Aliza Nisenbaum, Spring 2015 Artist-in-Residence (AIR) Lecture


School of Art – Aliza Nisenbaum, Spring 2015 Artist-in-Residence (AIR) Lecture
Thursday, Feb. 19, 7:30pm, Rm 109, A+A Building 

“Hybridizing a tradition of French fin-de-siecle and post-war American intimism with a decidedly personal, non-traditional subject matter and galvanic palette, Nisenbaum makes portraits of undocumented “illegal” Latin American immigrants, hand-written letters, books, and bouquets of flowers. Her ornate works, which are also known to feature patterned textiles and lush surfaces, are richly and compactly crafted in bright, dense hues. They are as much about painting as what they depict. In what she does, the intimacy of paint is indissociable from the intimacy of what she portrays and how she portrays it– tête-à-tête, close up, some times cropped, often filling up, but never over-crowding the space of the picture. And yet for all their intimacy and the signifiers through which it is traditionally, if anachronistically portrayed– letters, books, and flowers– Nisenbaum paintings’ nevertheless raise doubts about the feasibility of intimacy, perceiving it less as a fact of life than an ethical mode, won through the increasingly rare act of paying attention.” Chris Sharp
Aliza Nisenbaum (1977, Mexico City) received her MFA from The School of the Art Institute of Chicago in 2005. Recent one and two-person exhibitions include: Aliza Nisenbaum, White Columns, New York; Portraits, Letters, Books and Flowers, Lulu, Mexico City (2014); Aliza Nisenbaum and Tadhg McSweeney, Kevin Kavanagh gallery Dublin, Ireland (2013); Aliza Nisenbaum at Immigrant Movement International, Queens, New York (2013); Holly Coulis and Aliza Nisenbaum, Susanne Hilberry gallery, Detroit, MI (2013). We Remembered, We Anticipated a Peacock and We Find a Peony, Patricia Treib and Aliza Nisenbaum, Golden gallery, New York (2011); Aliza Nisenbaum New Paintings, Julius Caesar, Chicago (2011). In 2014 she won a Rema Hort Mann Award, and was included in the “Future Greats” section of Art Review Magazine. Her recent show at White Columns was reviewed in Art in American and this months’ issue of the Brooklyn Rail.


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