John Newman (sculptor): Difference between revisions
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'''John Newman''' is an American sculptor. He was born in [[Flushing,_Queens|Flushing]], Queens in 1952. He received his [[BA]] from Oberlin College. In addition, he attended the [https://whitney.org/collection/research/isp Whitney Museum Study Program] in 1972 and received his [[MFA]] in 1975 from the [[Yale School of Art]]. He was a fellow at the [[Center for Advanced Visual Studies at MIT]] from 1975-78. He is based in [[New York City]]. |
'''John Newman''' is an American sculptor. He was born in [[Flushing,_Queens|Flushing]], Queens in 1952. He received his [[BA]] from Oberlin College. In addition, he attended the [https://whitney.org/collection/research/isp Whitney Museum Study Program] in 1972 and received his [[MFA]] in 1975 from the [[Yale School of Art]]. He was a fellow at the [[Center for Advanced Visual Studies at MIT]] from 1975-78. He is based in [[New York City]]. |
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'''John Newman in Print''' |
'''John Newman in Print''' |
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In his [https://brooklynrail.org/2012/04/art/john-newman-with-phong-bui interview with John Newman], which was published in the April 2012 issue of [ |
In his [https://brooklynrail.org/2012/04/art/john-newman-with-phong-bui interview with John Newman], which was published in the April 2012 issue of [[The Brooklyn Rail]], its co-founder [https://en.wikipedia.org/wiki/Phong_Bui Phong Bui] addressed his use of different materials and techniques, including Calcutta basket weaving, Bengali brass casting, and hariko techniques, to mix them up with practices from the West. In response, Newman explained: |
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"''I want to be very careful not to be a cultural tourist! I’m the filter of all of those experiences, which only occurs after I am back in the studio. Basket weaving got me thinking about making forms that were more complex topological deformations that I couldn’t make out of steel, for instance. When I was in Santiniketan, north of Calcutta, I visited villages that made dogra: a method of casting brass strings from tree sap. They specialize in making toys and small ritual objects. As an experiment, I had them cast in beeswax the smallest thing I had ever made—and it was actually the largest thing that was ever made in the village! When I was in Japan I worked with a papermaker through Tyler Graphics. He told me about the folk technique hariko which is how they make toys and puppets out of papier-mâché. I loved the notion of simply making complicated forms out of lightweight-non-toxic-easy-to-handle materials and that got me on to my “home brew” technique, which is an adaptation of hariko. And again, traveling allowed me to step out of the concealed contradictions that are embedded within a system; in this case the system is the art world, where so many of my contemporaries were making art about art, or how art connects to larger spheres of contexts, meaning the gallery space, the gallery system, or art’s possible social relevancy''..." |
"''I want to be very careful not to be a cultural tourist! I’m the filter of all of those experiences, which only occurs after I am back in the studio. Basket weaving got me thinking about making forms that were more complex topological deformations that I couldn’t make out of steel, for instance. When I was in Santiniketan, north of Calcutta, I visited villages that made dogra: a method of casting brass strings from tree sap. They specialize in making toys and small ritual objects. As an experiment, I had them cast in beeswax the smallest thing I had ever made—and it was actually the largest thing that was ever made in the village! When I was in Japan I worked with a papermaker through Tyler Graphics. He told me about the folk technique hariko which is how they make toys and puppets out of papier-mâché. I loved the notion of simply making complicated forms out of lightweight-non-toxic-easy-to-handle materials and that got me on to my “home brew” technique, which is an adaptation of hariko. And again, traveling allowed me to step out of the concealed contradictions that are embedded within a system; in this case the system is the art world, where so many of my contemporaries were making art about art, or how art connects to larger spheres of contexts, meaning the gallery space, the gallery system, or art’s possible social relevancy''..." |
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https://www.youtube.com/watch?v=v1QskXhqeuU |
https://www.youtube.com/watch?v=v1QskXhqeuU |
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Revision as of 07:32, 14 July 2021
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| This article, John Newman (sculptor), has recently been created via the Articles for creation process. Please check to see if the reviewer has accidentally left this template after accepting the draft and take appropriate action as necessary.
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Comment: notable because he passes WP:NARTIST Theroadislong (talk) 07:32, 14 July 2021 (UTC)
John Newman is an American sculptor. He was born in Flushing, Queens in 1952. He received his BA from Oberlin College. In addition, he attended the Whitney Museum Study Program in 1972 and received his MFA in 1975 from the Yale School of Art. He was a fellow at the Center for Advanced Visual Studies at MIT from 1975-78. He is based in New York City.
Newman has had over 50 solo exhibitions and participated in numerous group exhibitions in galleries and museums throughout the United States, Europe, and Asia. His sculptures, drawings, and prints are represented in numerous public collections, including the Museum of Modern Art, New York, the Metropolitan Museum of Art, New York, the Whitney Museum of American Art, New York, the Tate Modern in London, the National Gallery of Australia, Canberra, and the Albertina in Vienna, among many others.
Meanwhile, Newman is the recipient of many awards and residencies, including the Rome Prize, the Civitella Ranieri Foundation, the Guggenheim Foundation, the Joan Mitchell Foundation, the Pollock-Krasner Foundation, and a Senior Research Fulbright Grant to India.
Newman is the former Director of Graduate Studies in Sculpture at the Yale School of Art. He currently teaches at the New York Studio School of Drawing, Painting and Sculpture and the School of Visual Arts in New York City. He has been commissioned to do several large-scale sculptures for the City of Richmond, Virginia, Dai Nippon in Tokyo, Storm King Art Center, and Grounds for Sculpture in Hamilton, New Jersey.
John Newman in Print
In his interview with John Newman, which was published in the April 2012 issue of The Brooklyn Rail, its co-founder Phong Bui addressed his use of different materials and techniques, including Calcutta basket weaving, Bengali brass casting, and hariko techniques, to mix them up with practices from the West. In response, Newman explained:
"I want to be very careful not to be a cultural tourist! I’m the filter of all of those experiences, which only occurs after I am back in the studio. Basket weaving got me thinking about making forms that were more complex topological deformations that I couldn’t make out of steel, for instance. When I was in Santiniketan, north of Calcutta, I visited villages that made dogra: a method of casting brass strings from tree sap. They specialize in making toys and small ritual objects. As an experiment, I had them cast in beeswax the smallest thing I had ever made—and it was actually the largest thing that was ever made in the village! When I was in Japan I worked with a papermaker through Tyler Graphics. He told me about the folk technique hariko which is how they make toys and puppets out of papier-mâché. I loved the notion of simply making complicated forms out of lightweight-non-toxic-easy-to-handle materials and that got me on to my “home brew” technique, which is an adaptation of hariko. And again, traveling allowed me to step out of the concealed contradictions that are embedded within a system; in this case the system is the art world, where so many of my contemporaries were making art about art, or how art connects to larger spheres of contexts, meaning the gallery space, the gallery system, or art’s possible social relevancy..."
References
https://www.johnnewmanstudio.com/
http://www.gorkysgranddaughter.com/2012/12/john-newman-nov-2012.html