The Nude in the 21st Century

Lisa Ackerman

Carrie Alter

Harriet Barratt

Grace Benedict

Grace Benedict

Robert Bibler

Robert Bibler

Kelly Blevins

Jamina Bone

Tedd Chilless

Hunter Clarke

Hunter Clarke

Mona Cordell

Jennifer Cutshall

Rhoda Draws

Bruce Erikson

Shady Eshghi

Alexendra Eyer

Jeff Faerber

Rachel Foster


Elaine Green

Annie Heisey

Keith Howard

Kathryn Hratko

Sebastian Hyde

Tom Jensen

Tricia Kaman

Mark Kaufman

Patrick Kernan

Monika Linehan

Katherine Liontas-Warren

Cathy Locke

Daniel Maidman

Jessica Marshall

Jim McComas

Jim McComas

Jessica McCoy

Christopher Mooney

Thu Nguyen

Andrew Ogus

Michael Reedy

Michael Reedy

Nick Reszetar

Bethany Rowland

Paul Rutz

Joseph Shepler

Brian Smith

Darrell Weaver

Denise Weir

John Whitehouse

John Whitten

Solo Show and Workshop Award

Paul Rutz

(Portland, OR)
Artist Website

Recovery, Oil on canvas, 36" x 18"

As a former Naval Officer, ballet dancer and reporter, I've seen a variety of people in ways they refuse to see themselves. I've also learned to press against my assumptions about what seeing involves.
This painting has no single point of view, little illusion of depth, and the figure's proportions probably seem off. I aim to paint with documentary accuracy while also doing my part to induce a state of unstable wonder about the unstable ways we see each other. Our hearts beat, lungs expand, and our eyes make continuous saccades, seeing not in single points of view, but in paths of attention that add memory and prediction to our sense of an unfolding now. How can painting reflect some of that?
I employ a two-part rule in the studio lately: measure and move. With each spot of canvas I paint, I move my head to a new location. With a live model I measure every body part--every toe, collar bone, and eyeball--rendering them on canvas exactly the same size as in life. These body parts stack together in unfamiliar ways, and through the process of connecting them I find myself newly aware of the artifice necessary to make these pictures look something like the breathing, moving people whose presence provokes them. This is one small way of seeing in life-size precision outside of Renaissance perspective.
We're so used to photographs, and a photo's split-second sample of light through a single lens does a great job recording info about the sights we see as we chat, cry and sing with other people, but it is far from the whole picture. My work invites viewers to renegotiate the rules by which we make pictures of each other. No picture is an exact repetition of our encounters, but as we act on our compulsions to get close, we should also practice making pictures in ways that question the iPhone-camera-Facebook idea that photos can remember our memorable events for us.

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