Painters Talking: What We Talk About When We Talk About Abstraction

On June 2, 1875, a group of art students had the radical idea to create their own art school—one designed for and run byindependent artists.These students broke away from theNational Academy of Design and started the Art Students League of New York—an atelier-style institution whereanyone with an interest in art education can learn traditional fine art technique.Withmore than 100 classes taught in-studio and online, League students make art from day one. League artistslearn by doing, under the guidance of professional artist instructors. Free from a set curriculum and restrictive grading system, League students can focus on making art.There are no applications or prerequisites. Course registration is by the month, and tuition isamong the most affordable in New York City.Visitthe League's websiteand start making art today!

The Art Students League of New York

This panel discussion brings together artists who have both studio and pedagogical practices to discuss abstraction and its teaching today.

The Phyllis Harriman Mason Gallery

This panel discussion will bring together artists who have both studio and pedagogical practices to discuss abstraction and its teaching today. Participants include League instructor Jill Nathanson and James Little, Carl E. Hazlewood, Harriet Korman, and John Mendelsohn. Moderated by Mario Naves. Jill Nathanson is an abstract painter working with a focus on color, exploring dynamic color relations and energies in her paintings. She is keenly interested in the visual and affective range of abstract painting. Her paintings are made by pouring translucent acrylic polymers on panel. Nathanson's atelier at the Art Students League is "Abstract Painting: Past, Future, Personal". Her work is represented by Berry Campbell Gallery, New York, where her next solo show will open in late June 2024. Public collections include the Museum of Fine Arts, Houston, TX; The Telfair Museum, Savannah, GA; the Sheldon Museum, Lincoln, NE; and the Columbia Museum of Art, Columbia SC. She holds a BA from Bennington College and an MFA from Hunter College. James Little holds a BFA from the Memphis Academy of Art and an MFA from Syracuse University. He is a 2009 recipient of the Joan Mitchell Foundation Award for Painting. In addition to being featured prominently in the 2022 Whitney Biennial at the Whitney Museum of American Art in New York, NY, his work has been exhibited extensively in solo and group exhibitions around the world, including at MoMA P.S.1, New York, NY; Crystal Bridges Museum of American Art, Bentonville, AR; Studio Museum in Harlem, New York, NY; St. Louis Art Museum, St. Louis, MO; and the Smithsonian Institute, Washington, DC. His work has been included in The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse at Virginia Museum of Fine Arts, Richmond, VA, curated by Valerie Cassel Oliver and traveling to Crystal Bridges Museum of American Art, Bentonville, AR, with catalogue forthcoming. Recent solo exhibitions include Homecoming: Bittersweet, at Dixon Gallery &amp; Gardens: Art Museum, Memphis, TN, with an accompanying catalogue, and an upcoming exhibition at Kavi Gupta, Chicago, IL, in November 2022. In 2022, Little will also participate in a historic collaboration for Duke Ellington’s conceptual Sacred Concerts series at the Lincoln Center, New York, NY, with the New York Choral Society at the New School for Social Research and the Schomburg Center in New York, NY. His paintings are represented in the collections of numerous public and private collections, including the Virginia Museum of Fine Art, Richmond; Studio Museum in Harlem, New York; The Menil Collection in Houston; Library of Congress, Washington, DC; Maatschappij Arti Et Amicitiae, Amsterdam, Holland; Saint Louis Art Museum, Saint Louis; Everson Museum of Art, Syracuse; New Jersey State Museum, Trenton; Tennessee State Museum, Nashville; Arkansas Arts Center, Little Rock; Newark Museum, Newark; and the Whitney Museum of American Art, New York, NY. Carl E. Hazlewood was born in Guyana, South America. His BFA (with honors) is from Pratt Institute and his MA from Hunter College. A visual artist, curator, and writer, he co-founded Aljira, a Center for Contemporary Art in Newark, NJ (1983-2018). Fellowships and residencies include the 2023-24 Sharpe-Walentas residency, two MacDowell Fellowships; The Brown Foundation Fellows Program at the Dora Maar House, Ménerbes, France; The Bogliasco Foundation, Genoa, Italy; The Virginia Center for the Creative Arts, Headlands Center for the Arts, Yaddo, and Art Cake Residency, NYC. A Tree of Life’ award grantee in 2017, his fifty-two feet mural, ‘TRAVELER’, was commissioned, also 2017, by the Knockdown Center, Queens. His most recent solo projects were with the Dia Art Foundation, Chelsea (2023); the Charlotte &amp; Philip Hanes Art Gallery - Wake Forest University (2023); and the Welancora Gallery at ART BASEL MIAMI BEACH, (2022). He has exhibited at Volta, and Scope Art Fairs, and was written about for the New Yorker Magazine, BOMB Magazine, the NY Times, the Huffington Post, among others Harriet Korman, born in 1947, works and resides in New York City. Her work can be described as a simple geometric approach to the picture plane, searching for an understanding of the resonant and multifaceted qualities of the flat surface. She attended Queens College of the City University of New York, and was a full scholarship student at The Skowhegan School of Painting and Sculpture in 1968. Her paintings and drawings have been exhibited since 1970 in the United States and Europe, in such venues as the Guggenheim Museum NYC, The Whitney Museum NYC, P.S.1 MoMA, the Willard Gallery NYC, Galerie Ricke Cologne, Lennon Weinberg Gallery NYC, and the Thomas Erben Gallery NYC. Numerous grants and awards have been from the John Simon Guggenheim Memorial Foundation, The Pollock-Krasner Foundation, and the National Endowment for the Arts. Public collections include the Guggenheim Museum NYC, The Weatherspoon Art Museum, Greensboro, The Blanton Museum of Art Austin, and The Kienzle Art Foundation, Berlin. John Mendelsohn has shown his paintings in solo and two-person exhibitions at Artists Space, New York; 57W57 Arts, New York; Kook Projects, NY; Sideshow Gallery, Brooklyn; Cheryl Pelavin Fine Art, New York; Michael Walls Gallery, New York; Hal Bromm Gallery, New York; Rupert Ravens Contemporary, Newark; University of Rhode Island, Kingston, RI, and Fairfield University, Fairfield, CT. Group exhibitions include the Venice Biennale, Nordiska Kompanient, Stockholm, Sweden; MoMA P.S.1, New York; 490 Atlantic, Brooklyn; Indianapolis Museum of Art, Indianapolis; Hallwalls, Buffalo; and Wellesley College Museum, Wellesley, MA.He has received grants from the National Endowment of the Arts and the Tree of Life Foundation. His exhibitions have been reviewed in the New York Times, Art in America, The Huffington Post, The New Criterion, Arts Magazine, Artnet, and dArt International Magazine. He has written on contemporary Art for many publications. He received a BA from Columbia University in 1971, an MFA from Rutgers University in 1974, and participated in the Whitney Museum Independent Study Program. He is an Adjunct Professor at Fairfield University in the Studio Art Program Mario Naves teaches at Pratt Institute, Brooklyn College and Hofstra University. He has been the recipient of grants from The City University of New York, Hofstra University, The National Endowment for the Arts, The E.D. Foundation, The Sugarman Foundation and The Pollock-Krasner Foundation. Naves’ paintings and works-on-paper are represented by the Elizabeth Harris Gallery in Chelsea and have been covered by The New York Times, The New York Sun, The Village Voice, ArtCritical.Com, ArtNet, The New Criterion and other publications. Naves’ criticism has been published in The New York Observer, Slate, The New Criterion, New Art Examiner, The Spectator World, The Wall Street Journal and City Arts. He is currently a film critic for The New York Sun. Naves lives and works in New York City.

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Painters Talking: What We Talk About When We Talk About Abstraction

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