UNDERLINE Gallery

everybody wants to know how it's done

Wed, 12 Jun 2013 17:43:38 -0400

From Kevin Fey:

Sat, 25 May 2013 18:27:00 -0400

UNDERLINE GALLERY: How are the paintings in “Color Unbound” made?

KEVIN FEY: The paintings are made from an industrial two-part resin. A small amount of pure pigment is suspended in the resin and the mixture is poured directly onto the surface of the canvas. After the resin hits the canvas it is moved and heated, the heated portions flow more easily than the room temperature portions so a dynamic fluid surface is achieved. By controlling this resin and working with the nature of the stretched canvas surface the resulting image is an extremely high fidelity fade, with the distinctions in tone coming not from a darker color but from a greater physical concentration of material.

UNDERLINE: How did you arrive at this technique?

FEY: The current technique was developed out of my desire to create formless beauty in paintings. It’s been my focus for years to create paintings with as few elements as necessary. Initial works in this style focused on the tension between various materials, the beauty of their insolubility. These works were partially successful but still allowed for a direct understanding; if you understood the process you understood the painting. The works in the “Color Unbound” series hide all the struggle of their creation. You must address the color and the fade directly without even a record of its creation to guide you.

KEVIN FEY: Color Unbound Opens May 23 The artist in his studio...

Thu, 23 May 2013 10:04:43 -0400

KEVIN FEY: Color Unbound

Opens May 23

The artist in his studio preparing for the show.

Interview coming next…

Caroll Taveras Laughing Photo Project Closes May 16, with an...

Tue, 14 May 2013 09:15:58 -0400

Caroll Taveras Laughing Photo Project

Closes May 16, with an exhibition showcasing the latest participants at UNDERLINE Gallery

may 16, 6-8pm

KEVIN FEY: Color Unbound Opens May 23

Sun, 12 May 2013 13:51:39 -0400

KEVIN FEY: Color Unbound

Opens May 23

Caroll Taveras: Let Yourself Go Closing Celebration and...

Sun, 12 May 2013 13:49:51 -0400

Caroll Taveras: Let Yourself Go

Closing Celebration and Exhibition:

Thursday, May 16, 6:30-8:30pm

rsvp to: hello@underlinegallery.com

Installation by Jenny Holzer at Frieze art fair

Fri, 10 May 2013 13:35:41 -0400

Installation by Jenny Holzer at Frieze art fair

Photo

Tue, 07 May 2013 12:04:59 -0400

Underline Artist Caroll Taveras Slideshow on Cult...

Fri, 03 May 2013 18:57:25 -0400

Underline Artist Caroll Taveras

Slideshow on Cult Magazine: http://thisisacult.org/caroll-taveras/

Caroll Taveras' Upcoming Photo Studio Project in ELLE Magazine

Thu, 25 Apr 2013 12:00:00 -0400

On May 1 she will set up her portrait studio at Underline Gallery in Manhattan and is inviting people to have a laugh and smile for the camera.

The project is titled “Let Yourself Go!” and Taveras aims to explore what it takes to “let oneself go and laugh uncontrollably.” We asked Taveras about this fascinating project and how she plans to help her subjects let their guards down.

ELLE: How did the idea for this project come about?

Caroll Taveras: I have been working on my Photo Studio project since 2008, and last year Underline Gallery approached me about doing the project as part of their curated show at the Norwood arts club. I wanted to explore a different approach with the project—something that represented spring and all the feelings and emotions tied to this time of year. This installation will be part photo studio—creating an environment for laughter and letting oneself go.

ELLE: How do you get someone to open up and laugh while taking their picture?

CT: That will be the challenge. I’m sure it will be very personal for each person. But there are a few things we’ve discovered that induce laughter across the board. You will have to come down and see for yourself.

ELLE: Why do you choose portraits to be the focus of your artistic expression?

CT: Portraits are just one form of my artistic expression. I also shoot narratives, objects, and landscapes. I love big open spaces as much as I love people, and I often juxtapose the two in collage format. I’m really interested in telling stories. And what tells a story better than a person’s face?

ELLE: What do you think of our generation’s obsession with profile photos?

CT: Everyone is trying to present a certain image of themselves. This image serves as a brand in many ways. With the power to change your image and your brand so constantly, obsession is inevitable.

ELLE: And do you think your art contributes to that or not.

CT: When someone takes his or her own picture, that image is quite self-controlled. It represents a very narcissistic perspective. When you let someone else take your picture, you’re giving them permission to present their perspective of you to the world. It’s a fascinating exercise in art, culture, and the exploration of self in the community.

ELLE: Why is it better to have your picture taken in a portrait style, by a photographer, rather than taking your own photo?

CT: There is something that happens when you sit in front of the camera, especially in front of a 4 x 5 view camera. It’s a very intimate moment between photographer and subject. If you surrender to that moment, you will see a different side to yourself in your image. It’s quite interesting. Some people usually say that they feel like I’m looking right through them from behind my camera.

ELLE: Why do you think it’s so difficult for someone to “let themselves go” when posing for a picture?

CT: I don’t think it’s difficult to let yourself go when posing for a photo. But I do think it may be difficult for some people to let themselves go and laugh uncontrollably—particularly in front of the camera. When was the last time you laughed so much that you felt great? That’s the moment I want to capture with this project.

ELLE: And do you think it’s a factor that has always been part of human nature or do you think people are more self aware now than the past?

CT: I think people are both more self aware and self-conscious. We are certainly questioning more. However, with so much access to media and technology, and so much emphasis on beauty, we are also becoming self-conscious and self-absorbed. The latter can be confusing and problematic.

If you want to partake in the “Let Yourself Go!” click here to book an appointment with Caroll Taveras.

5 Things you didn't know about the artist Amy Casey

Fri, 19 Apr 2013 13:38:00 -0400

We at Underline know what a charming lady Amy is. We just had to know more and share it with you.

Amy tells us about herself:

I have a great enthusiasm for collecting organizational products. Soon I will need an organizational product for them.

I was always among the last three people picked for gym class teams.

I love to make quilts by hand

I have only drank two cups of coffee in my life. I’ve drank tea since I was a kid. I prefer English Breakfast.

I don’t know how to drive or swim, and I have a twin sister Beth who also does not know how to drive or swim.

Filigree: one of the most traditional Mexican artisanships having fallen into oblivion. The video...

Wed, 17 Apr 2013 13:23:13 -0400

Filigree: one of the most traditional Mexican artisanships having fallen into oblivion. The video below shows the technique Amandina designers have been using for more than three years, from the grounds where it is originally from - Yucatan Mexico.

www.amandinajoyeria.com

Underline’s Caroll Taveras featured in LA’s April...

Wed, 10 Apr 2013 11:53:51 -0400

Underline’s Caroll Taveras featured in LA’s April MOPLA

Book your portrait in NYC at Underline during the month of May here:

http://store.underlinegallery.com/products/laughing-portraits

whirlwind week

Sat, 09 Mar 2013 19:19:00 -0500

At our FIRST VIEW of Norwood & Underline Presents:

Artist Caroll Taveras & Underline Director Casey Burry enjoy the reception.

“Jumbo Snow Globes” by Mark Reigelman are a hit in the Underline front room.

Always a lively group turns up.

+ other spaces & sights during NY Art Week:

Alisha’s pick from the art fairs.

View from the top, Guggenheim

Patrick’s pick.

Photo

Wed, 06 Mar 2013 20:16:35 -0500

Photo

Wed, 06 Mar 2013 20:16:13 -0500

Photo

Wed, 06 Mar 2013 20:15:39 -0500

Photo

Wed, 06 Mar 2013 20:15:11 -0500

Text it- Mean it

Wed, 27 Feb 2013 18:52:06 -0500

Can you seal any deal with a text message? How we talk now depends on frequency of contact, methods of communication & indication of familiarity. Those who are seen as powerful often are perceived as having an impossibly overfull email inbox, and those in close proximity are often trained in the skill of deflecting. Currently among the most memorable interactions (ones which others refer to when they see you,) are funny tweets & replies to others’ tweets.

Take for example the popularity of instagram- a social sharing platform, which is almost purely visual. It arguably cemented the popularity of the iphone, or at least downplays the phone’s shortcomings, notably the user-difficulty writing with the nuisance of autocorrect & fat-finger mistakes. It turns out we don’t mind apologizing for communicating ineffectively, and when we must choose, we vote for pretty pictures created by us.

“Do you know who I am?” by Coral Silverman (2009) Gouache on paper

With the quick-capture-and-share functionality, and the socially rewarding experience of our instagram ego-feed, we are now on creating a surplus of show-and-tells & constantly re-contextualizing our forgettable encounters: often without any regard for usage permission or originality. Rarely, if ever, is there any forethought or creative skill applied to this medium rendering it strictly humorous or worse, meaningless.

Let’s face it: the photographer is no longer an expert on shadow and light, obsessed manipulator of color and focus, or an adventurous seeker of unique subjects and vistas. S/he is now a comrade in a social sharing system, which appears to be democratic in its voting-style but by contrast is “social-ist” in its null attachment of value or copyright protection for original artwork.

The problem is, we don’t really know what we’re saying, or even who said it first.

"Painters should strive to succeed in creating great works, that is those that can please noble lords..."

Tue, 19 Feb 2013 17:31:19 -0500

““Painters should strive to succeed in creating great works, that is those that can please noble lords and the rich — because these make the fortunes of masters — and not other people, who cannot buy pictures of great value. So the painter’s mind must always aim at the sublime, the heroic and for perfection.””

- Giambattista Tiepolo, 1762