Paint by Numbers: Suzanne McClelland (Faculty+MFA '89) @ Art in America

// Faculty members Suzanne McClelland and Dave McKenzie in the 2014 Whitney Biennial//


The MFA Fine Arts department wishes to congratulate faculty members Suzanne McClelland and Dave McKenzie on their participation in the 2014 Whitney Biennial

Suzanne McClelland (Faculty)
Every Inch of my Love @ Team Gallery  

83 Grand Street, NY 

October 10-November 17, 2013
Reception: Thursday, October 10th, 6-8pm
Suzanne McClelland (Faculty)
Every Inch of my Love @ Team Gallery 
83 Grand Street, NY

October 10-November 17, 2013
Reception: Thursday, October 10th, 6-8pm

Suzanne McClelland (Faculty+MFA 89’)
Every Inch Of My Love
Team Gallery 
October 10th – November 17th 2013
Opening: Thursday, October 10th, 6-8pm 
83 Grand Street


Team (gallery, inc.) is pleased to announce a solo show by the New York-based painter Suzanne McClelland. This marks her first appearance at Team. Entitled Every Inch of My Love, the exhibition will run from 10 October to 17 November 2013. Team (gallery, inc.) is located at 83 Grand Street, between Wooster and Greene, on the ground floor. Concurrently, our 47 Wooster Street space will house a one-person exhibition of new work by Marc Hundley.
McClelland’s pictures always find their genesis in textual elements — words and numbers. The artist considers writing as a form of drawing, especially as handwriting falls increasingly out of use, almost entirely replaced by typing. She rejects the cold, bright advertisement styles of Jenny Holzer and Barbara Kruger, instead finding closer precedent in the likes of Cy Twombly, Joan Snyder and Louise Fishman. Her method of writing is far from automatic; her script is born of careful listening, tethering sounds to language. The paintings seek to fill the perceptional gap between what she hears and what she reads. The artworks are synesthetically representational — portrayals of the mechanical and verbal languages that permeate her surroundings.
McClelland is extremely conscious of her painting’s two-dimensionality and the particular kind of reading it necessitates. Unlike sculptures, or the three-dimensional paintings of Robert Morris or Eva Hesse, which can be approached and understood from a variety of angles, viewers have a singular, common experience with the flat, painted plane. McClelland’s paintings showcase a keen but unorthodox sense of form: one which resists the lure of beauty, employing interruptions in formal fluidity to develop a particular breed of legibility. They find part of their appeal in this difficulty: the abruptness, the willingness to obscure a piece of text or a shape. The viewer’s eye slides and jumps across the canvas, simultaneously following forms and reading words, allowing the artist’s heard language to come to visual life.
One body of work on display is titled Internal Sensations. Each of these paintings is titled after a single word describing an intense feeling: brood, rub, yearn. DeKooning, in conceiving a painting, always began with a word. McClelland’s work nods towards him; she foregrounds and meditates upon this moment of his process, quite literally making the word thepainting’s subject. The paintings reflect their driving words, full of dynamic tension, pairing muddy, gnarled, muddy patches of black paint with soft, lush elements. McClelland also tends to employ a variety of media as well as color palettes in a single painting, which furthers this effect. The words vary in legibility from painting to painting —“brood” can easily be read, jagged black letters in the center of the painting, while the letters spelling out “yearn” require intense focus to decipher.
McClelland has produced three Ideal Proportions paintings, each of which contains words as well as appropriated lists of numbers. McClelland is interested in the way numbers serve as a link between physicality and language, as textual representations of the concrete world. Here, she sets her focus on human physical appearance. Two of the paintings, for example, take as their digit-source ideal male body proportions, as posited by two different famous body-builders. In representing their bodies with numbers, the men undergo acts of self-objectification, describing a physically extant person that is somehow separate from the self. Another work appropriates numbers from the lyrics of the 1977 song Brick House by funk band The Commodores: “she knows she got everything/a woman need to get a man, yeah./How can she lose with what she use/36-24-36.” The numbers refer to sexually idealized proportions of a woman’s body, large breasts, large hips, and a small waist. While these numbers too serve to objectify, they also contain love and humor, and a level humanity not typically presented or considered by numerical text.
Another body of paintings employsnumbers in a different capacity: McClelland’s Solutions for Polke take as their subject a painting by Sigmar Polke which presents a number of incorrect solutions to simple arithmetic equations like 1+1=3 or 7+3=8. Polke’s painting incorporates consistent typeface and evenly distributed paint in order to appear printed or machine-made. McClelland uses some of Polke’s faulty math to create her own incorrect equations, however, in contrast to her predecessor, these pieces are radically painterly, full of jagged effort. We rely on numbers to provide us with a sense of order, to give shape and meaning to something otherwise impossible to comprehend. These pictures explore the ways in which numbers affect and relate to human lives, particularly in light of the collapse of the global economy in 2008, when mathematical projections failed so dramatically. The Solutions paintings reconsider the objectivity of numbers, revealing them to be as prone to shortcomings as anything else man-made.
McClelland’s current working method — to paint simultaneously on different bodies of work, inspired by divergent criteria — makes for an exhibition that hangs together tightly without the kind of all-encompassing closure that would stifle the feeling of freedom and joy that her pictures embrace.
Since the mid-1980s, Suzanne McClelland has shown her work extensively in the United States and abroad. Museum solos include The Whitney Museum of American Art in New York and the Orlando Museum of Art in Florida. Her work is included in many public collections, among them The Museum of Modern Art, The Metropolitan Museum of Art and The Brooklyn Museum in New York City; The Yale University Art Gallery, the Albertina in Vienna and the Walker Art Center. McClelland participated in the 1993 Whitney Biennial and was recently included in The New Museum’s NYC 1993: Experimental Jet Set, Trash and No Star.
The gallery is open from Tuesday through Saturday, 10am to 6pm, and Sunday, 12pm to 6pm. For further information and/or images, please call 212 279 9219.

Suzanne McClelland (Faculty+MFA 89’)

Every Inch Of My Love
Team Gallery 
October 10th – November 17th 2013
Opening: Thursday, October 10th, 6-8pm 
83 Grand Street

Team (gallery, inc.) is pleased to announce a solo show by the New York-based painter Suzanne McClelland. This marks her first appearance at Team. Entitled Every Inch of My Love, the exhibition will run from 10 October to 17 November 2013. Team (gallery, inc.) is located at 83 Grand Street, between Wooster and Greene, on the ground floor. Concurrently, our 47 Wooster Street space will house a one-person exhibition of new work by Marc Hundley.

McClelland’s pictures always find their genesis in textual elements — words and numbers. The artist considers writing as a form of drawing, especially as handwriting falls increasingly out of use, almost entirely replaced by typing. She rejects the cold, bright advertisement styles of Jenny Holzer and Barbara Kruger, instead finding closer precedent in the likes of Cy Twombly, Joan Snyder and Louise Fishman. Her method of writing is far from automatic; her script is born of careful listening, tethering sounds to language. The paintings seek to fill the perceptional gap between what she hears and what she reads. The artworks are synesthetically representational — portrayals of the mechanical and verbal languages that permeate her surroundings.

McClelland is extremely conscious of her painting’s two-dimensionality and the particular kind of reading it necessitates. Unlike sculptures, or the three-dimensional paintings of Robert Morris or Eva Hesse, which can be approached and understood from a variety of angles, viewers have a singular, common experience with the flat, painted plane. McClelland’s paintings showcase a keen but unorthodox sense of form: one which resists the lure of beauty, employing interruptions in formal fluidity to develop a particular breed of legibility. They find part of their appeal in this difficulty: the abruptness, the willingness to obscure a piece of text or a shape. The viewer’s eye slides and jumps across the canvas, simultaneously following forms and reading words, allowing the artist’s heard language to come to visual life.

One body of work on display is titled Internal Sensations. Each of these paintings is titled after a single word describing an intense feeling: brood, rub, yearn. DeKooning, in conceiving a painting, always began with a word. McClelland’s work nods towards him; she foregrounds and meditates upon this moment of his process, quite literally making the word thepainting’s subject. The paintings reflect their driving words, full of dynamic tension, pairing muddy, gnarled, muddy patches of black paint with soft, lush elements. McClelland also tends to employ a variety of media as well as color palettes in a single painting, which furthers this effect. The words vary in legibility from painting to painting —“brood” can easily be read, jagged black letters in the center of the painting, while the letters spelling out “yearn” require intense focus to decipher.

McClelland has produced three Ideal Proportions paintings, each of which contains words as well as appropriated lists of numbers. McClelland is interested in the way numbers serve as a link between physicality and language, as textual representations of the concrete world. Here, she sets her focus on human physical appearance. Two of the paintings, for example, take as their digit-source ideal male body proportions, as posited by two different famous body-builders. In representing their bodies with numbers, the men undergo acts of self-objectification, describing a physically extant person that is somehow separate from the self. Another work appropriates numbers from the lyrics of the 1977 song Brick House by funk band The Commodores: “she knows she got everything/a woman need to get a man, yeah./How can she lose with what she use/36-24-36.” The numbers refer to sexually idealized proportions of a woman’s body, large breasts, large hips, and a small waist. While these numbers too serve to objectify, they also contain love and humor, and a level humanity not typically presented or considered by numerical text.

Another body of paintings employsnumbers in a different capacity: McClelland’s Solutions for Polke take as their subject a painting by Sigmar Polke which presents a number of incorrect solutions to simple arithmetic equations like 1+1=3 or 7+3=8. Polke’s painting incorporates consistent typeface and evenly distributed paint in order to appear printed or machine-made. McClelland uses some of Polke’s faulty math to create her own incorrect equations, however, in contrast to her predecessor, these pieces are radically painterly, full of jagged effort. We rely on numbers to provide us with a sense of order, to give shape and meaning to something otherwise impossible to comprehend. These pictures explore the ways in which numbers affect and relate to human lives, particularly in light of the collapse of the global economy in 2008, when mathematical projections failed so dramatically. The Solutions paintings reconsider the objectivity of numbers, revealing them to be as prone to shortcomings as anything else man-made.

McClelland’s current working method — to paint simultaneously on different bodies of work, inspired by divergent criteria — makes for an exhibition that hangs together tightly without the kind of all-encompassing closure that would stifle the feeling of freedom and joy that her pictures embrace.

Since the mid-1980s, Suzanne McClelland has shown her work extensively in the United States and abroad. Museum solos include The Whitney Museum of American Art in New York and the Orlando Museum of Art in Florida. Her work is included in many public collections, among them The Museum of Modern Art, The Metropolitan Museum of Art and The Brooklyn Museum in New York City; The Yale University Art Gallery, the Albertina in Vienna and the Walker Art Center. McClelland participated in the 1993 Whitney Biennial and was recently included in The New Museum’s NYC 1993: Experimental Jet Set, Trash and No Star.

The gallery is open from Tuesday through Saturday, 10am to 6pm, and Sunday, 12pm to 6pm. For further information and/or images, please call 212 279 9219.

// Suzanne McClelland (Faculty) @ Frieze New York//

 image

Shane Campbell Gallery at Frieze New York
May 10-13, 2013
 
Tony Lewis
Suzanne McClelland
Adam Pendleton
 
 
 
 
 
Shane Campbell Gallery
673 N Milwaukee Ave Chicago IL 60642
Suzanne McClelland (MFA 89 & Faculty), Katherine Bernhardt (MFA 00), and Renee Cox (former faculty), among others, are slated to speak at Taking Custody: The Double Life of the Artist Mother, a panel discussion made of visual artists who are also mothers who will talk about how they balance raising children with their demanding creative careers. The panel will take place tomorrow night! Tuesday, October 16, 2012 at 7pm in the SVA Theater (333 W 23rd St, NYC). The event is free and open to the public.

Suzanne McClelland (MFA 89 & Faculty), Katherine Bernhardt (MFA 00), and Renee Cox (former faculty), among others, are slated to speak at Taking Custody: The Double Life of the Artist Mother, a panel discussion made of visual artists who are also mothers who will talk about how they balance raising children with their demanding creative careers. The panel will take place tomorrow night! Tuesday, October 16, 2012 at 7pm in the SVA Theater (333 W 23rd St, NYC). The event is free and open to the public.

Suzanne McClelland (MFA 89 & Faculty) is included in a group exhibition at Shane Campbell Gallery (2400 North Lakeview Ave, Chicago, IL) on view by appointment only from July 1-August 25, 2012. [Image: Suzanne McClelland, Black Sigh (#3), 2002-2012]

Suzanne McClelland (MFA 89 & Faculty) is included in a group exhibition at Shane Campbell Gallery (2400 North Lakeview Ave, Chicago, IL) on view by appointment only from July 1-August 25, 2012.

[Image: Suzanne McClelland, Black Sigh (#3), 2002-2012]

Suzanne McClelland (Faculty & MFA 89) shows in “Color Walks Away” at Galerie Andres Thalmann (Talstrasse 66, Zurich, Switzerland). The three-person group exhibition will be on view from May 10-June 30, 2012.
[Image: Suzanne McClelland, Will Tell, 2002/1012, Polymer and oil on canvas, 50.8 x 50.8 cm]

Suzanne McClelland (Faculty & MFA 89) shows in “Color Walks Away” at Galerie Andres Thalmann (Talstrasse 66, Zurich, Switzerland). The three-person group exhibition will be on view from May 10-June 30, 2012.

[Image: Suzanne McClelland, Will Tell, 2002/1012, Polymer and oil on canvas, 50.8 x 50.8 cm]

The Metropolitan Museum of Art                                           recently acquired the above work by Suzanne McClelland (Faculty & MFA 89), a 2006                                           monotype print on paper with                                           collage titled Lullaby #17,                                             lullaby with martha and                                             sunset.
Other works by McClelland will also be included in the Invitational Exhibition of Visual Arts at the Academy of Arts and Letters opening March 6, 2012 (along with other faculty member Kenji Fujita), and she will be featured in a solo exhibition at the University of Virginia Museum of Art in 2013. For more information about McClelland, visit her website.

The Metropolitan Museum of Art recently acquired the above work by Suzanne McClelland (Faculty & MFA 89), a 2006 monotype print on paper with collage titled Lullaby #17, lullaby with martha and sunset.

Other works by McClelland will also be included in the Invitational Exhibition of Visual Arts at the Academy of Arts and Letters opening March 6, 2012 (along with other faculty member Kenji Fujita), and she will be featured in a solo exhibition at the University of Virginia Museum of Art in 2013. For more information about McClelland, visit her website.

The SVA MFA Fine Arts Blog http://mfafinearts.sva.edu/