Panel Discussion: The Collage Aesthetic in Painting

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Panel Discussion: The Collage Aesthetic in Painting
Curated by: Andrea Packard

547 West 27th Street
Suite 500
New York, NY 10001
June 14th, 2007 6:00 PM - 7:30 PM

Tue-Sat 11-6


The Painting Center is pleased to host a panel discussion titled “The Collage Aesthetic in Painting,” which will examine the evolution of multiple collage aesthetics and their role in contemporary painting. Karen Wilkin, Mario Naves, and Peter Paone will serve as panelists and Andrea Packard, a member of The Painting Center and director of the List Gallery, Swarthmore College, will moderate the discussion. This event, which is free and open to the public, has been made possible through the generosity of the Renate, Hans, & Maria Hofmann Trust. 


The hallmarks of collage–incongruous juxtapositions, fragmented images, appropriated materials, and the provocative combination of myriad sources–profoundly influence contemporary artistic practice. One could argue that in academia, technology, and popular culture as well as in the fine arts, collage aesthetics and practices fundamentally shape our definitions of meaning and identity. From its rebirth in cubism as a dynamic language integrated with painting, collage practices have informed what we understand to be “contemporary” for the past century. Originating with the cubists’ analyses of the spatial and symbolic fundamentals of painting, the fragmentary look and sharp-edged contrasts of collage have developed in concert with artists’ fascination with the relationship between reality and representation. Surrealists such as Max Ernst broadened the collage aesthetic and mined popular and commercial images to create multifaceted gems of the unconscious. Since the early 1950s we have seen a multitude of artists negotiating a broad continuum of materials and strategies and the boundaries between media have become fluid. 


Since many of us have now seen a wide variety of collage-based painting that ranges from conventional to inspirational, we do well to consider what is dynamic and vital in the collage aesthetic today. The Painting Center’s June 14 panel discussion will address a variety of questions and concerns that artists must consider as they develop their creative strategies and navigate our global and hybrid art world.  




Karen Wilkin is an independent curator and critic specializing in 20th century modernism. Educated at Barnard College and Columbia University, she was awarded a Woodrow Wilson Fellowship and a Fulbright Scholarship to Rome. She has organized numerous exhibitions internationally and is the author of monographs on Stuart Davis, David Smith, Anthony Caro, Keneth Noland, Helen Frankenthaler, and Hans Hofmann, and has organized exhibitions of their work internationally. She is the contributing editor for art for the Hudson Review and a regular contributor to The New Criterion, Art in America, The Hudson Review, and the Wall Street Journal.  She teaches in the Master of Fine Arts program at the New York Studio School and has lectured at numerous institutions including the Guggenheim Museum, the Museum of Modern Art, Tokyo, and the Ecole des Beaux-art, Paris.  


Mario Naves received his BFA from the University of Utah. He completed his MFA at Pratt Institute in 1987 and he has taught there for eight years in both the undergraduate and graduate programs. Currently represented by Elizabeth Harris Gallery, New York, his work has been displayed in group and solo exhibitions nationally. His awards include a fellowship from the National Endowment of the Arts, and grants from the George Sugarman Foundation and the E.D. Foundation.  An art critic for The New York Observer, Naves writes for the weekly column titled “Currently Hanging.” His essays on art have also been published in Smithsonian, American Art, The Journal of the American Art Museum, ARTS, COVER, New Art Examiner, The New Criterion, The New York Review of Art, The New York Sun, The Wall Street Journal, and the Washington Times Book Review. 


Peter Paone received his B.F.A at the Philadelphia College of Art. His work has been featured in fifty-two one-person exhibitions in New York, Houston, Fort Worth, Philadelphia, as well as in London, Vienna, and Germany. Since 1960, his work has been featured in sixty national and international group exhibitions. His work is represented in numerous distinguished public collections including The Museum of Modern Art, in New York, The Victoria and Albert Museum and The British Museum, in London England, The National Gallery of Art, and The Philadelphia Museum of Art. He is a member of The National Academy of Design. His awards include two Louis Comfort Tiffany Foundation grants, a Pennsylvania Council for the Arts grant, A Mid-Atlantic Foundation grant, and a Guggenheim Foundation Fellowship. His recent one-person museum exhibitions include, Poets in conjunction with his photography collection The Artist Revealed at the National Academy of Design, The Italians at The Jersey City Museum, Imaginary Watercolors at the James A. Michener Museum. He has taught a variety of institutions including The National Academy of Design in New York and, since 1978, The Pennsylvania Academy of the Fine Arts in Philadelphia. 




Andrea Packard is an artist and curator. She completed a B.A. in English Literature and Art History at Swarthmore College before studying drawing, painting, and printmaking at the Pennsylvania Academy of the Fine Arts in Philadelphia, Pa. She received her M.F.A. from The American University, Washington, D.C. in 1991. Her work has been featured in numerous one-person and group exhibitions at a variety of venues in Philadelphia, New York, Connecticut, and Washington D.C. She is a current member of The Painting Center, NY, and an alumnae of the Center for Emerging Visual Artists, Philadelphia.  Her fellowships and residencies include stays at The Josef and Anni Albers Foundation, St. Mary’s College of Maryland, and The Vermont Studio Center. Since 1995, Andrea Packard has directed the List Gallery, Swarthmore College. She has curated over sixty exhibitions in a wide variety of media including Alison Saar; History, Memory and Representation: Responses to Genocide; Mulatto Nation, an installation by Lezley Saar; Buzz Spector: Public/Private Peace; and Changing Rhythms,Works by Leland Bell, 1950’s–1991, which traveled nationally.