Over 100 years since abstract painting emerged, how can one hope to innovate; to avoid repetition? The perspective in this class is that through deeper engagement with visual structures and meaning in one’s own work and in the art of the past, we might discover ways forward. Working with each student’s goals, experience and artistic influences, students will develop skills in becoming both more experimental and analytical in response to their own and other works of art. Projects will encourage new ways to consider color, form, scale, pictorial forces and structure and will encourage personal experimentation in developing an increasingly vital painting process.
Jill Nathanson was born in 1955 in New York City and she lives and works in New York. Nathanson received her MFA from Hunter College in 1982 and her BA from Bennington College in 1976.
Nathanson has long been engaged in updating color-based abstract painting through her use of new materials and unexpected color relationships. Built of poured and often overlapping areas of translucent color, her works are contemporary takes on old master glazing as well as meditations on the potential of color, light and surface to engage us with issues of energies and materiality in our time.
Her work has been included in a number of exhibitions about contemporary abstract painting such as Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art, Jacksonville, FL and Color as Structure, Structure as Color, Lori Bookstein Fine Art, NYC. Nathanson has written reviews for artcritical.com and her work been reviewed in Art News, The Brooklyn Rail, The Partisan Review, Arts Magazine, New York Observer and artcritical.com.
Her work is in significant public collections and many private collections around the U.S. and in Europe including The Museum of Contemporary Art, Jacksonville, FL, Tufts University, Medford, MA and the Philadelphia Museum of Jewish Art, Philadelphia, PA. Nathanson’s work is represented by Berry Campbell Gallery in NYC.