Celebrating 160 years & beyond! - Moore College of Art and Design

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F A C U LT Y In Studio 24 Untitled, water-based media on ragboard mounted on wood, 2007.
Fall 2008 Anne Seidman Photos by Candace diCarlo “I begin by creating relationships with paint until something connects.” There is a serenity and an intensity to Anne Seidman, qualities reflected in her studio and her aesthetic. Seidman has converted a grown daughter’s bedroom into a drawing studio, creating a second studio space in the Queen Village rowhouse where she’s lived for 22 years. The other studio in the whitewashed basement of the house is her painting studio.“I get paint all over, I’m a dirty painter,” Seidman explains. “For drawing, I need a clean space.” Each studio is neat, carefully arranged with large working surfaces, supplies and works in progress. “In the 70’s through early 90’s my interest was mark making,” says Seidman. “I was interested in developing relationships between marks in a white field. Now, I am equally interested in complex fields that envelope forms––in forms and their relationships as they butt up against other forms. Sometimes viewers see places or objects or themes, but the paintings are only about themselves.” In his online journal, artist and writer Steven Alexander recently reviewed Seidman’s painting saying, “We can see, imbedded in each surface, the intuitive organic painting process taking place – each action determining the direction of the next. Also evident is a sort of willful inventiveness, an experimental attitude that compels Seidman to avoid formulaic solutions, so each painting has the freshness of a new breakthrough.” Seidman’s panel paintings are made using water-based acrylic and gouache on 8-ply ragboard mounted on wood. A matte and/or satin varnish is applied when the work is finished to protect the surface. “Painting is difficult,” says Seidman. “The process requires decisions that are less clear. I begin by creating relationships with paint until something connects. I make immediate intuitive decisions about the next move. These decisions keep changing as I move through the process. Most times the work is layered with unresolved or ‘painted over’ ideas. I have been able to utilize this history in the final resolved work.” “The process of drawing is very different. Drawing starts and ends with a clear idea. I have been utilizing modular units of lines and blocks of color. I have always been curious about revealing the irregular form that occurs when the drawing is uncontrolled by a ruled edge. I have become fond of the individuality that is exposed in each form. My drawings, in most cases, are larger than my paintings.” Seidman’s exhibition Touching, at Schmidt-Dean Gallery this spring, was followed with the announcement that she had received a 2008 Pew Fellowship in the Arts. She will use the grant to reduce her teaching schedule in order to devote more time to her work. Seidman, professor of Graphic Design at Moore College of Art & Design, started teaching at Moore in 1986, after completing an MA in 3D Computer Graphics and Animation at Ohio State. Seidman also holds a BFA from the Pennsylvania Academy of the Fine Arts and an MFA in painting from the University of Wisconsin-Milwaukee. 25
Page 1 and 2: Issue XXXI Fall 2008 Celebrating 16
Page 3 and 4: Fall 2008 Moore at 160 3 This overv
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Page 7 and 8: Fall 2008 Moore First 1848,first ar
Page 9 and 10: Celebrate! Moore’s 160thAnniversa
Page 11 and 12: Fall 2008 Mary McFadden VISIONARY W
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Page 17 and 18: Fall 2008 Synthetic Experience 2008
Page 19 and 20: Fall 2008 2008 Critic Award Winners
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Page 24 and 25: C O L L E G E N E W S Beyond the Cl
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Page 30 and 31: A L U M N A E Career Profile E Bond
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