 |
 | This article possibly contains original research .(November 2013) |
Grace Graupe-Pillard is an American artist from New York City, United States. She was known for her feminist stance during the 1970s. Later her paintings dealt with wider political issues, such as the Iraq War.
Grace Graupe was born in Washington Heights, New York City, the daughter of Else Graupe, a Dressmaker/Designer and Gerhard Graupe, an Architect who was lead architect for Herman Jessor and Co. building middle-income housing in NYC such as Penn South, Co-op City, Van Cortlandt Park /Amalgamated, Rochdale Village, Seward Park Housing, etc. Both greatly influenced her work. [1] She was also influenced by individuality, or a lack thereof, due to having a twin sister Florence and believed people should look past appearances. [2] She attended the High School of Music and Art and the City College of New York where she earned her bachelor's degree in history and political science. She briefly went on to CUNY Graduate Center in Russian Area Studies which she abandoned to go back to art school studying drawing with Marshal Glasier at the Art Students League in Manhattan where she received a George Bridgman Scholarship juried by Philip Guston.
Graupe-Pillard is a painter, public artist, educator and makes videos, having exhibited artwork in many venues including Cheim & Read Gallery, New York City, Carl Hammer Gallery, Chicago, The Proposition, New York City, Hal Bromm Gallery, New York City, Rupert Ravens Contemporary and Aljira-A Center For Contemporary Art in Newark, New Jersey, etc. She has participated in group exhibitions at The Noyes Museum, P.S. 1, Bass Museum, Indianapolis Museum, The Maier Museum, The Aldrich Museum, The Drawing Center, The Hunterdon Museum, The Frist Center, and The National Academy Museum. Her photos and videos have been presented at Lars von Trier’s Gesamt, Warsaw Jewish Film Festival, Scope Miami, Scope London, Art Chicago, Art Fem. TV, Cologne OFF, Found Footage & SHOAH, etc.
Upon returning to New Jersey in 1974 after living in New Mexico for six years where she met and married Stephen Pillard, she joined the feminist movement and began painting men and women who were not typically seen as "attractive," and not fitting into the art historical canon of the "nude," i.e.: focusing on women with stretch marks. [1] Throughout the 70's, 80's and 90's Grace Graupe-Pillard drew nude figures not of models but of neighbors, friends, and other everyday people. Her subjects were often middle-aged with middle-aged physiques, and her renditions of them were not primarily meant to be sensual or sexually appealing. [3] Graupe-Pillard said, “My work since 1975 has dealt with feminist issues beginning with paintings of large frontal nudes of men and women of various ages who did not “fit into” the dictates of the “gaze” of the male-dominated art history/museum network”. [4]
From 1984 to 1994 Graupe-Pillard worked with a traditional medium in a non-traditional way creating large pastel/cutout-canvas installations. She found that pastels, which have often been thought of as a woman's tool to be used for woman's “delicate” subjects, was the perfect medium for her to document the often difficult “art of survival” in NYC. She also found that there was an immediacy and directness to using pastels that mimics the speed and excitement of the urban environment with its contradictory elements of squalor and glamour. Graupe-Pillard worked on large pastel drawings of everyday people, including break dancers, pedestrians, and the homeless, [5] to make them appear mythic and heroic. Graupe-Pillard also used these portraits to comment on social issues such as mortality, as seen in the piece Balance/Woman (1989), where the elderly are slowly decaying as younger generations defy the pull of the world. [6] According to Graupe-Pillard, “Power and the abuse of power- such as the conflicts between men and women both on a personal and political level- are ever-present in my consciousness and my artwork.” [7] Contemporary life was chronicled through the creation of large cut-out pieces which were installed on one or more walls. The individuals portrayed in these murals feature diverse juxtapositions of age, sex, class, race, and vocation to produce a "human theater of types, gestures and emotions". (Michael Brenson, The New York Times 3/29/85.) Graupe-Pillard said that she wished to make those people that are quite often “invisible” permanently “visible”. Architectural elements, and fragmented images of American life and culture were also included. Shifts in place and scale, different rhythms, and a richness of color and form produced a sense of the surroundings. The synthesis of figures, portraits, and silhouettes made a statement of how private thoughts and public postures interplay in the metropolis. In the early 1990s she worked on her Silhouette Series employing a wider range of imagery, using silhouettes to serve as a contour framing device for more personal and poetic concepts.
From 1990 to 1993 Graupe-Pillard created Nowhere To Go - One Family's Experience that dealt with the destructive effects of power in a series which was exhibited at The NJ State Museum and at Rider University, NJ entitled: The Holocaust: Massacre of Innocents. This series consists of large canvases that depict figures of Jewish prisoners that reflect on the experience of her father and paternal grandparents during the Holocaust in Nazi Germany and is a recurring theme in her work. [2] She grew up with the knowledge of her father's pain, which resulted from his inability to save seventy family members during the war. She uses symbolism to comment on the events: rabbits for the medical experimentation, mass genocide, and sweeping speed with which the war grew. She also drew the figures to reflect the propaganda of anti-Semitism during the Holocaust, with hooked noses and pickpocketing hands. Also found in her work are images of gas masks, chain link fences, swastikas, and photos of her grandparents who died there. Graupe-Pillard chose the softness of pastels to create this series, and noted that it was not a medium generally used to depict the harshness of war. Despite her multiple war series, Graupe-Pillard has remarked, “I don’t think art can make a difference. Otto Dix painted the disasters of war, but very few people know of him or have seen his paintings because he’s not a rock star or a media star.” [1] http://www.chgs.umn.edu/museum/responses/graupePillard/
Another series entitled MANIPULATION/DISPLACED PAINTINGS 2002–2017 was influenced by 9-11 and the onset of the Iraq war. In a world where terrorism, ethnic cleansing, and cultural upheaval have dominated the news headlines, these paintings focus on the devastating effect of war and its impact on the civilian population. Entitled DISPLACED, this series correlates the displacement of civilians in war-torn countries with a visual disintegration of form, evident in both the creative process and in the final painted product. In each painting, the chaos of cultural disintegration is symbolized by the fragmentation of the picture plane. With repeated editing and” filtering” in computer programs reiterating the filtering of information, she appropriates images from journalistic sources, “blowing apart the reality” of the photograph so that the final result is distilled and disintegrated from its original context, and reduced into unpredictably flatly colored eccentric shapes further emphasizing the fragmentation of form and removal from its original source.
Graupe-Pillard's archival pigment print war series Interventions began in 2003 and focused on overseas wars. Interventions was a union of her mediums of choice, photography and painting, and an advanced use of color manipulation. The collages show a decline of cultural sanctity and suffering due to war. To create Interventions, she used high resolution photos of familiar locations in major cities, including New York City, Baltimore, Newark, and Chicago, and digitally overlaid them with collaged depictions of war, such as car bombings, destroyed buildings, refugees, and soldiers. She used this combination to provoke the idea of war in one's own backyard for viewers. [8]
Keyhole Series - 1995–2000.
This body of work deals with photographs collaged directly onto the canvas; the images in these large paintings are scavenged from a vast stockpile of art history books and magazines. They consist of photo reproductions that have already been cropped and altered which are then scanned into the computer and re-cropped and re-altered changing scale and context. Using a simple formal structure - a keyhole and a silhouette, placing appropriated forms within those parameters, Graupe-Pillard creates a dialogue between the physicality of the collaged photo and the illusionism of the painting. As the title implies, the KEYHOLE SERIES is a voyeuristic peek into the many physical and psychological upheavals that occur as we mature and undergo life experiences. [9]
In 2007 Graupe-Pillard also created a series entitled Stop Stealing My Face, [10] a collaboration of reprinted hand-drawn pictures that carry the viewer through the final month of her mother's life in hospice. The photos are from a bedside viewpoint and are reprinted, which prevents viewers from having access to the original documents which shared the same space as her mother's final breaths, a symbolic way of Graupe-Pillard maintaining an intimacy with her mother that the public cannot touch. [8]
Grace Delving Into Art is a photographic series that began in 2012 featuring herself nude, interacting with public art, raising issues of body-image in mature women, performance and voyeurism contributing to a contemporary dialogue on feminism and the artist's body and the merging of the public and private realms. [11]
Grace Graupe-Pillard has received public art commissions from Shearson Lehman American Express, AT&T, Peat Marwick, Wonder Woman Wall at The Port Authority Bus Terminal in New York City, Robert Wood Johnson University Hospital, New Brunswick, New Jersey, and "Celebrating Orange". commissioned for the City of Orange, New Jersey. Public art projects also include commissions from NJ Transit for their new Hudson Bergen Light Rail Transit System at Garfield Station in Jersey City, and 2nd Street Station in Hoboken installed in 2004, as well as an artwork for New Jersey Transit's Aberdeen-Matawan Station in Aberdeen, NJ. In 1995 she was chosen to serve on New Jersey Transit's Transit Arts Committee developing a “Master Plan” that set forth guidelines and approaches for the inclusion of art in their new Hudson-Bergen Light Rail Transit System. She also served as one of the Design Team Leaders for 3 of the stations. In 1998 Ms. Graupe-Pillard was asked to be on the Design team for the planning of artwork to be placed in the Hoboken 2nd St. Station. [12] 2nd Street (HBLR station)
Graupe-Pillard later became an art educator, a career that spanned over forty years working for Monmouth County Parks System (1975–2016) and also directed The Abby Mural Fellowship Workshop at The National Academy Museum and Art School (2003–2010).
Lenore "Lee" Krasner was an American painter and visual artist active primarily in New York whose work has been associated with the Abstract Expressionist movement. She received her early academic training at the Women's Art School of Cooper Union, and the National Academy of Design from 1928 to 1932. Krasner's exposure to Post-Impressionism at the newly opened Museum of Modern Art in 1929 led to a sustained interest in modern art. In 1937, she enrolled in classes taught by Hans Hofmann, which led her to integrate influences of Cubism into her paintings. During the Great Depression, Krasner joined the Works Progress Administration's Federal Art Project, transitioning to war propaganda artworks during the War Services era.
2nd Street station is a station on the Hudson–Bergen Light Rail (HBLR) located west of Marshall Street near the foot of Paterson Plank Road in Hoboken, New Jersey. There are two tracks and two side platforms.
Wangechi Mutu is a Kenyan American visual artist, known primarily for her painting, sculpture, film, and performance work. Born in Kenya, Mutu now splits her time between her studio there in Nairobi and her studio in Brooklyn, New York, where she has lived and worked for over 20 years. Mutu's work has directed the female body as subject through collage painting, immersive installation, and live and video performance while exploring questions of self-image, gender constructs, cultural trauma, and environmental destruction and notions of beauty and power.
The Montclair Art Museum (MAM) is located in Montclair in Essex County, New Jersey and holds a collection of over 12,000 objects showcasing American and Native North American art. Through its public programs, art classes, and exhibitions, MAM strives to create experiences that inspire, challenge, and foster community to shape our shared future.
Yvonne Helene Jacquette was an American painter, printmaker, and educator. She was known in particular for her depictions of aerial landscapes, especially her low-altitude and oblique aerial views of cities or towns, often painted using a distinctive, pointillistic technique. Through her marriage with Rudy Burckhardt, she was a member of the Burckhardt family by marriage. Her son is Tom Burckhardt.
Anne Ryan (1889–1954) was an American Abstract Expressionist artist associated with the New York School. Her first contact with the New York City avant-garde came in 1941 when she joined the Atelier 17, a famous printmaking workshop that the British artist Stanley William Hayter had established in Paris in the 1930s and then brought to New York when France fell to the Nazis. The great turning point in Ryan's development occurred after the war, in 1948. She was 57 years old when she saw the collages of Kurt Schwitters at the Rose Fried Gallery, in New York City, in 1948. She right away dedicated herself to this newly discovered medium. Since Anne Ryan was a poet, according to Deborah Solomon, in Kurt Schwitters's collages “she recognized the visual equivalent of her sonnets – discrete images packed together in an extremely compressed space.” When six years later Ryan died, her work in this medium numbered over 400 pieces.
Judith Henry is a New York-based artist that creates multimedia art works exploring interior versus public self. Henry often uses newspapers, telephone books, and film reels. She also uses snapshot photography. After graduating from college, she moved to New York and married artist Jaime Davidovich, with whom she has two daughters. She currently lives in Williamsburg, Brooklyn.
Honoré Desmond Sharrer was an American artist. She first received public acclaim in 1950 for her painting Tribute to the American Working People, a five-image polyptych conceived in the form of a Renaissance altarpiece, except that its central figure is a factory worker and not a saint. Flanking this central figure are smaller scenes of ordinary people—at a picnic, in a parlor, on a farm and in the schoolroom. Meticulously painted in oil on composition board in a style and color palette reminiscent of the Flemish Masters, the finished work is more than six feet long and three feet high and took her five years to complete. It was the subject of a 2007 retrospective at the Smithsonian Institution and is part of the permanent collection of the Smithsonian American Art Museum.
May Wilson was an American artist and figure in the 1960s to 1990s New York City avant-garde art world. A pioneer of the feminist and mail art movement, she is best known for her Surrealist junk assemblages and her "Ridiculous Portrait" photocollages.
Tania was a Polish-born Jewish American abstract painter, sculptor, collage artist and painter of city walls.
Emmy Lichtwitz Krasso was an Austrian-American artist. Her artwork ranged from the Old Master style to Expressionism.
Hedy Klineman is a German-born American painter living in New York City. She has been painting for over 40 years and is known for portraits of New York celebrities and colorful works based on Asian Buddha's and deities created with silkscreen on canvas done in a manner influenced by her friend Andy Warhol. Her paintings have been shown at Tibet House US, Patterson Museum of Contemporary Art and The New England Museum of Contemporary Art.
After the Bath, Woman Drying Herself is a pastel drawing by Edgar Degas, made between 1890 and 1895. Since 1959, it has been in the collection of the National Gallery, London. This work is one in a series of pastels and oils that Degas created depicting female nudes. Originally, Degas exhibited his works at Impressionist exhibitions in Paris, where he gained a loyal following.
Jenny Lynn, is an American photographer. She works and lives in Philadelphia, Pennsylvania.
Cicely Cottingham is an American artist who lives and works in West Orange, New Jersey. She has received numerous awards for her paintings and works on paper and is represented in several public collections. Cottingham is a cofounder (1991) of Aljira Design, a design studio and revenue stream through 2009 for the nonprofit art center Aljira, a Center for Contemporary Art in Newark, NJ.
Carole Marie Byard was an American visual artist, illustrator, and photographer. She was an award-winning illustrator of children's books, and the recipient of a Caldecott Honor, as well as multiple Coretta Scott King Awards.
Robin Tewes is a Queens-born, New York City-based artist, known since the early 1980s for her representational paintings of frozen, narrative-like moments. She has shown her work in numerous solo exhibitions in New York City, as well as nationally and internationally, and exhibited at venues including P.S. 1, the Museum of Modern Art, the Whitney Museum, The Drawing Center, and the Central Academy of Fine Arts (Beijing), among many. Her work has been widely discussed in publications including Artforum, Art in America, ARTnews, Tema Celeste, the New York Times, the Los Angeles Times, and the Village Voice. Tewes was a founding member of the P.S. 122 Painting Association. She has been recognized with a Pollock-Krasner Foundation Fellowship (2015) and Painting Award (2008), an Adolph and Esther Gottlieb Foundation Award (2007), and inclusion in the Smithsonian Archives of American Art in 2016.
Woman in a Tub is one of a suite of pastels on paper created by the French painter Edgar Degas in the 1880s and is in the collection of the Hill-Stead Museum in Connecticut. The suite of pastels all featured nude women "bathing, washing, drying, wiping themselves, combing their hair or having it combed" and were created in readiness for the sixth and final Impressionist Exhibition of 1886.
Serena Bocchino is an American contemporary abstract artist working primarily in the realm of painting. Her highly expressionistic style shows a variety of influences from Abstract Expressionism and dance, to Fluxus and jazz music. Like her varied influences, her process is highly improvisational yet technically informed – consisting of language created through an intermingled vocabulary of color, media and technique.
The Untitled Space gallery is an art gallery in the Tribeca neighborhood of New York City founded by curator, photographer, magazine editor, and multidisciplinary artist Indira Cesarine in 2015. It exhibits the work of contemporary artists working in media including painting, sculpture, photography, video, printmaking, mixed media, and performance art.
| International | |
|---|---|
| National | |
| Artists | |
