphs drift across the surface, as well as within the layers, how the paintings merge division and unity without favoring either because you notice similarities, changes and ruptures.

 

melissa meyer 640 rearrangement series 2 (2018) posit journal

Melissa Meyer, Rearrangement Series 2

 

I was lucky to have a conversation with Jill Weinberg Adams, the gallery director, and told her I am writing about women who do collage. She told me Meyer has a long-standing interest in collage and a unique collage esthetic. I was intrigued.

I saw two collages at the gallery – one was installed in the exhibition, and one was brought out from a closet. The first image (above) is titled Rearrangement Series 2 (2018), watercolor collage on paper, 15.75 x 12 inches (image courtesy of Lennon, Weinberg, Inc.) The second image (below) is titled Rearrangement Series 3 (2018), watercolor collage on paper (2018), 15.75 x 12 inches (image courtesy of Lennon, Weinberg, Inc.).

 

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Melissa Meyer, Rearrangement Series 3

 

Meyer makes a connection between her approach to painting and the collage process of cutting, pasting, and arranging elements, and says she isolates elements while building the whole painting, and wants viewers to experience each part of a painting as dynamically as they experience its entirety.

SKETCHBOOKS

 

melissa meyer 640 3 sketchbooks

Melissa Meyer, 3 Sketchbooks

The image above shows 3 sketchbooks with wide format, open double-page spreads on which Meyer added watercolors and transfer prints. I learned Meyer is often at residencies and, while there, creates “Residency Sketchbooks.”  The Metropolitan Museum of Art in New York reproduced one of Meyer’s sketchbooks.

At positjoiurnal.com I read Melisssa Meyer is very aware of the importance of collage in forming contemporary aesthetics, saying “As a method, collage encourages layering, shape-making and juxtaposition, all of which I apply to my work, from my paintings to multi-panel public works using expanded media (Photoshop).

View a carousel of more watercolor collages in the Rearrangement Series at positjournal.com.

 

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Melissa Meyer, magazine collage

 

I found the image above online. It’s dated 2016 and was included in a group exhibition in Spain.  Notice the cut paper collage on top where the paper shapes mimic the shapes of the calligraphic line.

FEMMAGE

 

melissa meyer 640 miriam schapiro

Miriam Schapiro, Miriam’s Life with Dolls

 

Picasso and Braque did not invent collage. Many women made collage before the men did – but the men got the credit.

In her mid-twenties, Meyer and fellow artist Miriam Schapiro co-authored an influential essay that linked the history of collage to traditional female hobbies like quilting and scrapbooking. They titled their essay “Waste Not Want Not: An Inquiry into What Women Saved and Assembled-FEMMAGE.” The essay was published in the magazine Heresies: Women’s Traditional Arts: The Politics of Aesthetics (Winter 1978).

Meyer said she was always interested in scrapbooks made primarily by women in the 18th century. She discovered a collage sensibility in quilts. She valued the works of mid -20thcentury abstractionists, including Lee Krasner, who reused paintings and works on paper and recycled them into her large collages on canvas.

See a facsimile of Femmage from the original Heresies publication at artcritical.com.

The image above is a collage by Miriam Schapiro, titled Miriam’s Life With Dolls (2006), fabric and collage on paper, 30×60 inches (image courtesy Flomenhaft Gallery, 547 W 27 Street, NY, NY). Schapiro (1923-2015) was a Canadian-born artist based in the U.S, an activist and pioneer of feminist art. Schapiro worked to resurrect the reputations of women artists who had been forgotten or dismissed by art historians. She was a painter, sculptor, printmaker, and a leader of the Pattern and Decoration art movement. Read more at the artstory.org.

 

Melissa Meyer, the Green Woman

The image above is titled The Green Woman, 1973, acrylic on paper with collage, 34 x 25 1/2 inches, published in Ms. Magazine (1973) and now in the permanent collection at the International Collage Center.

LARGE MURALS

Meyer received a commission to create two large murals for the Shiodome City Center in Tokyo, Japan (completed in 2003). One mural was forty feet high; the other was sixty feet long. She worked with computer technicians with Photoshop to create the macquettes for the murals, directing how image files were scanned, how glyph images were layered, how colors were made saturated or muted, and how her  painted calligraphic lines were made more or less transparent.

Meyer admitted the scale of the murals posed a unique challenge. She knew she  would have to radically enlarge the scale of her brushstrokes as she painted, and make each calligraphic shape more independent. She said the most basic challenge was to make the images work for viewers from all different vantage points. The commission got Meyer thinking about how her brushstrokes would move across the surface in the super-sized murals.

She said working with Photoshop renewed her engagement with collage and profoundly affected her sense of space and her attraction to the esthetic idea of radical discontinuity.

 

THE CHOREOGRAPHY OF BRUSHWORK

 

Melissa Meyer studio view

Melissa Meyer, studio view

 

The image above shows a view into Meyer’s studio with her paints, brushes and books. Meyer says “ when I’m painting, I work intuitively, physically, thinking about brushwork as a kind of choreography, a dance that happens in the wrists and arms as well as the whole body.

Meyer has exhibited in over forty solo shows, and has been included in group shows at the National Academy Museum and the Jewish Museum in New York.  In 1997, the Metropolitan Museum of Art in NY published a facsimile edition of her sketchbooks.

Meyer was awarded a Rome Prize from the American Academy in Rome and has received grants from the National Endowment for the Arts and the Pollock Krasner Foundation.  Meyer’s work is included in the collection of the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum, the Solomon R. Guggenheim Museum, the Jewish Museum and many other public and private collections across the United States.

Meyer has taught at the Rhode Island School of Design (RISD), the Art Institute of Chicago, and the School of Visual Arts in New York. She has completed public commissions in New York, Tokyo, and Shanghai, and currently has an eight by fourteen-foot ceramic mural in fabrication for the new U.S. embassy in Bishkek, Kyrgystan.

I am so pleased to write this post about an artist who has a collage esthetic and welcome your comments.

 

 

 

 

 

 

 

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An exhibition review and an interview with Carole Kunstadt

Nikkal, with her art at the 2018 ArtsWestchester Triennial

See me above. I have 6 collages installed on the 2nd (balcony) level at the ArtsWestchester Triennial exhibition in White Plains, NY (May 8-July 28, 2018).  I am one of 15 artists in the show. These works are part of my new Curvy Geometric series. Each work is mostly black and white and made with art magazine and painted papers. Some works include tiny wood strips, curved wire, and canvas.  Some include thin Washi papers layered over the painted papers to create transparency and texture. The sign on the wall to the left of the installation reads: My studio is filled with papers, glue, scissors and tools. I am a contemporary collage artist…exploring color relationships, layers, edges and connections within a gridded geometric format.

The Triennial exhibition includes a wide range of media from painting to photo collage, video, delicate sculpture made with human hair, sculpture in clay and terra cotta, ink on paper, installation and much more. The ArtsWestchester gallery is located at 31 Mamaroneck Avenue, White Plains, NY. Visit the exhibition (May 8-July 28, 2018) during gallery hours: Tue-Fri, 12-5 pm and Sat, 12-6 pm.

I interviewed Carole Kunstadt for this post. Like me, she is one of 15 artists in the Triennial exhibition. The image below was taken from the balcony at the opening reception and shows her installation titled PRESSING ON. What you see are antique irons covered in lace and text. Notice a visitor is reading wall text for the installation.

Balcony view of PRESSING ON installation at the Triennial

The wall text was written by Mara Mills, Deputy Director of the Hudson Valley Center for Contemporary Art in Peekskill, NY (HVCCA) and says: “Carole Kunstadt’s work is always unique and layered, literally and metaphorically. Her juxtaposition of materials, for her PRESSING ON SERIES combines artifact, word and fabric. The hardness of iron, the graciousness of lace, and the wisdom of words combine as a testament to women’s tenacious movement forward. PRESSING ON honors abolitionist/feminist Hannah More, and integrates history, memory, domesticity, and celebrates women’s political and public voice.”

 

Carole Kurstadt, PRESSING ON table installation

The image above shows 12 “sad” irons with lace and text similar to the 14 displayed on a pedestal at the Triennial. The image below shows 17 “sad” irons with lace, linen thread and other media on a shelf at the Triennial. Each iron in the installation is unique – small but powerful –  and I urge you see them all at the Triennial before it closes July 28th.

Carole Kurstadt, PRESSING ON shelf installation

Carole Kunstadt is a collagist, painter, book and fiber artist and her media are antique books, music manuscripts, ephemera and photo postcards. In her artist statement she says: “Through the exploration and manipulation of the antique materials, history, memory and time merge in a hybrid form. My devotion to books is inspired by the ability of the written word to take the reader to other places through stories, poems and prayers. My process reveals how language can become visual through re-interpretation.”

I asked Carole to tell me how she found the book that was the genesis for the PRESSING ON series. She said she was in a bookstore in Connecticut about 8 years ago, looking for an inexpensive antique book to utilize in her work. Carole cuts and pastes papers from books. She said she found a small book titled “An Estimate of the Religion of the Fashionable World by One of the Laity” (London, 1791). The book was published anonymously but, through researching the title, date and publisher, Carole discovered the book was attributed to Hannah More. Carole told me she found a more recent biography “Fierce Convictions – the Extraordinary Life of Hannah More, Poet, Reformer, Abolitionist,” by Karen Swallow Prior. She added: “… the more I read about Hannah More, the more inspired I became.”

Read about Hannah More (1745 – 1833) at Carole’s website. Hannah More was an abolitionist, poet, social reformer, philanthropist, feminist, writer and a member of the intellectual group “Bluestockings.” Hannah More is referred to as the “First Victorian”, bridging the 18th and 19th centuries…Hannah More’s life-long cause was galvanizing women to act not as domestic ornaments, but as thinking, engaged and responsible beings. She devoted herself to educating and helping the poor, and established over sixteen charitable schools.

I asked Carole to tell me about the irons. She said there’s a common element – scorched lace and text from book pages. She said most of the lace came to her through family. Her maternal grandfather worked in the garment district in NYC and used lace to embellish clothing. Some lace came from a dress her mother wore years later. There’s a delicate tatting lace that was made by her paternal grandmother and a piece of lace that was sewn to the border of a tablecloth from her husband’s paternal grandmother from Vienna. The use of personal fibers creates the connection.

Carole Kurstadt, PRESSING ON: Homage to Hannah More, No.5

The image nearby is titled PRESSING ON – Homage to Hannah More No. 5, 4x3x8 inches. This is an antique “sad” iron with scorched linen thread and paper, and pages from the book An Estimate of the Religion of the Fashionable World: By One of the Laity, London, 1791, Hannah More.

I asked Carole how she started the PRESSING ON series. She said the idea of combining the irons and the text and fibers came when she inherited an iron that had been in her mother’s house. She said it was not as old as the sad irons collected for the series, and added the first few sad irons did not incorporate scorching.

I asked Carole how long she has been involved with the PRESSING ON series. She said she started the series in September of 2017 and is continuing to develop it. She has over 70 works in the series and will have a solo show in December at the Woodstock Artists Association and Museum. All of the sad irons include some text from the book by Hannah More.

Fabulous PHOTO COLLAGE on the 1st floor at the Triennial

Gary Burnley, photo collage

I recommend viewing the 6 photo collages by Gary Burnley on the 1stfloor at the Triennial before the exhibition closes. The top left image is titled QUEENS OF YESTERYEAR #10. The other 5 works are titled FACING HISTORY #7, #10, #15, #18 and #19. The image you see shows my collage students Anne and Paulette in front of Burnley’s works. Burnley’s artist statement says he is conflating and contrasting the ideals, manners and purposes of recognized portraits from art history with images seemingly produced for contradictory purposes with historic photos and pictures from African American school yearbooks and/or photographs from family albums. Burnley says his works create unions that are strange bedfellows –transient confederates. He says what the viewer sees is influenced by the social, class and racial background of them as onlooker. Try to see his images before the Triennial closes July 28th. If you cannot visit the exhibition, see Burnley’s works online here.

Art on the Balcony at the Triennial

Michael Barraco, THE WORD, neon, 2015

You can see a neon installation titled THE WORD by Michael Barraco as you look up to the balcony from the 1st floor. I think this neon work may be more than 20 feet long. It’s all lower case letters that start bababadalghara….

Michael Barraco, BIRD SONGS: An Archive of Love and Loss, 2016

The image above, also by Michael Barraco, is titled BIRD SONGS: AN ARCHIVE OF LOVE AND LOSS. It’s a customized jukebox with 100 photographs, 100 CDs and preserved bird specimens.

Steven Lam, Director and Associate Professor, SUNY Purchase School of Art and Design wrote: “Michael Barraco’s works bridge humor with a biting critique on the ruins and pitfalls of modernity. His work titled BIRD SONGS: AN ARCHIVE OF LOVE AND LOSS includes bird songs and a photo album of birds that fell victim to building collisions. The work mixes melancholy, memory and poetry – a timely work for a chaotic moment.”

Michael Brown, IN THE MEANTIME, stainless steel

The image above shows Sarah and Jane, two students in my collage class at the Pelham Art Center who are standing in front of two of 4 large works made of hand-made stainless steel by Michael Brown. The installation is titled IN THE MEANTIME…III, VI, VII and IX. I took the photo and you see Sarah and Jane reflected in the pattern created by the stainless steel. Also reflected, you see an installation with abstract mixed media paintings by Karlos Carcamo on the opposite wall.

Barry Mason, oil on shaped canvas

The image above shows an installation (one of two) by Barry Mason, with oil on shaped canvas titled SAY IT LOUD, BETWEEN THE WORLD. It’s on a wall near my 6 collages on the balcony at the Triennial. There’s a sign near his installation which reads: “My art and rearrangements can be poetic or brutal; seductive or stark, but all of it is influenced by the callings of my heritage rooted in the African American experience where the djembe drum is alive and there is the sound of gospel – where I receive echoes from my past which “inform” my soul. Read about Barry’s photography and paintings and see his work here.

The Triennial: A snapshot of what’s now and what’s new in contemporary art

The Triennial will become a regular part of the ArtsWestchester exhibition programming. This 1st exhibition coincides with the 20thanniversary celebration of ArtsWestchester at it’s White Plains location. They say the Triennial showcases the vanguard of the region’s arts community and offers a snapshot of what’s now and what’s new in contemporary visual art. Read more here.

There are always people to thank for such an impressive show, including the two curators: Marc Straus, Marc Straus Gallery, NYC  and Paola Morsiani, Brodsky Center, Rutgers University, New Brunswick, NJ.

Special thanks to Janet Langham, CEO, ArtsWestchester and the gallery staff, Kathleen Reckling, Gallery Director, Logan Hanley, Gallery Manager and Kimberly McKoy, Programs Associate.

Your comments are welcome. Try to visit before the exhibition closes July 28th, and let me know what you think. Thank you for reading and thank you for your comments.

The Collage Experience at the Barrett Art Center in Poughkeepsie, NY

I belong to an artist’s collective called the Power of 13. We are 13 mid-career artists who meet informally once a month or every 6 weeks to chat and catch up on what we’re doing in the arts. We are painters (contemporary and traditional), printmakers, a fine art photographer, mixed media artists, and sculptors. We network, share tips, critique works in progress, and look for exciting places to see contemporary art and show our works as a group. We have a lot to share – and that is what is so exciting about being part of the group.

I’m a contemporary collage artist and tend to see everything in terms of collage and installation.

 

Nikkal, Curvy Geo Stretch

The image nearby is a new collage I created titled Curvy Geo Stretch. It’s done with black and white painted papers and is framed and 14×14 inches. I call it Stretch because of the light black shapes that shift to the left – or to the right, depending on the way you want to see it.  My collage is hanging above a 5-foot wide marble fireplace in the 1st gallery at the Barrett Art Center. Sitting nearby on the mantle is a classical 26 inch high bronze sculpture of a violin. On 2 adjacent walls are various paintings and  collages. The installation is a fascinating juxtaposition of old and new – art and architecture – and the mix of works by 6 members in the group. There are 64 works by 13 artists in the exhibition, including paintings, collage, mixed media, sculpture, photography, printmaking and drawing. We are so pleased to have the opportunity to show works by the Power of 13 Collective at the Barrett Art Center.

Penny Dell curated and organized this show. I helped Penny install everything. It took us more than 2 days. All the individual works show well together, and the collective spirit is strong.

 

The opening reception was April 22. If you are in Dutchess County on Saturday, May 20th, please come to the closing reception at 55 Noxon Street, Poughkeepsie, from 2-4 pm. Read about the Barrett Art Center: http://www.barrettartcenter.org

 

Edna Dagan sculpture

 

The 2nd image at left is a close up view of Edna Dagan’s sculpture with my grid collages in the background. Both are installed in the front gallery at the Barrett Art Center. In Edna’s sculpture, you see a cherub and part of a violin. This work is about 26 inches tall. Edna has 4 sculptures in the exhibition, and all are about music with a violin done in cast metal. My 2 collages are painted papers on paper. Framed sizes are 32×28 inches. I especially like the close up photo of the sculpture juxtaposed with the slightly out of focus view of my grid collages.

 

 

 

 

 

The Barrett Art Center

The image nearby shows the Barrett Art Center. Image is courtesy of their website. The building is narrow and long with 2 galleries, meeting room, office and kitchen on the 1st floor, and more galleries and classroom spaces on upper floors. The building is named for Thomas W. Barrett, Jr. who was born in Poughkeepsie, NY on 9/12/1902 and was an artist interested in the social and the societal value of art. He formed the Dutchess County Art Association, mounting exhibitions for local artists, giving them a means of showing and selling their work during the Depression era. He studied art at the Museum of Fine Arts, Boston and worked as an artist in NYC. He returned to Poughkeepsie in 1929, and moved back into the current Barrett House where he was born.

 

2nd gallery view

In the image at left, I’m standing in the doorway in the 2nd gallery space with a view of the hallway behind me. Penny took the photo the day we installed the art. Notice that the space is relatively small and there’s a lot of art to see. It doesn’t seem crowded because the ceilings are high – and that makes you feel you’re in a larger space. In this photo, you see 5 small mixed media works by Alice Harrison hung vertically on the left. On the short wall to the left of the doorway is a mixed media painting in pink and green acrylic by Ruth Bauer Neustadter. Above the painting are several wall-mounted wire and hand-made paper sculptures by Penny Dell that skip across the wall left to right above and across the ornate doorframe behind me. Penny’s wire sculptures are light and etherial, yet fill the space and create a special kind of energy. They’re white on a white wall, but cast shadows and draw your eye upward. Notice the top wood blocks on the doorframe with carved acanthus leaves. Notice, on the right – a funky green mixed media sculpture by Susan Lisbin perched on a white wood pedestal and, on the back wall are 3 more works by Susan, including a color-field skinny abstract in green painted on found sheet metal. Once again, you see the juxtaposition of contemporary art, greens and reds, blacks and whites with vintage architecture.

 

Penny Dell wrote:

…Seeing the show allows viewers an opportunity to puzzle out connections between works and artists who through the years have continued to meet regularly. Read more of Penny’s comments about the collective and the exhibition here:

 

Hallway installation

 

 

The image at left shows me in the front hallway at the Barrett Art Center (photo by Penny Dell). I’m standing below and she’s standing at the top of the stairs – looking down at me. The image shows the art installed on both sides of the narrow hallway. Notice the antique floors – wide plank old wood – and, in the top left portion of the photo you can see the decorative carved wood trim on the 2nd floor landing. I’m a big fan of the details you find in older homes. This one was build in 1842. We were told to hang art on the staircase wall because there would be a constant flow of traffic up the stairs to a second floor gallery and classroom studios. It was a challenge to get the last pieces hung so high up the staircase, but all the works hang well together in the hallway and add another dimension to the exhibition.

 

 

Crowded hallway at the reception for Power of 13

 

 

Here’s another image of the hallway installation, taken during the April 22nd opening reception. Notice the beautiful Victorian light fixture (in addition to the track lighting), and notice the high ceiling in relation to the people. The woman standing on the left is over 5’10” tall.

 

 

 

 

Photography by Pauline Chernichaw

 

Here is a view showing contemporary photography by Pauline Chernichaw in the 1st room gallery with a view to the front hallway exhibition beyond. I think the black and white photos show really well on either side of the doorway. Do you agree? I love the contrast of the horizontal format of the photos – sleek and contemporary – with the vertical door opening and with the color of the woodwork and ornate trim on it. In this photo, the paint trim color looks oyster grey and picks up on the grey tones in Pauline’s photos. However, in hanging these works, I was more concerned with contrasting horizontals and verticals.

 

 

Susan Sinek and her painting

 

 

The image nearby shows Susan Sinek and her figure painting in the 2nd room gallery. If you could see the works on the wall Susan is facing, you would see her prints and figure drawings.

 

I hope you can visit the exhibition and see all the works.

 

 

 

 

About the Power of an Art Collective

The Power of 13 collective has been meeting for years in each other’s homes and studios. Many artist groups (collectives) are larger than we are. Some are smaller. We started the group with 9 (and called ourselves the Power of 9) and then added more members, so changed our name in steps to the Power of 13. We think 13 members is about as big as we want to be.

We are like almost all artist groups in that we are organized to share tips, critique art works and network information. Some groups limit members to a professional category, typically architects, graphic designers, painters or printmakers. We prefer to be informal and friendly. We like the idea of sharing information across media boundaries. We are serious artists. We always share great food and conversation.

We thank Penny Dell for contacting the Barrett Art Center and organizing our group exhibition. Read more about Thomas W. Barrett here:

 

FINAL THOUGHTS

Do you want to meet other artists? Do you want to be part of an artist’s group? If you do, I recommend you check out local art centers, colleges and universities. Go to art receptions. Attend public meetings with artists who speak about their work. If possible, take a class to meet other artists. Ask people how to join a group. Many Chambers of Commerce and arts councils list arts associations. Check out artists’ groups online.

I hope you think the history of the Barrett Art Center is interesting. The Power of 13 collective thanks the Center for this opportunity to exhibit in a unique and beautiful space.

Please write and tell me how you are engaged with the arts. Email me if you want suggestions for how to form an artist’s collective. Thank you for your comments.

Nancy