Saturday 17 November, 1 - 3pm

Artist's Talk with Anoka Faruqee

Please join us for an Artist's Talk with Anoka Faruqee in conversation with David Humphrey.

Saturday, November 17 at 1pm
Hosfelt Gallery, 531 W. 36th Street, NYC


Anoka Faruqee is a painter who lives and works in New Haven, CT. She has exhibited her work in New York, Los Angeles, San Francisco, Chicago, and in Asia. Group and solo exhibitions include Hosfelt Gallery, Max Protetch, Monya Rowe and Thomas Erben Galleries (New York), PS 1 Museum (Queens), Albright-Knox Gallery (Buffalo), Angles Gallery (Los Angeles), Chicago Cultural Center, and June Lee (Seoul, Korea). She received her MFA from Tyler School of Art in 1997 and her BA from Yale University in 1994. She attended the Whitney Independent Study Program, the Skowhegan School of Art, and the PS1 National Studio Program. Grants include the Pollock Krasner Foundation and Artadia. Faruqee is curently an Associate Professor at the Yale School of Art, where she is also Acting Director of Graduate Studies of the Painting and Printmaking Department. She has also taught at the School of the Art Institute of Chicago and Cal Arts, where she was Co-Director of the Art Program for a number of years.

David Humphrey lives and works in New York. He has had solo exhibitions at the McKee Gallery, New York, Sikkema Jenkins, New York, Fredric Snitzer Gallery, Miami, and the Contemporary Art Center, Cincinnati. His work is in many public collections including the Walker Art Center, Minneapolis, The Metropolitan Museum of Art, New York, and The Carnegie Museum of Art, Pittsburgh. He is a senior critic at the Yale School of Art and an anthology of his art writing, entitled Blind Handshake, was published in 2010. His solo exhibition at Fredericks & Freiser, NYC opens on November 8th and will continue through November 22.

The Sum is Greater Than Its Parts

Anoka Faruqee's mastery of color, experimentation in pattern, and relentless study of the optic converge in an exhibition of extraordinary paintings rich with dichotomy.

The surfaces of these paintings are glass-smooth, but Faruqee revels in the vagaries of her medium, integrating the heretofore rigid systems of op with the unruly sensuality of paint. She writes:

My paintings are not slick, though they often appear so in reproduction. They expose their making -- a slight topography of paint, an overlap or mis-registration, a slip of the hand. These moments emphasize the materiality of the process and the humanity of both the artist and the viewer. These physical irregularities actually augment the optical when used pointedly: a blurred edge or ridged surface provides a more intense optical event.

These new works expand Faruqee's longstanding practice of painting hundreds of handmade modules in subtly shifting colors to create color gradients that simulate light, shadow or painterly bleeds. The asterisk-shaped modules she uses refer to early studies of geometry, the traditional Islamic (and Faruqee's contemporary) pursuit of a "content-less" motif, and the individual units that make up pixelation. These large "freehand" paintings are improvisational: Faruqee "grows" the painting, starting with a single, hand painted module on the edge or middle of the canvas. Through this process she refers to the seeming chaos and corresponding mathematics found in nature.

Though both bodies of work make reference to the of-this-moment vocabularies of computer modeling, Faruqee's undulating spaces are not mapped mathematically, but are filtered through the physical nature of paint and the human act of painting.

The exhibition is on view through December 29. A catalogue with an essay by Dean Daderko, Curator at the Contemporary Art Museum, Houston, will accompany the exhibition.