Art Portfolio: Kara Waxman

2008-11-01T19:11:00.000-07:00

Selection of 2007 Artworks:

Lamp Series: Baptism
Copper intaglio print
4.5 x 6 inches
2007

2008-11-01T19:10:00.000-07:00

Lamp Series: Last Supper

Copper intaglio print

4.5 x 6 inches

2007

2008-11-01T19:09:00.000-07:00

Lamp Series: Crucifix

Copper intaglio print

4.5 x 6 inches

2007

2008-11-01T19:07:00.000-07:00

Gethsemane

Ink on paper

11 x 15 inches

2007

In this drawing, the small, prostrate figure of Christ struggles with fear before reaffirming, “Yet not My will, but Yours be done.” (Luke 22:42) This begins the process of his Passion, Crucifixion, and then triumphant Resurrection.

2008-11-01T19:05:00.000-07:00

Lazarus' Burial
Acrylic paint on circular canvas

6 x 6 inches
2007

These five pieces that portray the Raising of Lazarus depict a historical site in Dublin, Ireland, called Dublin Castle. This building and its neighboring gardens are located in downtown Dublin and feature an unusual blend of medieval and modern architecture. In this scene, Mary and Martha bind their brother’s body to prepare it for the tomb, and the monotone, black and white color scheme creates a solemn mood.

2008-11-01T19:04:00.000-07:00

Waking Lazarus
Acrylic paint on oval canvas
7 x 9 inches
2007

This underground setting is based on the medieval foundations of Dublin Castle. Part of the current metal walkway is visible at the top. Lazarus’ wrapped form appears to blend into his surroundings in the dim light. A tiny white bird, perhaps representing an angel or the Holy Spirit, is perched on the smooth stones. It watches as two other little birds begin to pull at Lazarus’ shroud. These birds are not described in the Bible narrative; they serve as a symbolic interpretation of how Lazarus’ bonds were first loosened.

2008-11-01T18:59:00.000-07:00

Lazarus' Choice
Acrylic paint on circular canvas
6 x 6 inches
2007

In this scene, Christ emerges from Dublin Castle as a giant, bent form, to remind the viewer of his later, conquered suffering. Mary and Martha unbind their healed brother, and Christ gently offers Lazarus a strange white plant in the shape of a cross. This cross is another symbol not described in the Bible narrative – it is a small reminder of the personal choice to bear one’s cross and the fruits of that experience.

2008-11-01T18:55:00.000-07:00

Selection of 2008 - 2009 Artworks:

Unbinding Lazarus II
Acrylic paint on oval canvas
7 x 9 inches
2008

This portrays another allegorical interpretation of the unbinding of Lazarus. Mary and Martha are depicted as two small, elderly nuns praying for their younger brother. Christ watches over the scene, gesturing for silence and peace. A woman, perhaps a personification of healing grace, unbinds Lazarus in a dark pool. This pool is a symbol for the tomb, and is also a reference to the origins of the name Dublin, “Dubh Linn,” or “dark pool.” A large dark lake was once located in this part of Dublin.

2008-11-01T18:54:00.000-07:00

Unbinding Lazarus III
Acrylic paint on oval canvas
7 x 9 inches
2008

*please see text accompanying prior pieces for information on symbolism and historical settings depicted in this piece

2008-11-01T16:11:00.000-07:00

Grace I
Pen on paper
7.75 x 5.75 inches

2008

2008-11-01T16:10:00.001-07:00

The Steeles' Residence, Cape May, NJ
Pen on paper
7 x 5.75 inches
2008

Home I (The Gabriel Tree)

Pen on paper

7.75 x 5.75 inches

2008

2008-11-01T16:09:00.000-07:00

Home II
Acrylic paint on wood panel
7.75 x 5.75 inches
2009

2008-11-01T16:08:00.000-07:00

Grace II (While Dean is Very Hungry)

Acrylic paint on paper
7 x 7 inches
2009

2008-11-01T16:00:00.000-07:00

Studies for Grace III
Left: Dad, pen on paper, 5.25 x 6.5 inches
Center: Dinner Table, pen on paper, 4.25 x 5.25 inches
Right: Mom, acrylic on wood panel, 5.75 x 7.75 inches

2008-11-01T15:58:00.002-07:00

Grace III

Acrylic paint on wood panel
11 x 11 inches
2008

2008-11-01T15:56:00.000-07:00

Grace III (detail)

Artist's Statement and Curriculum Vitae

2008-11-01T15:38:00.000-07:00

Artist's Statement

In my work, I am exploring the fruitful tension between our human sight and religious vision. I seek to express the unique harmonies and antagonisms in this relationship, and to emphasize its contemporary relevance. I also desire to aid the dialogue between the “post-modern” visual arts and the Catholic community to which I belong.

This past academic year I created paintings based on research into icons, miniature techniques, and Irish history at Dublin’s Chester Beatty Library, while I was a Fulbright Student Award scholar. My works emulated the delicate detail of icons, and their stylizations that elongate, wax and wane as if describing a transformation within the subject. Depicting imagery with clear stylizations can more emphatically convey that “there is more than meets the eye,” than do forms of classical realism. And creating evocative, translucent surfaces with a high quality of craftsmanship can make an underlying spirituality more tangible.

My process now requires a deeper level of quiet meditation, patience and perseverance. This is beneficial as I learn to balance discipline and spontaneity, observation and imagination in my work: whether to exaggerate or understate a table’s stylization or how tightly to render a figure. Or which images create some unexpected humor, like delicately painted pizzas or tiny birds waking Lazarus. I am interested in how an artwork’s humor helps engage viewers who may usually discount its subject matter.

My recent work also focuses on biblical motifs and “domestic” settings. These subjects include the narrative of a figure bound and unbound in strips of cloth, and the scene of a family praying before dinner. The latter subject relates to the experience of transcendence within simple, ordinary activities. These themes of “the home” -- its interior, exterior, and residing families – now particularly interest me and I plan to investigate this further in my new pieces.

I look for guidance in early works of Stanley Spencer, “magic-realist” paintings of George Tooker, landscapes by Grant Wood and a range of American folk art. I particularly enjoy these works which synthesize “laborious” dedication in technique with amusing and imaginative stylizations and imagery. I am interested in how juxtaposed color heightens these qualities in certain works of David Hockney and Dana Schutz, and I would like to explore this possibility further in my work.

Curriculum Vitae

Kara Waxman
Born 1983, Brooklyn, NY

Education:

Fulbright Fellowship: Fulbright Student Award to Ireland: 2007 – 2008
Field: Painting and Printmaking
Host Affiliation: Chester Beatty Library, Dublin, Ireland
Project Title: “A Resurrected Tradition: Catholicism and Painting”

Graduate Studies: Brandeis University: 2006 – 2007
Cumulative G.P.A.: 3.93
Degree: Post-Baccalaureate in Studio Art

Undergraduate Studies: College of Fine Arts at Boston University: 2002 - 2006
Cumulative G.P.A.: 3.62
Major: Painting
Minor: Art History
Degree: B.F.A., Magna Cum Laude

Honors:

“Fulbright Exhibition: New Work by Kara Waxman,” Chester Beatty Library: May 2008
∙Solo exhibition in Dublin, Ireland; 2002 European Museum of the Year
∙Opening Reception Speaker: Colleen Dube, Director of the Irish Fulbright Commission

Dean's Scholar Award (Merit scholarship for $10,000): 2004 - 05, Re-awarded 05 - 06

Nomination for Mortimer Hays-Brandeis Traveling Fellowship: 2007

Merit Scholarship from Brandeis University: 2006

Graduated with Magna Cum Laude Honors from Boston University: 2006

Dean's List at Boston University – Six semesters total, two with distinction

Academic Programs:

New York University (Graduate-level Exhibition Design class): Summer 2005

S.U.N.Y. Cortland Program in Ireland (Studio Art classes): Summer 2004

Boston University Study Abroad in London (Art History classes): Summer 2003

Employment:

Part-Time Employee at the American Folk Art Museum, New York, NY: 2008
∙November 2008 – Present, Sales Associate in Book and Gift Shop

Teaching Fellow at Brandeis University: 2007
∙One semester, Assistant to undergraduate drawing class

Internship at the Heckscher Museum in Huntington, Long Island: Summer 2005
∙5 weeks, Head Intern and Art Teacher's Assistant for children ages 7-16

Internship in Education at the Metropolitan Museum of Art: Summer 2001
∙6 weeks, Tour guide for children’s camp groups, short research project on Gauguin

Volunteer Work:

Volunteer at the Chester Beatty Library, Dublin, Ireland: 2007 - 08
∙9 months, attending training sessions and designing coloring book activity

Children’s Ministry, St. Teresa’s Church, Dublin, Ireland: Fall 2007 - 08
∙Assistant to children’s catechesis classes

Internship at Boston University: Summer 2007

∙5 weeks, Administrative assistant in the Visual Arts Dept. and B.U. Catholic Center

Internship at Hirsch and Associates, New York, NY: Summer 2005
∙5 weeks, Apprenticeship in Exhibition Design

Internship at the Heckscher Museum in Huntington, Long Island: Summer 2004
∙5 weeks, Art Teacher's Assistant for children ages 7-16

Visual Arts:

Display and Selling of Artwork
∙Sold artwork to private collections: 2003 – 08
∙"Selection Box" at Back Loft, Dublin, Ireland (Group show of local artists): 2007
∙La Catedral Open Art Studios, “Dublin Culture Night,” Ireland: 2007
∙Prospect 1 (Brandeis Univ. gallery; Group show of Post-Baccalaureate work): 2007
∙Arches Student Print Show, Boston, MA: 2007
∙Bethlehem Chapel at Brandeis University: 2006 – 07
∙Rubin-Frankel Art Gallery, Boston, MA (Two juried group shows): 2006 - 07
∙Awarded second place
∙Senior Thesis Exhibit (Boston University Art Gallery; Group show): 2006
∙Tremont Street Exhibits, Boston, MA (Two group shows): 2006
∙S.U.N.Y. Cortland Art Gallery (Group show from Ireland program): 2004
∙Mayfire Arts Festival (Group show of Boston artists): 2004
∙“Best in Show” (Group show of student work at B.U. Sherman Gallery): 2003
∙Displayed in five group shows of student work on B.U. campus: 2003 – 05
∙College of Fine Arts Building (Four group shows of student work): 2002 – 06
∙Studio 703 (Long Island gallery; Group show of student work): 2002

Publications of Artwork
∙“Annual Fulbright Scholars’ Dinner” Pamphlet, Dublin Castle, Ireland: Spring 2008

∙Painting “Lazarus’ Burial” reproduced on cover
∙“Embrace,” album by Patricia O’Toole, Dublin, Ireland: 2008
∙ Painting “Embrace” reproduced in CD jacket design
∙“The Month Ahead,” Dubliner magazine, May 2008 issue, Dublin, Ireland
∙“New Work by Kara Waxman” among selected highlights

“New Work by Kara Waxman” Gallery Talk, Dublin, Ireland: May 2008
∙Speaker at Chester Beatty Library

Mentorship with Patrick Pye: Fall 2007 – 08
∙Discussions with members of Royal Hibernian Academy, established Irish artists

Member of Art Street: Spring 2004
∙Boston Arts group; helped organize Mayfire Arts Festival