Artist Registry


The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.

To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at registry@whitecolumns.org.


a → d e → h i → l m → p q → t u → x y → z


Stephanie Bernheim
New York NY US
Updated: 2022-09-02 08:16:34

STATEMENT OF WORK

The Link that Permits me to travel from Paint to Pixels and back to Paint.

The thread that connects all my work is the pushing of materials.
         - paint as its own support
         - glass windows as substrate
         - small printers with cartridges
         - industrial printers with mylar clear polyester
         - Lutradur garden cloth
         - discarded awnings
         - camera/phone - beyond its warrantee
         - pixel as material
         - garden row cover, agribon

Like an archeologist, I have dug for meaning through process and materials, through surface and layers;
I pushed paint to make sculpture (1980).  Over time, symbols of mountains and home emerged from landscape.  The puckered skin shrunk and smoothed to mimic the shine of its original support structure, glass.
The congealed surface of “Houses for Hereafter” paintings led to shiny “Hinterglassmalerei” paintings (1995) and investigation into the basic components of painting/collage.  I combined awning discards, fabric fragments, wide colored brush strokes, the drawing/writing of my personal glyphs, and applied them to front and back of the glass pane.
The 2008 MoMA exhibition of Jean Miro’s “Queen Louise of Prussia” prompted me to revisit the formal elements of design.  I made jaggy lined drawings inside the small viewing screen, pushing an obsolete cameraphone, the Palmpilot.  These low-resolution photographs brought attention to ‘The Pixel’, the building block of digital imagery.  At the same time, the photographs always refer to painting.
After working for some years under the spell of the blue edge of glass, and with the photograph’s glossy surface, I felt renewed interest in texture, painting and drawing, and in ideas of subjectivity/objectivity and expression/abstraction.

http://www.stephaniebernheim.com