High School Scholarship Program – 2016 Winners

Each year, the Dedalus Foundation offers twelve scholarships in fine art and art history to graduating seniors from New York City public schools. The fine art scholarship acknowledges technical skill as well as creativity in forms and materials, while the art history scholarship rewards clear writing, insight, and creativity in subject matter. These scholarships honor Robert Motherwell’s lifelong interest in arts education at all levels.

Below is a selection of work from the 2016 fine art scholarship winners. Applications for the 2017 scholarship competition are live on our site here.

 

Oonagh Carroll-Warhola, Lunar Garden
Oonagh Carroll-Warhola, LaGuardia High School, Lunar Garden, Oil on canvas, 28 x 34 in.
Joelsy Fernandez, Fleeting
Joelsy Fernandez, Frank Sinatra High School, Fleeting, Acrylic, graphite, plastic, and thread on linen, 11 x 8.5 in.
Robert Gomez, "Since little"
Robert Gomez, High School of Art and Design,”Since little,” Oil on canvas, 34 1/4 x 20 in.
Elizabeth Goncharova, "Currents"
Elizabeth Goncharova, LaGuardia High School, “Currents,” Marker, ink, and gesso on paper, 47.75 x 58.5 in.
Peidong Lin, "Untitled,"
Peidong Lin, Robert H. Goddard High, “Untitled,” Pencil on paper, 9 x 12 in.
Gabrielle Robinson, "HAUNTED"
Gabrielle Robinson, LaGuardia High School, “HAUNTED,” Photograph, 20 x 16 in.
Nina Vazquez, "R train Social"
Nina Vazquez, High School of Art and Design, “R train Social,” Oil on canvas, 16 x 20 in.

As a part of our commitment to the neighborhood of Sunset Park, Brooklyn, where our community education programs are based, we also offer a fine art scholarship specifically to a graduating senior from Sunset Park High School.

 

Tahiry Guevara, "Untitled"
Tahiry Guevara, Sunset Park High School, “Untitled,” Acrylic and paper flowers on canvas, 24 x 22 in.

A Case Study of Robert Motherwell’s Reworking Method

Motherwell frequently revised his works, some over long periods of time, and some after they were reproduced in publications or exhibited. One of the most complicated histories of reworking involved Elegy to the Spanish Republic No. 132, which was repainted several times both before and after being exhibited. Begun in 1975, this painting was originally based on the composition of an earlier, small-scale work, Spanish Elegy with Orange No. 3 but it subsequently underwent a number of permutations and revisions that lasted from the mid-1970s well into the next decade.

 

Spanish Elegy with Orange No. 3, 1944. Acrylic and graphite on canvas board, 8 x 10 in.
Spanish Elegy with Orange No. 3, 1944. Acrylic and graphite on canvas board, 8 x 10 in.

In its very first version, it contained areas of orange, like the small picture on which it was modeled, but Motherwell repainted it entirely in black and white shortly afterward, and it was photographed on September 19, 1975.

 

Elegy to the Spanish Republic No. 132, as photographed on September 19, 1975
Elegy to the Spanish Republic No. 132, as photographed on September 19, 1975

He made significant revisions soon after this, and it looked quite different when it was photographed again on October 27, 1975.

 

Elegy to the Spanish Republic No. 132, as photographed on October 27, 1975
Elegy to the Spanish Republic No. 132, as photographed on October 27, 1975

He made major revisions again before it was photographed on February 10, 1976.

 

Elegy to the Spanish Republic No. 132, as photographed on February 10, 1976
Elegy to the Spanish Republic No. 132, as photographed on February 10, 1976

It was revised yet again before it was shown at his 1977 retrospective exhibitions in Paris and Edinburgh. In 1982 Motherwell reworked it again, adding large areas of pink and yellow ochre, before it was shown at his 1983 retrospective at the Albright-Knox Art Gallery, where it was reproduced in the catalogue.

 

Elegy to the Spanish Republic No. 132, as photographed on December 22, 1982
Elegy to the Spanish Republic No. 132, as photographed on December 22, 1982

After it was returned to him in 1985, he revised it yet again, painting over the pink areas with ochre as you can see in the final image.

In many cases, it is difficult to say exactly what prompted Motherwell to rework a given picture at a certain time. It was not simply a matter of “perfectionism,” since he himself accepted as a kind of philosophical truth that a work of art could never be perfect. The most surprising thing is how many pictures he revised—mostly paintings on canvas and panel, but also collages and paintings on paper— and also how many times he chose to repaint a picture when it would have seemed easier simply to start a new one, and how much time and effort he gave to the revision of both important and minor pictures. It was as if he was constantly trying to find, redefine, and find again an elusive reality not only within the world, but within himself.

Note: This blog post was adapted from the Robert Motherwell Catalogue Raisonné.

Artist Profile: Monica Chulewicz

In Winter 2016, the Dedalus Foundation was pleased to partner with the John F. Kennedy Center to present the exhibition (Re)Invention at our Sunset Park location. The exhibition features artists whose work exemplifies themes of renewal and self-discovery—of reinvention. From the unexpected whimsy of an animation, to a bold series of self-portraits, this work engages, challenges, and delights us. Collectively, these works of art captivate us on many levels: we are asked to explore ideas of self, community, legacy, and collective memory.

(Re)Invention is the 15th exhibition presented by the John F. Kennedy Center for the Performing Arts as part of the VSA Emerging Young Artists Program, a Jean Kennedy Smith Arts and Disability Program. The result of a longtime collaboration with Volkswagen Group of America, this national art competition and exhibition gives fifteen artists with disabilities, ages 16-25, the opportunity to display their work in venues across the nation where each artist’s individual talent, mode of expression, and view of the world is showcased and valued.

We wanted to highlight one of these artists— Monica Chulewicz from Seaford, NY— whose work I’m Not Here For You To Taunt won the competition’s grand prize.

Chulewicz is a Polish-American artist who was born and raised in New York. A printmaker and collagist, she uses vintage found materials in both digital and traditional hand-printing processes. Chulewicz was born with a progressive disease that has caused several secondary illnesses, and uses her chronic health issues as a means of inspiration for her work.

The cast of anonymous women depicted in I’m Not Here For You To Taunt represent collected memories from unknown histories, and evoke a continuum of loss and renewal throughout the generations. Chulewicz experiments with fiction of the past, using vintage photographs to create dialogues between memory and time, and address themes of existence, fragility, and mortality.

Image: Monica Chulewicz, I’m Not Here For You To Taunt, 2016. Cyanotype prints on vintage dress (90 in x 35 inches.)