The painter Jeane Cohen not too long ago emailed me to inform me about her exhibitions that had been then presently on show in NYC, Three Women, a three-person show at Steven Harvey Fine Art Projects and Waxing Glimmer, Shedding Beams, a solo exhibition at Slag Gallery that’s up by means of August 27 (link to a NY Times review of this present)
After trying extra carefully on the on-line photos of her present’s present work and her earlier work from a couple of years in the past on her web site – I made a decision to seek out out extra about her and to do that electronic mail interview.
I used to be intrigued by how she advanced from her earlier involvement with direct portray from nature to her current abstracted landscapes. Her newest massive oil work appear to take inspiration from the spirit of such painters as Joan Mitchell, who said in 1958, “I paint from remembered landscapes that I carry with me—and remembered emotions of them, which after all develop into reworked. I may actually by no means mirror nature. I would love extra to color what it leaves me with.” The late Thomas Nozkowski’s work may come to thoughts along with his painted response to particular reminiscences of locations, issues, and experiences, remodeling these reminiscences with graphic symbols, patterns, and marks into his summary compositions.
From the gallery press launch:
“Slag Gallery is happy to current Waxing Glimmer, Shedding Beams, Jeanne Cohen’s second solo exhibition at Slag & RX gallery.
“Cohen will not be solely depicting imagery, however by means of art-making, the artist can be producing perceivable slivers of the cosmos. Within the artist’s personal phrases: “My work are like mild folds within the cloth of the cosmos, which is pressed up towards itself and senses itself in two locations directly. Very similar to after I place my hand on my coronary heart and have the simultaneous experiences of twoness and oneness, my work create sensory contact between minds. Every portray is sort of a shed pores and skin of my consciousness.”
Jeane Cohen’s work mirror the boomerang-like tendencies of nature, with an inner capability for name and response and aware resonance.”
Jeane Cohen is an artist based mostly in New York Metropolis and Maine, and her many notable accomplishments embrace A 2022 Pollock-Krasner Basis Grant and a 2022-2023 Sharpe-Walentas Studio Program Award. Cohen has proven her work all through the nation and overseas with 5 solo and thirty-four group exhibitions. She has acquired quite a few awards, grants, and residencies, together with the William & Dorothy Yeck Younger Painters Competitors, the Elizabeth Greenshields Basis Grant, and the Ox-Bow Faculty of Artwork Artists’ Residency. She acquired her MFA from the Faculty of the Artwork Institute of Chicago in 2018.
Larry Groff: What had been your early years like? Had been you given a variety of help for art-making as a toddler?
Jeane Cohen: My household inspired me to make artwork and be messy. I had a variety of alone time as a toddler throughout which I made sculptures, illustrated story books and crafted imaginary worlds. I used to be an obsessive maker from an early age and my palms had been busy on a regular basis. In kindergarten my trainer informed me I spent an excessive amount of time on the drawing desk and wanted to department out into different instructional actions. I’ve at all times had a powerful artist drive that places me within the studio daily. And I’ve been so fortunate to have labored with wonderful artwork lecturers. I had my first oil portray lesson after I was 12. Once I was 16 I took a extra rigorous oil portray class and I principally haven’t stopped portray since then.
LG: As a substitute of a typical artwork college, you selected to get your BA in Psychoanalysis and Visible Artwork at Hampshire Faculty in Amherst. What was that like for you? What are you able to say about how your examine there has influenced your method to your work and subject material?
Jeane Cohen: Hampshire was nice as a result of I may suppose creatively throughout disciplines and the curriculum is targeted on self-directed interdisciplinary examine. You possibly can actually examine no matter you have an interest in at Hampshire, and your final 12 months is devoted to an enormous challenge. One in every of my pals designed and constructed a automotive and one other good friend studied how zoning legal guidelines affect registered intercourse offenders. In my final 12 months, I illustrated a wordless visible graphic novel integrating psychoanalytic concepts right into a story about therapeutic and group. At Hampshire, there’s a robust social justice focus, so most lessons you are taking will relate issues again to ethics, sustainability, and organizing. It’s nice since you study to wish to be a transformational individual on the planet, and it’s embedded into the curriculum.
LG: After graduating from Hampshire Faculty, you labored as a Psychological Well being Counselor for a time. You then labored on varied artwork and remedy considerations, equivalent to many Mural Arts Initiatives in Philadelphia, as a Lead Therapeutic Instructing Artist, the Porch Gentle Wellness initiative, the place you labored on a sequence of participatory accordion books about emotional wellness and in addition later labored on a Jail artwork challenge. Are you able to say one thing about what this counseling and group service expertise was like for you and what, if something, has this delivered to your portray?
Jeane Cohen: That’s proper! I didn’t know I used to be going to pursue portray professionally. I assumed I used to be going to color on the aspect and have one other profession. So for some time, I labored as a counselor and in group arts. Throughout my first job out of faculty, I labored with adults with power psychological diseases equivalent to schizophrenia and psychosis. These of us had a really completely different day-to-day expertise of actuality than I did. It suited me as a result of I like connecting with folks, and we discovered loads of different issues to attach about. I ran an artwork group for some time when I labored there, and that ultimately acquired me going with murals and group artwork in Philly. However I used to be portray the entire time. At a sure level, I noticed I wasn’t getting paid a lot at any of those different jobs I’d labored and I’d remorse not going to graduate college to study extra about portray. In a roundabout way, spending time with folks and portray are like two sides of the identical coin. They’re each concerned with speaking one thing significant.
LG: You then attended the MFA program in Portray and Drawing on the Faculty of the Artwork Institute of Chicago. How was your expertise there?
Jeane Cohen: I realized rather a lot in regards to the custom of picture making, portray particularly, and what our eyes and minds are able to spatially. I truly didn’t know a lot about artwork historical past earlier than I acquired to grad college. I simply knew that I wanted to color and wished to get higher. My lecturers had been wonderful. I labored with so many individuals who every had a distinct viewpoint about portray, however all inspired me to remain true to myself. SAIC is cool in that approach, they get into no matter you’re into after which they present you how you can do what you’re into at high notch.
LG: I’ve heard that many MFA applications immediately, equivalent to on the Artwork Institute, can place extra emphasis on the concepts behind making your artwork, like Important Artwork Concept, and fewer give attention to studio apply than was widespread in earlier occasions. When faculties create this imbalance between speaking about artwork and making artwork, it upsets some historically educated painters who focus extra on visible or formal, non-verbal points. I believe it’s honest to say they get out-of-sorts when the eye is extra on the wall label than on the art work. What is likely to be your tackle this topic?
Jeane Cohen: My expertise was that the curriculum was geared in direction of studio time and concepts had been mentioned within the service of creating, not within the service of concept, though concept would come up in dialog. Fairly than feeling a dissonance between idea and making, I noticed that the 2 may be synonymous. Even in case you aren’t a conceptual artist, your work nonetheless has ideas and concepts. It was actually thrilling to study all of the underlying meanings in my work. And terrifying. Equally to psychoanalysis, I realized that not eager about the implications of the work truly leaves you weak to concepts and biases you’ve by no means thought-about earlier than.
This has stayed with me as part of my present apply. I’ve at all times been a deep thinker, so I used to be very relieved to get to a spot the place there was a broader dialog happening about which means. Total at SAIC, I felt very inspired to color my approach by means of obstacles within the apply after which take into consideration the which means of it later. And my relationship to wall textual content is that I’m open to it, however actually I’d reasonably simply be with the artwork.
LG: Google led me to a portrait of you by Anne Harris, I believe–on her web site. Did you examine together with her at SAIC?
Jeane Cohen: That’s truly my drawing! I did a self-portrait as part of her Thoughts’s I challenge by which everybody contributed a self-portrait. It’s humorous you convey that up, although as a result of at one level in the course of the challenge I drew right into a discarded self-portrait that Anne had performed of herself, and tried to complete it for her. I believe I used to be engaged on her eyes and hair. It appeared favored her.
LG: Did you examine with Dan Gustin? I ask this due to your give attention to panorama portray.
Jeane Cohen: I studied with Dan in Italy and in addition with Stanley Lewis, who was there on the time. That summer time actually acquired me going with panorama portray and eager about the connection between panorama area and cerebral-perceptual area. The primary time I spoke with Dan we talked for a very long time. I felt like he may see proper by means of me. It was unusual. Throughout the course, he gave me some recommendation in regards to the work I used to be making, however largely he taught me by means of conversations and concepts. I gave a lecture on panorama whereas I used to be in Italy and I bear in mind he acquired up and left in the midst of it as a result of he felt prefer it was too performative. Wanting again, he most likely had some extent. Dan will let you know to your face precisely what he thinks about what you might be doing, which isn’t at all times comfy however is real suggestions.
Stanley, alternatively, taught me how you can combine a coloration from commentary. I’d paint close to him, and he would come over to examine what I used to be doing after which have me paint the entire thing over once more. He’d inform me to combine the colour of the sky and so I’d do it. Then he’d come again and blend it himself and present me how far off I used to be. This was all whereas he was in the midst of making his work after all. I assume he’d want a break and are available be certain the folks round him may no less than combine their colours proper.
LG: I perceive that you simply had been an outside panorama painter for a time. What led you to develop into extra of a studio painter? How a lot does your prior expertise with observational portray affect the way you paint immediately?
Jeane Cohen: Sure, in graduate college, there was a interval the place I used to be portray virtually solely exterior. I used to be just about alone in pondering it was a radical concept to make observational panorama work. I didn’t know what I used to be doing however I knew what I wanted to be doing. So at a sure level, I knew I wanted to return to the studio and work from reminiscence, pictures and creativeness. I didn’t know why, however on reflection, I believe I used to be studying the patterns of nature by means of image-making. I grew to become extra within the patterns of gestures and invention than attempting to get the precise coloration of the sky I used to be . I nonetheless rely closely on commentary as a core element of my apply. Now it’s extra balanced with different issues like working from the portray itself or departing from the noticed reference.
LG: In your Instagram pages from a while in the past, you talked about an essay you wrote known as “Artwork Types of Nature: How Artists Set up Their Visible Depictions.” On this essay, you mentioned “Artistic Group,” a foundational precept of visible dynamics which can be typically ignored in art work evaluation. You said, “Artistic Group is analogous to Composition, however extra particularly, it conveys the actual ways in which the artist’s aware and unconscious processes current an ontological viewpoint by means of the medium of their art work.” I’m curious to listen to extra about this. Is that this essay obtainable someplace to learn?
Jeane Cohen: I’ve checked out a variety of artists’ work depicting the conduct of nature, whether or not it’s illusionistic or summary. I began to consider the best way they select to arrange their photos of nature, which any panorama painter is aware of entails organizing an infinite vary of relationships. I noticed completely different features of nature are prioritized by completely different artists. For instance, I believe camouflage is a big a part of Xylor Jane’s work, despite the fact that she isn’t portray strolling sticks. Her work are inclined to exude visceral experiences of nature, reasonably than illusionistic experiences of nature, as Claire Sherman’s work does, for instance. I’ve written about 4 artists on this essay and wish to lengthen it to incorporate a number of extra earlier than I’d take into account publishing it. However I’m undecided if I’ll return to it. I’m not an ontological or cultural historian, so I don’t but know the way these ideas would enter the general public sphere.
LG: What up to date artists curiosity or affect you probably the most?
Jeane Cohen: I by no means know what to say when of us ask me this as a result of I actually soar round with who I’m . If I have to remind myself it’s OK to color something, I take a look at Albert Oehlen; If I have to really feel soothed, I take a look at Joan Mitchell or Helen Frankenthaler. If I would like an ass-kicking, I take a look at Katherine Bernhardt. I do take a look at each painter I can get my palms on, from Gregor Gleiwitz to Katherina Olschbaur.
Since I’ve been in Maine, I’ve spent a variety of time with the work of Reggie Burrows Hodges and Kathy Bradford, who each have exhibitions up now. Kathy’s work are good to have a look at for eager about people who find themselves consistently reinventing themselves. Her worlds are each alluring with vibrant colours and gestures, in addition to scary, as figures are entangled and certain collectively, consumed by the construction of the portray itself. Reggie’s work are cool in that they appear to elude themselves despite the fact that the glowing marks on darkish grounds are mesmerizing. The work are there and never there.
LG: Inform us one thing about the way you go about making a portray. Do you’ve some concept about what you need the image to be earlier than you begin, or is that one thing that comes from the portray course of?
Jeane Cohen: I begin with a coloration, picture, feeling or style of portray I wish to make, and I construct from there. My course of could be very experimental, and I attempt to be open to new concepts and turns in my trajectory as I start the work. Generally my unique concept strains up with the tip results of the portray. Steadily I am going by means of many concepts, typically making a number of work on high of one another earlier than I land on a very good one. I stumble round rather a lot as I’m making, probably not realizing the place issues are headed, or pondering I do know after which realizing there’s something extra attention-grabbing happening within the portray that I wish to work with. Most of my finest work are made after I’m within the throes of feeling I is likely to be onto one thing, but being blind to it within the second.
LG: From what I can see on-line, your newer work, like We Had been There Collectively and Solar Baked appears to be painted slowly and constructed up with layers and masking. This appears a change out of your work of a few years in the past, the place the paint has extra broad gestural strokes, doubtless painted with large, drippy fully-loaded brushes and provides a distinct, maybe extra emotional feeling to the composition.
Jeane Cohen: Sure, that’s proper. I’ve been deep into making a bunch of slower work within the final six months. I’m undecided I’ll proceed with this fashion of creating in my apply, however it has been helpful to see what this course of can convey. I began with the sluggish work as a result of I wanted a break from making quick work, which I had performed just about continuous for the previous couple years. In 2020 and 2021 I revamped 2 hundred work at a fast tempo, so I wanted to sluggish issues down. Gradual will not be my pure option to paint, however I additionally like throwing a wrench into my course of to see what occurs. Portray slowly lent itself to weaving work collectively and staring at them for a very long time earlier than making a transfer. It has allowed me to prioritize seeing within the work reasonably than leaving every part to my hand. Now that I’ve a stronger eye for my work, I can convey that again to the opposite work.
LG: What are you able to say about how your portray course of has modified previously few years?
Jeane Cohen: I’ve welcomed extra imagery and collaged parts into the work. I preserve including new themes like animals or fireplace. They come up within the work on their very own for probably the most half and I attempt to get out of the best way and make room for these shifts to occur. It’s essential to say that the arrival of those parts within the work isn’t about owls or horses. I imply in a approach it’s as a result of that’s the topic, however for me the topics are placeholders for emotional experiences and completely different sorts of consciousness.
LG: There appears to be a variety of recurring imagery in your work. You typically embrace animals and birds, decorative backyard gates, stars, solar, fires, forests and extra. The place do these come from, and why may they be essential for you?
Jeane Cohen: I like the rhythms of nature, just like the moon and the tides. I like that nature is transformation and life and loss of life . In artwork folks have phrases like cliche or basic for artists who embrace nature. I want the phrase custom, and I settle for the custom of nature, despite the fact that I don’t at all times prefer it. However I’m indebted to it, and I wish to perceive it higher, so I pay homage to nature by means of portray forest fires and celestial skies sprinkled with animals. The decorative backyard gates are very contemporary for me. They most likely level towards my curiosity within the peripheries of nature. Of course, it’s all nature in the long run, however there’s one thing to be stated for that liminal area on the fringe of nature. What’s that area like and is it just like the area on the fringe of a portray? It’s like asking the query, what’s on the fringe of the universe?
LG: I significantly loved your 2022 oil portray diptych, Evening Fisher . It jogs my memory of a few of the extra enigmatic, mysterious later watercolors by Charles Burchfield. This portray appears to concurrently depict a forest, a area of sunflowers, a seascape and maybe flying fish . Please inform us one thing about why and the way this portray was made.
Jeane Cohen: Charles Burchfield is an attention-grabbing level of reference. There’s a dappled positive-negative pulsing happening within the portray that’s just like Burchfield’s work. The place I could depart from Birchfield in a serious approach is thru collage and hurling completely different occasions and spatial orientations into the portray , whereas nonetheless retaining some type of associative narrative, which on this case, is the place the title is available in. Like Burchfield is taken with stretching one viewpoint so far as he can, and I’m taken with making many factors of view relate. And the work are held collectively by a number of synonymous overlapping panorama occasions. I haven’t found out what retains me within the style of panorama, however my finest guess for why panorama arises within the work repeatedly is that it helps with orientation. I’m portray otherworldliness however I’m additionally nonetheless portray a world. I’m conserving it tied to human expertise and I believe it’s relatable in that approach.
LG: Do you take heed to music whilst you paint? If that’s the case, is there explicit music that works finest for you?
Jeane Cohen: I’ve nice admiration for musicians and sound as a result of it’s our primordial artwork kind, which precedes the visible and movement-based arts. It’s so elementary and computerized, listening may help free me as much as take dangers in portray. There’s not a selected style that works finest, I prefer it all. I simply have to work from one thing that sounds contemporary, and never the identical outdated watered-down stuff, until it’s a very good pop music, which is nice for large portray strikes. However yah, hip-hop, classical, folks, indie, jazz and so forth. Really these days I’ve been attempting to not take heed to music whereas I work so I can focus fully on the work. After a ten-day meditation retreat this winter I got here again to the studio and realized how distracting noise is to my apply.
LG: Talking of music, I see the place you lately contributed album art work for the document, The Uproar in Bursts of Sound and Silence , which you stated was additionally known as Hen Songs for The Stars.
Jeane Cohen: Sure, I acquired to contribute the art work for this wonderful album! My good friend, Evan Strauss, was engaged on this challenge for a very long time and requested me if I want to make one thing for it. He’s a little bit of a mystic and the unique title was Hen Songs for The Stars , so I made a canopy to suit that theme of a hen grazing the floor of the water and the celebs reflecting from the evening sky. Really, it’s humorous as a result of that portray can be known as Evening Fisher . It was the unique Evening Fisher and now there’s a second Evening Fisher portray. This occurs rather a lot in my apply. I find yourself having to retroactively title issues I and II and so forth.
LG: I perceive you presently reside in Maine – however you only recently received a 2022 Sharpe-Walentas Studio Program award the place you get a year-long, rent-free studio in DUMBO, Brooklyn, NY, the place 17 artists had been chosen out of 1500 candidates. Congratulations! That have to be large for you. What ideas may you share about this new transfer?
Jeane Cohen: I really feel very lucky to have been awarded this residency and grateful for the chance to return to New York Metropolis, the place I had been residing in 2019. Throughout Covid I returned to Mid-Coast Maine, the place my household is from. Maine is so huge and crammed with plentiful nature that it’s each comforting to really feel so held and intimidating to really feel so small. The wind and the ocean and the forest are nice with or with out me, and so it has been actually good for my artist apply as a result of it’s been only for me. It’s stored me clear-headed in regards to the work I make. However I actually miss the depth and keenness of metropolis life, and I’ve most likely been a bit too remoted in Maine, so this chance has come alongside at a very good level for me.
LG: You had a few solo exhibitions in 2019, titled Orgonon I and Orgonon II, on the Zolla/Lieberman Gallery, Chicago, and the Miami College, Oxford, OH. I’m guessing your present’s title referred to Wilhelm Reich’s property in Maine known as Orgonon, the place he had labored on his Orgone Vitality Observatory and associated within the late 40s. What are you able to inform us about this exhibit?
Jeane Cohen: I didn’t learn about this property in Maine! I named the exhibits after a barely completely different spelling, Organon, which was a phrase I stumbled upon within the dictionary after I was attempting to call my exhibits . I used to be looking for a title that might convey my curiosity in nature, diversification, and concepts, so I went to the library the place they’ve a multi-volume set of the Oxford English Dictionary. Organon was near ‘natural’ and ‘organ’ on the web page. It’s outlined as a system of thought, organ, or instrument, so it was a very good match. Quite a lot of my work is in regards to the nature of thought, and every work within the present was a distinct instrument of thought.
LG: Sorry, I spaced on the spelling distinction – it simply appeared to suit together with your subject material and your previous examine of artistic makes use of of psycho-analytic concepts at Hamshire Faculty.
LG: What recommendation may you supply aspiring younger painters who hope to get recognition, advance their careers and present their work in higher venues?
Jeane Cohen: Nothing revelatory. I believe it’s all within the service of the work. That has to return first, and every part else must be to help the work. In any other case, you might be doing every part for the mistaken causes. When you come to phrases together with your unrelenting have to make artwork or no matter it’s you do, then you possibly can give attention to making that obsession come to life after which later begin to consider venues and recognition. The factor is, so as to get the popularity it’s a must to preserve placing your self on the market tons of and hundreds of occasions earlier than somebody may take discover. And it’s a must to remember that success doesn’t essentially correlate to good artwork. You possibly can have success with out good artwork, and you may have good artwork with out success. So long as you perceive this, you might be being sincere with your self and staying aligned with what you’ve got down to do within the first place, which is to make the work.
Larry, thanks for this interview. It’s good to have a chance to mirror on and communicate in-depth about my life and apply.
LG: The pleasure is all mine, thanks in your time and consideration in writing your considerate solutions.