Take Home a Nude

Take Home a Nude, and an Interview with Gabriela Palmieri


By Claire Cushman (MFA 2015) 

Gallery 1 Closing


You may have heard of “Take Home a Nude” and wondered whether this annual fundraising auction featured dates with the New York Academy of Art’s nude life models. Allow me to clarify – Take Home a Nude, wherein academy students, alumni, and other artists donate works to raise money for Academy Scholarships and programming, first took place at the Academy in 1992 – and the name stems from the fact that most of the work created by Academy artists at that time featured, well, Nudes.
Black Bottoms, by Tim Noble and Sue Webster
This year’s 23rd annual Take Home a Nude took place on October 9th at Sotheby’s. Although today’s Academy students still spend a minimum of twelve hours a week drawing from the nude figure during their first year, the work showcased at Take Home a Nude this year included a wide range of subjects, from abstracted elephants and minotaurs to chandeliers and seashells.  Of the 184 lots featured, (including work by Will Cotton, Alex Kanevsky, Vincent Desidirio, and Laurie Simmons, to name only a few) there were around 50 nudes – and the definition of what constitutes a “nude” is a loose one. Some of my favorite pieces were butt cheek prints by Tim Noble and Sue Webster, “Black Bottoms.”


Artwork hung in four galleries. Guests including Brooke Shields and Mary Kate Olsen perused the walls from 6-9 for the silent auction. At 9 pm, Senior Vice President of Sotheby’s and firecracker auctioneer Gabriela Palmieri opened the floor to a live auction, where she charmed guests into bidding just a little higher for each work. By the end of the night, $900k was raised to benefit the Academy’s scholarships and programming.


Gabriela working the crowd


Before the night kicked off, I interviewed Ms. Palmieri about her involvement with the Academy, Take Home a Nude, her work at Sotheby’s and her love of art in general. Here is our conversation.


CC: You’re part of the Academy’s president's Advisory Council and a big supporter of the Academy. What led you to support the Academy, and how did you become involved with Take Home a Nude?

GP: My dear friend Robby Looker, who was my mentor when I first came to Sotheby’s, introduced me to the Academy in 2007. Then I happened to sit next to Eileen Guggenheim at a luncheon, and I was so impressed with what the Academy stands for. I’m an Academic in training, and I really do celebrate any entity that is so committed to development and learning. Robert invited me to Take Home A Nude when it was still happening down at Phillips, where he was helping hang the installation. Then I asked Eileen if she would consider having Take Home a Nude here at Sotheby’s. She said yes, so I introduced the team. I think we’ve achieved unprecedented success in this format here. This is my third charity auction this week – and it certainly feels like “save the best for last” for me. This is a great crowd, and there’s a huge amount of energy, support and interest coming through here tonight.


CC: Well we owe you a big thank you for bringing Take Home a Nude to Sotheby’s! Do you have a favourite Take Home a Nude moment you can think of from over the years?

GP: They started doing this thing called “Hot Lots” during the silent auction portion of the evening. On some of the pieces, you start to see a bidding war – it’s as if these vultures begin swarming the works, like out of a Hitchcock movie almost.. . So you take the last bidders, the ones who really want to take home this nude, the last two or three standing, who are now somewhat hostile to one another, and you go into a bid-off.  Last year we had a hot-lot that ended up raising an additional fourteen thousand dollars. You can generate a lot more money this way, and it really makes a difference. It also becomes like a spectator sport – it’s this intense rally, and watching it feels like watching the US Open.


Gabriela in front of a Hot Lot piece

CC: Sounds intense! And I imagine the Live Auction is even more so. Can you tell me about what it’s like for you during the Live Auction process?

GP: There’s so much hope and anticipation riding on the results, so you feel very responsible. You have this gavel, and there’s something about when you get behind a podium… See, every bid matters, so you certainly want to coax people to keep on bidding, whether it’s through funny banter or a little bit of prodding. But there’s a fine line between that gentle nudge and putting someone on the spot when they’re really done bidding. So there’s a finesse and balance between the two. This is my artistry. It’s a privilege, a pleasure, but a really big responsibility.


CC: Sounds stressful. I can’t imagine being in that position! You are also the Vice President of Contemporary Art at Sotheby’s - Can you tell me how you came to Sotheby’s?

GP: Well, first I completed by PhD in Art History at the University of Chicago. Chicago is an extraordinarily rigorous program that is really steeped in academia, methodology, historiography, and deconstructionist arguments… It’s a fantastic program, and made me into much more of a critical thinker and a better writer. However, being the art romantic I am, I really missed the proximity to the artworks. I had such a need for being around the actual art, that and that’s what landed me here.

CC: Not a bad place to be for an art lover. Are you an artist yourself?

GP: (laughs) No. I think the creative, artistic mind must skip a generation. My father is a musician, but none of my siblings or I got the creative gene. But I am mesmerized by someone who can pick up whatever implement or instrument – the crayon, the brush, the pencil, the camera – and make something, whether it be abstraction, figuration – it really inspires me. I also love being part of the nurturing process for artists, so that’s why I’m so excited about Take Home a Nude. Here at an auction house, we are a secondary exchange, and don’t get to have any involvement with the actual artists.  I love being involved with the Academy because it allows for that nurturing the early stages of an artist’s career.


CC: Do you have a particular movement or moment in art history that you’re especially drawn to?

GP: I really love any artist who pushes or punctures through the atmosphere of what was done before. So I gravitate towards seismic and defining moments in art history. Say, how radical the New York school of Ab Ex was, or how radical someone like Helen Frankenthaler was with a painting like “Mountains and Sea,” one of the first color field paintings ever painted. And I gravitate toward female artists. You never want to look at something for gender specificity, but there is something to be said for female artists and the challenges they have faced. For someone like Lee Krasner, when Hans Hoffman said of her painting, “this is so good you wouldn’t know it was done by a woman.” Honestly I’m a little all over the place because once I see the work, I’m more intellectually, romantically engaged with the subject – because of its history, its context.

CC: I’m sure that makes it even more difficult to pick a favorite within contemporary art, then.

GP: Yeah. Before I started here at Sotheby’s I was a cataloguer and researcher, and there was a running joke that before I looked at the front of the painting I’d look at the back – I wanted to see where had it been. What shows had it been in? I’m really fascinated by the social life of works.



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Brooke Shields and NYAA President David Kratz


Take Home a Nude is the Academy's Annual Fundraising Auction, held at Sotheby's.

Claire Cushman (MFA 2015) is a painter and Social Media scholar with a penchant for blogging.  From time to time check in on the Academy's blog to read more entries from Claire throughout the year.

Babies on Top of Cabinets, Surrealist Mollusks, and a Life Sized Mermaid

AN INTERVIEW WITH SENIOR CRITIC JUDY FOX

By Claire Cushman (MFA 2015) 

“It’s hard to say life is small, delicate, and vulnerable unless you can show the real size of life,” says New York Academy of Art’s newest Senior Critic Judy Fox. On September 17th, Fox discussed the presence of abstraction in sculpture with renowned abstract sculptor and Pace artist Joel Shapiro for the Academy's first Art and Culture lecture of the school year. While Shapiro spoke about arriving at meaning through the process of sculpting, Fox explained her highly premeditated way of working. 
“The emotional effect is one of unattained glory, of someone trying to be something they’re not – a regular person trying to play a grand role,” says Fox, who relies on iconic figures from art or history, as well as a model she’s forced into the iconic pose and photographed. As she works, she observes the inherent tension between the real and the ideal. 

The day after the lecture, I went to Fox’s studio to interview her about her work. I removed my shoes at the door, and almost immediately had a layer of silky sculpture dust covering my bare feet. Natural light poured in from a wall of windows, and NPR – which Fox listens to constantly as she works – blasted from the radio. Strange figures stared me down from all over the room – babies on top of cabinets, surrealist mollusks, and a life sized mermaid from her 2012 PPOW show, “Out of Water.” Fox sat sculpting and continued to sculpt for the duration of our conversation. 


CC: What are you working on now?

JF: This long skinny thing that I’m scratching away at is part of a snake tree, which will be about eight feet tall. It’s a symbol of the temptations that confront Eve. When I think about evolution, and how animals express their sexuality, it’s not often visual – a chimp doesn’t dress up and doesn’t care about esthetics. Eve might represent the dawning of seduction and visual awareness.CC: How does this relate to your other work?

JF: I like to look at mythology, including religion, and think about the psychological and sociological themes that the myths are addressing. I reanalyze myths in a frank, contemporary, science-oriented way. I pillage all of time and civilization, and choose myths wherein the imagery seems to suggest a new interpretation by contemporary standards.





CC: Can you tell me how you arrived at your mollusk sculptures?

JF: I was thinking about evolution as an approach to visualizing the Garden of Eden. So I was reading the bible and I was side tracked by the third day, when the seas were created. I started thinking about primordial muck, primitive life forms, and sea monsters. I was interested in our connection to PRIMATIVE life, and our fear it, fear of monsters… you can see sea monsters at the side of old maps back when people believed the world was flat. These snakey, reptile wormy monsters were the inspiration for the worms. They were fun to make. You have to have a good time.

CC: What source images were you using to create these?

JF: I just worked from magazine and internet pictures, whatever I could get. Cephalopods are very flexible in the flesh, but they do have some anatomy, which I tried to study. I worked out the anatomy but also hybridized them with certain ideas I had, to give them different characters. I was using my ability to invoke human expression, to make them look like a person of one type or another. We are all animals, so we have certain things in common with them. We are fairly related even though not… I wanted to emphasize this ability to empathize across species. I was using form as a way of evoking aspects of human experience in a humorous way.
CC: What are you currently reading?

JF: I try to have a novel going… right now I am reading “Benang,” a novel by an Australian aboriginal writer, Kim Scott. I love anthropology of all kinds. That comes with being a figurative artist – you like to learn about the human experience from all sides. I tend to read science magazines and collect information that way. And listen to NPR.

CC: What artists are you looking at historically?

JF: My main stylistic influences/brothers are Northern Renaissance sculptors. I also love High Gothic sculpture, which is much more attentive to individual character. It’s actually kind of easy to make a Renaissance sculpture because all you really need is anatomy and curvilinear resolution. But to actually get all the individual character into it you have to observe a real example of a person.
CC: You mentioned during the lecture that you found observing nature more interesting than working from your imagination.

JF: When I was a student, I was once trying to finish up a piece and thought – “I’ll just make up the belly button,” which came out fine. Then the model came in, and damned if her bellybutton wasn’t way more interesting than the one I made! I realized that the act of understanding something is the act of trimming away all the irregularities. So I decided I was going to fight against that and stick to nature. For example, in painting, once you get some idea of what light and shadow looks like, you can probably do it credibly. But you’re never going to be Vermeer that way. There’s just nothing like actually observing real light and the myriad of color reflections. I encourage any artist to work from life. There’s no substitute for going out there and looking at reality.
CC: You spoke about trying to create tension between a model’s personality and the role you are trying to fit them into.

JF: In some cases, the model’s personality meshes with the hero or the figure they’re playing – that can work sculpturally, like in Shiva dancing. The model was a very confident, tough little kid – his personality fit very well with the Hindu god shiva, the creator and destroyer. So that worked well for the piece even though it wasn’t a very “tense” outcome. When the models are really different from the role I’m trying to place them into it creates tension, and makes a more poignant outcome. The sculpture becomes more about trying something that’s difficult. Both things are truth. It works in either direction. That said, there are still some pieces that end up more captivating than other pieces in the end.

CC: Do you ever scrap pieces, if you’re not happy with them?

JF: Of course I try to only make pieces that are going to be good because they take me so long to make, but some of them really end up being stronger than others. And since I’ve spent months and months on them, I use those pieces too. I show them all. It’s a big ceramicist thing to throw away imperfect pieces of your work. But ceramicists don’t usually work on a piece for a year.
CC: What is your pace?

JF: About one month for every ten inches of sculpture. Sculpting an adult takes me about nine months. And then by the time it’s fired, put together, seams fixed, it’s effectively a year for a life-sized adult. Kids are faster. And surrealist things are faster because they’re straight out of my head.
CC: As an undergraduate in the 1970s, you made abstract constructions. How did you move from these works to the strictly figurative work you are making now?

JF: I loved doing the constructions and probably would have continued making them had I been accepted into the Whitney Independent study program – they would’ve discouraged figure – but then I wasn’t accepted, so I went to art conservation school at NYU. This was cool because no art school at the time would have encouraged me in any way to do the figure. But taking art history courses exposed me to very serious interpretations of figuration and its various styles. I was also doing my own work and working out a way of doing the figure that reflected my own time.

CC: What skills did you learn at NYU that you use in your work now?

JF: That program was where I was really introduced to polychrome sculpture, because most sculpture in the ancient world was painted. It was really more of a post 19th century thing to have everything be colorless. Art conservation taught me to mix and layer colors, as part of replacing lost areas. Kind of by surprise, it was a great place to learn to make art, and a fun education.



CC: What kind of work did you do as a conservator? 

JF: When I finished graduate school in 1984, I started my first job at NYAA. I was taking care of their cast collection, which had a tendency to get broken by party revelers – I would glue them back together, fill the losses, the usual restoration routine. I later joined a private business that worked on Modern and Contemporary Art. Being a conservator saved me from having to do the usual kind of hustling that artists so often have to do. It was a great day job, and overlapped with my studio needs.

CC: Were you ever interested in working 2D?

JF: I’m just a natural sculptor, and am very literal minded. It’s possible for me to draw, but I wouldn’t credit myself with having developed a drawing language that works. I have respect for drawing and painting, but I don’t really like doing either. For example, I painted my Cuttlefish sculpture with a colorful pattern on its back, and it was tedious for me to paint within the lines. I don’t love it, but I have to paint to give my sculptures that sense of life.

CC: When and how did you come to a clear idea of what you were trying to say with your work?

JF: I didn't come to a clear sense of how to make figures contemporary for a long time. I was searching for a way to express certain things for years. For example, I wanted to avoid monumentality in favor of subtlety and intimacy. I went down a few dead ends, but when I started the baby series in 85, I knew that the sculptures were finally taking care of all the things I wanted to say. Eventually the language of form that I developed became my style. In the 70s, the grad students would say “Why would you make a figure, why bother?” When I started to do the baby series it was like “well, it’s a figure because my work is about human issues and personality.” Modernism had gone so far as to chop off heads and do just torsos, and abstract elements of the body. The head, and the mind in it, was important subject matter to me. I was looking to make figures that addressed contemporary life in an interesting way. 

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Judy Fox contributed two essays in The Figure: Painting, Drawing, and Sculpture – Contemporary Perspectives, the New York Academy of Art's debut monograph
celebrating the art of the human figure, published by SkiraRizzoli .

Her conversation with Joel Shapiro is featured on the Academy's Vimeo page and her extraordinary work can be seen on her website www.judyfox.net

Claire Cushman (MFA 2015) is a painter and Social Media scholar with a penchant for blogging.  From time to time check in on the Academy's blog to read more entries from Claire throughout the year.

ELIZABETH GLAESSNER'S QUIET CONFIDENCE

Have you had the chance to see the "2014 Fellows Show" at the Academy?  If not, RUN don't walk to Wilkinson Gallery, 111 Franklin Street, before it closes on Sunday, September 29th.  At the show you will be drawn to Elizabeth Glaessner's (MFA 2013, Fellow 2014) work. Her post-apocalyptic paintings slowly reveal intricate allegories suspended in time.  Her chromatically vivid, psychologically dense, personal narratives take the viewer on a journey through the artist’s interior life.  Both intensely strategic and wildly intuitive, each detail of her work has a jewel-like quality that is the result of the artist’s extreme focus.  And yet, when taken as a whole, the improvisational nature of the work links every component into a rapturous symphony of exotic symbols and voluptuous color.

For Elizabeth, the Fellows Show came at the right time - fresh on heels of her debut solo exhibition at PPOW Gallery in August, a show that started a trajectory that we're excited to follow.  For the last installment of the Fellow Interview Series, we caught up with Elizabeth Glaessner whose quiet confidence shines through in her work and presence.  

Q: What are the major themes you pursue in your work?
A: Ritual, absurdity, meaning, invented mythology, shifting landscape, horror

Q: Where did you grow up? 

A: I grew up in Houston, Texas and my mom taught classes to kids at the Glassell school of art so seeing and making art was a big part of my childhood. We spent a lot of time at the Menil and the MFAH and I joined the teen council at the Contemporary Art Museum in Houston when I was in high school. There, I had the opportunity to visit artists’ studios whom I still greatly admire (especially Trenton Doyle Hancock). I also spent a lot of time outdoors - digging in the bayous, fishing in Galveston, hiking in West Texas and the Rockies. The vast, open (often toxic) landscape definitely still appears in my work.

Q: What inspires you?
A: Things I see everyday - often the most banal objects seem to have the most potential to be transformed into something totally ecstatic.


Q: Tell us about your practice, do you start with a picture, idea or story in mind? 

A: I start with a feeling or a mood and then I try to conjure imagery for that and channel that feeling the entire time I’m making the piece. I first learned this from taking Inka Essenhigh’s monotype master class and it completely resonated with me and inspired me to adjust my own way of working. Everyone should take her painting from imagination class!

Q: If you could retake any class at the academy what would it be and why?
A: All of the master classes I took - Julie Heffernan, Natalie Frank, Inka Essenhigh - those were all incredibly influential and encouraging for me. Also, Wade’s animal class (but with a mask to eliminate the smell), Jacobsmeyer’s comp and design, Catherine Howe’s alchemical painting, Margaret Bowland, Monica Cook, any class where Kurt Kauper lectures.

Q: What materials do you like to use and how do you know when your work is finished 
A: I use inks and water dispersed pigments mixed with different binders in order to create a saturated world, sometimes allowing the medium to dictate the narrative. I really started using the materials I use now during my residency in Leipzig during the summer between my 1st and 2nd year.  I know it's finished when I don’t want to go back to the studio the next day and destroy it.

Q: During your post-graduate year, what did you learn most about yourself and practice?
A: I learned to trust my instincts more and the importance of community and conversation.

Q: What was the best advice given to you as an artist?
A: Be idealistic and read the news.

Q: What 3 quirky things can we find in your studio?
A: My stuffed chipmunk, Chester, plaster chicken feet and a studio mate.

Q: Do you paint to music or paint in silence?
A: both, today I was listening to Nancy Sinatra and La Luz but I switch it up often.


Q: If you weren't an artist what would you be?
A: A little more bitter.  



Q: Pick a piece and tell me about it
A: “Those that Prefer to Stay in Trees” This 4 by 6 foot work on panel depicts a creature half born out of a tree bearing mutations which are indicative of what we might call a toxic environment, however in this world these mutations are celebrated and the toxic landscape becomes a place where new creatures and mutants thrive. This particular creature is enamored with the Lady of Ephesus (the Ionian fertility goddess) adapting her accessory breasts and presenting herself as a source of nourishment and birth. She has a commanding presence and watches outward with an ominous eye.


Q: Finally, what's next? Any immediate plans to share?
A: I'll be working in my studio in Greenpoint, continuing to work with all the incredible people at P.P.O.W. and teaching once a week at Montclair University. I also look forward being a part of another critical and inspiring community!
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To see more work from Elizabeth Glassner please visit her website.  Currently, her work is featured in the "2014 Fellows" exhibition, a three-person show that also features 2014 Fellows Nicolas V. Sanchez and Yunsung Jang.

Annually, the Academy awards Post-graduate fellowships to three exemplary graduating students chosen through a highly competitive selection process. During their Fellowship year, the Fellows receive studio accommodations, a stipend, exhibition opportunities and teaching assistantships to expand the depth and breadth of their artistic practice. The "2014 Fellows" show represents the culmination of their Fellowship year and entree into the art world as professional artists.