Eden Deering is the Artist Liaison at PPOW gallery, a contemporary art gallery in New York City. Here, Eden talks with friend and artist Judith Linhares, who, in Judith’s words, “came of age in the socially turbulent "take-it-to-the-streets" days of feminism, underground comics, and poetic reverie in Northern California.” We hear Judith talk about her process, the hallelujah moment found in her vibrant color schemes, being a fourth generation Californian, mythology, flowers and more. This conversation leads to a reflection of Judith’s early practise and what it means to be a young artist working in New York City today and the ever evolving relationship between gallerist, artist and art market.  Image Caption: Judith Linhares, Saturday Morning, 2017. Oil on Linen. 60 X 71 inches.Support the show.

ArtTable’s Artist Perspectives

California, Mythology, Flowers and Fairs: Judith Linhares and Eden Deering

Samantha De Tillio is a curator, art historian, and writer of modern and contemporary art made from glass, fibers, clay, wood, and metals, and is committed to illuminating feminist histories and critically subverting the art historical canon. She is currently an assistant curator at The Museum of Art and Design in New York. Beth Lipman is a contemporary artist working in glass. She is best known for her glass still-life compositions which reference the work of 16th- and 17th-century European painters. Samantha DeTilio and Beth Lipman are working together on Beth’s exhibition at the Museum of Art and Design, where Samantha is a curator. In this episode, you’ll hear the Samantha and Beth talk through the artist and curatorial process of creating an institutional exhibition. This discussion leads to an honest reflection and critique of each other’s practise and the ethics of producing resource heavy duty artworks that employ industrial techniques in a way that is sustainable and climate conscious. Image Caption: Beth Lipman. Laid (Time-) Table with Cycads. 2015, 92" x 57" x 192", glass, adhesive, wood, paint, permanent collection of the Museum of Art and DesignSupport the show.

What Does It Mean to Be An Environmentally Conscious Artist/ Curator? Samantha De Tillio and Beth Lipman Discuss

Jean Shin is  an artist nationally recognized for her monumental installations that transform everyday objects into elegant expressions of identity and community. Shin’s site specific work fills a gap- her process consisting of a thoughtful analysis of the community in which the art work is to be situated and the everyday lives of individuals. In this recording, you’ll hear about Shin’s often funny or unpredictable stories of collaboration, which lead to meaningful works with monumental impact. Shin’s work has been exhibited in over 150 major museums and cultural institutions, including solo exhibitions and in 2017 she completed a landmark commission for the MTA’s Second Ave Subway at the 63rd Street Station in New York City. Here’s Shin speaking at our monthly Artist Breakfast meeting, alongside the work included in the exhibition, Sedimentations: Assemblage as Social Repair at The 8th Floor.  Inspired by The Shelley & Donald Rubin Foundation, The 8th Floor gallery is committed to broadening the access and availability of art to New York audiences. Seeking to foster cultural exchange, The 8th Floor explores the potential of art as an instrument for social change in the 21st century, through an annual program of innovative contemporary art exhibitions and an events program comprised of performances, salon-style discussions, and those organized by external partners. Image Caption: Installation view of the exhibition Jean Shin: Collections, Philadelphia Museum of Art 2018.Support the show.

One Woman’s Trash is Jean Shin’s Monumental Installation

Born in Santiago, Chile in 1954, artist Soledad Salamé, currently lives and works in Baltimore, Maryland. In 2017, Soledad’s print series, Women’s March, captured the sentiments and scenes of the Women’s March in Washington DC, archiving the witty and powerful visual language of protest signs like “Now you’ve upset grandma,” and “Drain the cabinet.” These works were carefully constructed and printed to be distributed widely and displayed poignantly.  You’ll hear Soledad’s interview with Jennie Hirsh, scholar and former professor of modern and contemporary art at the Maryland Institute College of Art. Jennie has written extensively about Soledad’s practise and the two have a long standing friendship. Here, Jennie and Soledad consider her work as an important documentation of underrepresented issues. The conversation reveals Soledad’s status as an artist’s artist and her impact and influence on the practises of Baltimore based artists, notably through her print studio, Sol Print Studios. Image caption: Soledad Salame. Women's March I. 2017. Solar Plate Etching. Photo contribution by: Chantal Boisvert. 11" x 15". Edition of 20. Courtesy of Goya Contemporary.Support the show.

Printmaking as a Democratic Medium with Soledad Salame and Jennie Hirsh

Kristen Accola is an art dealer, curator and ArtTable member. Nancy Cohen is an artist whose work has been widely exhibited throughout the United States and is represented in important collections, such as The Montclair Museum, The Newark Public Library, The Weatherspoon Art Gallery, and The Zimmerli Museum. 2019 marks the 20th anniversary of artist, Nancy Cohen and Kristin Accola’s intertwining careers and friendship. As you’re about to hear, this relationship has taken many forms: artist and curator, artist and gallerist and now artist and dealer. Kristin Accola is an art dealer, a curator and a long term ArtTable member. In fact, Kristin met her long time business partner Kat Griefen, at an ArtTable Salon dinner. Together the two run Accola Griefen, which represents artists, like Nancy, and other modern and contemporary artists, with a primary focus on important American and Native American women artists. Nancy Cohen’s work has been exhibited throughout the United States and is represented in important collections. Additionally,  Cohen has completed numerous large-scale, site-specific projects, many of which Kristin helped to curate. Here, Kristin and Nancy discuss the challenges they’ve encountered creating site specific work for collectors and institutions, the shift of Accola Griefen from gallery to private dealer and everything in between.  Image Caption: Nancy Cohen. In the Garden, 2019. 25 x 15 x 8 inches. Glass, metal, wire, aqua resin. Photo credit: Chris DinermanSupport the show.

Nancy Cohen and Kristen Accola on Taking Up Space with Large Scale Installations

ArtTable members in conversation with women artists at the forefront of their practice. Through these intimate conversations, ArtTable aims to share insights, strategies, and practical advice in public dialogue. The show offers a snapshot of the art world today, as well as the tools needed to produce meaningful work in an institution, gallery, public, or private setting. The results are a series of meaningful conversations spotlighting how women working in the art world advocate for one another. Thank you to the Pollock Krasner Foundation for making this series possible.

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ArtTable’s Artist Perspectives

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