Paint School faculty for 2018-9 includes:
Doug Ashford, Matt Connors, Anoka Faruqee, Jennie C. Jones, Carrie Moyer, and Amy Sillman, with Cynthia Daignault
Doug Ashford is Associate Professor at The Cooper Union, where he has taught three-dimensional design, sculpture, public art, and theory seminars since 1989. He has also been a visiting critic at The Yale School of Art since 2012 and has lectured at many other institutes and schools internationally. Some of this work is collected in the publication Doug Ashford: Writings and Conversations, (Mousse Publishing, 2103), produced on the occasion of a survey exhibition of his work at the Grazer Kunstverein (AU).
As a member of the collective Group Material from 1982 to 1996, Ashford worked on the design of over 40 installations and public projects. The group's projects challenged the art exhibition form and proposed that audiences could be invited to imagine new democratic forms through the juxtaposition of artworks with larger cultural conditions, and invent new purposes for the museum. The group’s projects include “Subculture” (IRT subway trains of NYC, 1982), a replacement of overhead advertising space with individually produced artworks; “Democracy: Education” (Dia Art Foundation, NYC 1988) where the work of teacher and student groups, activists, and artists together responded to our schools, and “AIDS Timeline” (Berkeley Museum and Pacific Film Archive, 1991), an extensive research project meant to indict civil and governmental inaction facing that epidemic. All of the group’s work is collected in Show and Tell: A Chronicle of Group Material (Four Corners Press, 2010), edited by Ashford’s longtime collaborator, Julie Ault. In 2010 they donated the group’s collection of artifacts and documentation to the Fales Library and Special Collections of New York University, where it remains available to any researcher.
Over the years, Ashford’s interest in changing the anchoring conditions of making and showing art precipitated many collaborative works and contexts for teaching. Most notable is a yearlong collaboration with Creative Time that produced the book Who Cares (Creative Time Books, 2006). It is a book built from a series of conversations between Ashford and an assembly of other cultural practitioners on public expression, beauty, and ethics. In the planning of this publication, it became clear that the forming of the self often happens in the light of things not yet recognized, appearing as abstractions that seem to be at the core of democratic aspirations.
In 2010, Ashford’s focus on the artwork itself in mediating these subjects found a new public presentation in the form of small paintings. By juxtaposing citations of political action alongside, and into, abstract formal painting, Ashford has tried to decipher the regime of the experience built by history. This individual practice was sporadically produced for many years but sequestered initially from public view. Historical documentation incorporated into Ashford’s paintings hold multiplied narratives, and propose that forms and facts can remake one another in composition of a painting. His latest works relate similar fields of interest, to the mediums of digital printing and immersive video. His work has been commissioned for dOCUMENTA 13, Kassel (DE) 2012, The Henie Onstad Center, Norway (NO) 2013, the 11th Gwangju Biennale, (KR) 2016 and Haus der Kulturen der Welt, Berlin, (DE) 2017.
Matt Connors (born 1973) is a painter with a profound interest in structure and color, influenced by the history of abstraction as well as by design, poetry, language, and music. Form and its suggested function, as well as chance and play, create and confuse meaning as they similarly use color to conjure ineffable trajectories and formal narratives. Connor's work and the manner in which it is installed attempt to create embodied and at times theatrical instances of materialized thought.
Matt Connors studied at Bennington College and Yale University School of Art. His work has been exhibited in the United States and abroad, including MoMA PS1, The Museum of Modern Art, The Walker art Center, Kunsthalle Dusseldorf, Kunstmuseum Bonn, and Le Consortium, Dijon. His work is included in many collections, Including the Museum of Modern Art, The Solomon R. Guggenheim Museum, The Walker Art Center, The Hammer Museum, and The Dallas Museum of Art. He was the recipient of a Guggenheim Fellowship in 2012. Connors lives and works between New York City and Los Angeles.
Anoka Faruqee (born 1972, Ann Arbor, MI) earned her M.F.A. from the Tyler School of Art in 1997 and her B.A., Painting from Yale University in 1994. Faruqee is an alumna of the Whitney Independent Study Program, and residencies at the Skowhegan School of Art and the PS1 National Studio Program. Her grants include the Pollock Krasner Foundation and Artadia. Currently, Faruqee is director of graduate studies in painting/printmaking at Yale School of Art, and has previously held positions at the School of the Art Institute of Chicago and Cal Arts, where she was Co-Director of the Art Program. Faruqee’s work has been exhibited in the US and abroad at venues including: Secession, Vienna; MoMA/PS1, Queens, NY; Albright-Knox Gallery, Buffalo, NY; and Björkholmen Gallery, Stockholm, among others. Faruqee curated the major exhibition Search Versus Re-Search: Josef Albers, Artist and Educator, and directed a short film about Albers’ art and teaching, for the Yale School of Art 32 Edgewood Gallery. She is represented by Koenig & Clinton gallery in New York, and Hosfelt Gallery in San Francisco. Faruqee lives and works in New Haven, CT where she collaborates with her partner David Driscoll.
Jennie C. Jones was born in Cincinnati, Ohio, in 1968, and currently lives and in Hudson, New York. She attended Rutgers University’s Mason Gross School of the Arts where she received her Master of Fine Art degree in 1996. Prior to that she attended The School of the Art Institute of Chicago, receiving a Bachelor of Fine Art in 1991 with Fellowship. Among her numerous awards, Jones is 2016 recipient of the Robert Rauschenberg Award presented by the Foundation for Contemporary Art.
Jones’ work has been exhibited at major national and international art institutions including solo presentations at the Atlanta Contemporary Art Center (2009); Yerba Beuna Center for the Arts in San Francisco (2011); The Kitchen in New York (2011); and Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2013). Compilation, a ten-year survey exhibition of her work curated by Valerie Cassel Oliver, was on view at the Contemporary Arts Museum Houston, 2016. Her first monograph was published in 2017 by Gregory R. Miller with essays by Valerie Cassel Oliver, Hilton Als, and George E. Lewis. She is MFA faculty at Bard College and a Critic at Yale School of Art.
Carrie Moyer is an artist and writer known for her sumptuous paintings which explore and extend the legacy of American Abstraction, while paying homage to many of its groundbreaking female figures, among them Georgia O’Keeffe, Helen Frankenthaler, and Elizabeth Murray. In equal measure abstract and representational, Moyer’s work proposes a kaleidoscopic worldview that embraces the sensual as much the rational. Playful logo-like silhouettes — vessels, towers, portals, meteorological phenomena, plant life, animal and human forms — demarcate arched prosceniums or abstract fields of color. These flattened archetypes and cheeky reference points often perform as compositional rigging around which flow cascades of paint, glitter, and light. Whether invoking the natural or constructed world, inventive paint handling and succulent color seem to tempt all of the viewer’s senses, from sight to touch to taste (perhaps even sound!). The resulting spaces — lush and transporting — are uniquely Moyer’s own.
Between 1991-2008, Moyer and photographer Sue Schaffner collaborated as Dyke Action Machine!, a public art project that humorously dissected mainstream advertising through the insertion of lesbian imagery. Moyer’s writing has appeared in periodicals such as Art in America, Artforum, The Brooklyn Rail, and monographs on Louise Fishman and Nancy Grossman. She has received awards from the Guggenheim and Joan Mitchell Foundations, Anonymous Was a Woman, and Creative Capital among others. Moyer attended Pratt Institute (BFA), Milton Avery Graduate School of the Arts, Bard College (MFA), and the Skowhegan School of Art. She is of the Director of MFA Program in Studio Art at Hunter College. Moyer is represented by DC Moore Gallery in New York City.
“Stephen Mueller: Orchidaceous,” curated by Carrie Moyer with the assistance of chief curator Sarah Watson and Hunter MA/MFA students, will be on view at the Hunter College Art Gallery from September 14 to October 28, 2018. Built on the tenets of Color Field Painting, the luminous, highly decorative compositions of Stephen Mueller (1947-2011) anticipate many interests of contemporary painters. With over 40 works on display, “Stephen Mueller: Orchidaceous” is replete with exquisite craft, visual puns and sophisticated re-combinations of Asian iconography, cartoons, encyclopedic decorative traditions, and electric color. The 88-page exhibition catalog contains an essay by Moyer, Mueller’s own writing, as well as interviews with painters Robin Bruch, Joe Fyfe, Judy Hudson, Shirley Kaneda, Melissa Meyer, Carl Palazollo, Ellen Phelan, Pat Steir, and Billy Sullivan. Photograph of Carrie Moyer by Girl Ray.
Amy Sillman (born in 1955 in Detroit, MI) lives and works in New York City. Primarily a painter, but actively engaging with various side interests (such as animation, language, and printmaking), Sillman weaves together a formal and discursive language, one that both honors and questions painting's history and language. Ultimately what interests her the most is transformation and change. With a slow process of building and destroying, and with humor, defiance, and an archeological sensibility, she digs toward formal transformation and the not-[quite]-known. Her work has been widely shown and collected at private and public institutions in the US and Europe, including MoMA, The Whitney Museum, The Drawing Center, The Brooklyn Museum, LA MoCA, Portikus in Frankfurt, Lenbachhaus and the Brandhorst Museum in Munich, the Moderna Museet in Stockholm, and The Tate Modern, London. She has been the recipient of numerous awards and fellowships, including a Guggenheim Fellowship in 2001 and, most recently a 2014 residency fellowship at The American Academy in Rome. Sillman's traveling mid-career survey show and monograph one lump or two opened at the ICA Boston in 2013, curated by Helen Molesworth. This September, a large-scale show of her work entitled "Landline" will open at the Camden Arts Centre in London, on view until January 2019. Her work is also included this fall in a group show organized by Hayward Touring, called "Hand Drawn Action Packed," and a group show at Neu Galerie in Berlin curated by Isabelle Graw. A monograph with text by the curator and author Valerie Smith is planned for publication in early 2019 by Lund Humphries Publishers, London. Sillman received a B.F.A. from School of Visual Art, NY, in 1979 and an M.F.A. from Bard College in 1995. She is represented in New York by Gladstone Gallery, and currently holds a Professorship at the Staedelschule in Frankfurt, Germany.
Cynthia Daignault (Paint School '17-18), is a painter living and working in Baltimore, Maryland. Her works defy genres and use image, text, and abstraction to explore consciousness, perception, and time. She has presented solo exhibitions and projects at many major museums and galleries, including the Metropolitan Museum of Art, the Crystal Bridges Museum of American Art, MASS MoCA, the Modern Art Museum of Fort Worth, the Brooklyn Museum of Art, the FLAG Art Foundation, and White Columns. Her work is in numerous public collections, including the Metropolitan Museum of Art, the Blanton Museum of Art and the Baltimore Museum of Art. Daignault is a regularly published author, and Light Atlas is the first monograph on her work. Daignault is the former associate director of the Felix Gonzalez-Torres Foundation. She received a B.A. in Art and Art History from Stanford University, and is a 2019 recipient of a Pollock-Krasner foundation grant.