I usually begin by looking at myself or at a model, but then the painting goes its own way. I don’t have a final image in my head, but rather a broad idea, a feeling I’m after, a kind of intensity. I work on paintings a long time, often for years, not because they technically require it, but because I keep going over a cliff—too contrived, too mundane, too much meaningless facility, or some nuts and bolts painting issue is giving me grief. I often spend more time on the space around the figure than the figure itself; my “backgrounds” physically sit in front of my foregrounds. The air the figure is embedded in is so fundamental—the difference between an academic exercise and a meaningful painting.
About Anne Harris
Anne Harris has exhibited at venues ranging from Alexandre Gallery, NYC, to the National Portrait Gallery at the Smithsonian Institute, to the North Dakota Museum of Art. Her work is in such public collections as The Fogg Museum at Harvard, The Yale University Art Gallery, the PAFA Museum in Philadelphia, and The New York Public Library. Grants and awards received include a Guggenheim Foundation Fellowship and an NEA Individual Artists Fellowship. Harris teaches at The School of the Art Institute of Chicago and is Vice President of the Board of the Riverside Arts Center and Chair of its Exhibition Committee. She lives with her husband, the photographer Paul D’Amato, and their son Max, in Riverside, IL.
Represented by Alexandre Gallery, New York, NY
March 5th 12pm-1pm
Anne Harris will present a talk entitled The Radical Eye: Why Artists Must Curate
What does it mean to be an artist who curates? Why is it important? Can curating be an act of rebellion? Can we take back control of the conversation?
Artist-curators defy conventional categorization and institutional hierarchies. We make connections based on meaning, feeling, experience, and love. We give exposure to the under-exposed, and our decisions are not about money--maybe the only advantage of having none.
This lecture/conversation will present thoughts and observations, and will hopefully generate lively discussion, about the prevalence of and the possibilities that come from artists curating today.