2018 Individual Support Grant Recipients
The Adolph and Esther Gottlieb Foundation has been awarding grants to mature, creative visual artists since 1976. These awards are intended to recognize the talents of many individuals around the world who have dedicated long careers to making art and hopes to alleviate some of the financial burden on those artists so they can devote more of their time and energies to their creative endeavors.
Each one of the 12 artists whose names and work appear below was awarded a cash grant of $25,000 this year. These individuals were selected from a group of 409 applications by a panel of 5 advisors who are themselves professionals and who have no affiliation with the Gottlieb Foundation.
Complete information about our grant programs and applications for each one is available here.
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The recipients of the 2018 Adolph and Esther Gottlieb Individual Support Grant are:
Oil on panel
Aaron Morgan Brown was born in Wichita, KS. He received a BFA from the University of Kansas, and an MFA from Syracuse University, earning a University Fellowship at SU. He has participated in group and solo exhibitions internationally, including the Outwin Boochever Portrait Competition in Washington D.C. His work has been featured in international publications such as New American Paintings, The Artist’s Magazine, and Harper’s magazine. Most recently, he was a resident artist at the Wurlitzer Foundation in Taos, NM.
Steel, ice, light
118.1 x 118.1 x 118.1”
Born in 1962 in Poland. Tomasz Domanski works in a range of media, using mainly natural materials and the natural processes related to them. His works melt, drip, burn, succumb to gravity. He also makes films and animations to visualise the ephemeral character of the sculptures. Since 1992 the artist continues “Monuments of Time”, the cycle designed to bring up environmental concerns and to explore the two horizons of time; the short ephemeral object perspective and perspective of the memory of experiencing transitoriness. Hibernated memories of the past events depend on the commitment to do "nothing", but waiting in the anticipation. Almost like contemporary characters of Waiting for Godot, the viewers in front of "Square Dome", during opening Umea European Capitol of Culture, were hypnotized, could not move from the spot.
Domański recently has started a new arrangement of the small piece of land - enclave of art steel spatial sculptures TowerTopia. The artist has been awarded by Pollock-Krasner Foundation, UNESCO-Aschberg from Paris, KulturKontakt in Vienna and Joseph Beuys Foundation in Basel (currently Laurenz Foundation).
"Arch/Horizon - Double Hill 5 Painting"
Acrylic on canvas over board
62.25 x 49.5"
Teo Gonzalez was born in Quinto, Spain in 1964, and currently lives and works in Brooklyn, New York. “A constant in my work is the pairing of opposing ideas such as chaos and order, flatness and depth, etc. The Arch/Horizon series, a body of work that aims to bringing together figurative and nonrepresentational paintings, is a reflection on landscape seen through a contemporary eye. In it, I've been tinkering with traditional Chinese painting perspective and the sort of orthogonal topography in post-minimal art.” Examples of Gonazlez’s work can be found in the permanent collections of institutions such as The Museum of Modern Art in New York, NY; Los Angeles County Museum of Art in Los Angeles, CA; The National Gallery in Washington, DC; and others.
8 1/2x10 1/2" 01
Ira Joel Haber was born and lives in Brooklyn. He is a sculptor, painter, photographer and teacher. His work has been seen in numerous group shows both in the USA and Europe and he has had 9 one man shows including several retrospectives of his sculpture. His work is in the collections of The Whitney Museum Of American Art, New York University, The Guggenheim Museum, The Hirshhorn Museum, The Albright-Knox Art Gallery & The Allen Memorial Art Museum. Since 2006 His paintings, drawings, photographs and collages have been published in over 230 on line and print magazines. He has received three National Endowment for the Arts Fellowships, two Creative Artists Public Service Grant (CAPS) two Pollock-Krasner grants, two Adolph Gottlieb Foundation grants and, in 2010, he received a grant from Artists' Fellowship Inc. in 2017 & 2018 he received the Brooklyn Arts Council SU-CASA artist-in-residence grant.
"Eve and Lillith do the Snake Dance”
61 x 39"
Sheila Held has been exhibiting tapestries in solo and group shows, locally and around the country, since the 1980s. Recent solo exhibitions have included the Lynden Sculpture Garden in Milwaukee, the United Theological Seminary of the Twin Cities in Minnesota, and the Green Gallery in Milwaukee, Wisconsin. She has won various awards, including a Wisconsin Arts Board Fellowship in 1994 and the Greater MIlwaukee Foundation’s Mary L. Nohl Fellowship in 2013, along with prizes in various group exhibitions in which she participated. Held’s work appears in various public places, including the Medical College of Wisconsin, Marian College in Fond du Lac, the Bethesda Lutheran Homes and Services World Headquarters in Watertown, Wisconsin, and the new Northwestern Mutual Life Insurance Company building in downtown Milwaukee.
“In my imagery, I attempt to access the point where magic, science, religion, art and nature intersect, and a conjunction of opposites, a complementarity, is achieved, in the hope of narrowing the gap between the ideal and the practical. Through a density of information, I strive to initiate a dialogue with my audience and to speak to a variety of interpretations with enough resonance to change as the times in which they are viewed change. I want to release my artworks into lives of their own in which relationships with their viewers are formed independent of my conscious manipulation, which can only happen if the metaphors transcend the ‘messages’.”
Held is currently a full-time artist working out of her home studio in in Wauwatosa, Wisconsin.
30” x 44”
Wax, pigment, paper
Ellen Koment has been painting all her life. “I grew up in NYC, lucky to go to the HS of Music and Art and then The Cooper Union Art School, after which I went to graduate school at UC Berkeley, and stayed in CA for 25 years, until I came here to Santa Fe, NM.
The painting has evolved over time and place but the concerns for line, color, form, the overlay of often transparent shapes, the concern for the content have remained the same. For the last 20 years I have been exploring encaustic wax, recently primarily intrigued by pouring on paper, a combination of intention and accident. This approach is exciting and rewarding.
The wax is mutable, fluid, responsive and forgiving. It is different than other mediums. It is more physical, hotter, faster. It doesn’t wait for me. It hardens and waits for me to apply heat to reawaken it. It sings your song, and belies control, although control is entirely possible. It bends to your ways and leads you down new paths. It has its own voice and its own language that suggests and leads, responds and obeys.
‘The accident can open doors, create new impulses, change the direction of your work, but ultimately, the work must come from a place of intention, where the accidental has been enveloped into a greater reality of concept and intent.’”
(Koment, Ellen et al. “Encaustic Art in the Twenty-First Century.” Schiffer Publishing, Ltd., 2016.)
"Study for Dark Ages II"
Oil on linen
20 x 22"
Greg Kwiatek is a New York based artist. He was born in Pittsburgh, Pennsylvania in 1948 and received his B.F.A. from Carnegie-Mellon University. While in Pittsburgh he painted with two painter/art historians, David Summers and Michael Peglau.
His New York Gallery debut came in 1982 at Art Galaxy where he exhibited with Dr. Peglau, Leon Golub and Milton Resnick. Kwiatek shared a studio with Amy Purcell and Leonard Bullock in Cologne between 1985-1987. His first European gallery exhibition was in 1985 at the Kunstraum-Munchen with a joint exhibition at Alfred Kren Gallery in New York.
Throughout the 1990's he was represented by AC Project Room, New York. Kwiatek exhibited with Mr. Bullock and Paul Bloodgood at David Zwirner Gallery, New York in 2008.
In recent years he has also exhibited at the Leopold Hoesch Museum, Duren, Germany, Christine Burgin Gallery, New York, Jagla Ausstellungsraum, Cologne, The Andy Warhol Museum, Pittsburgh, The Weatherspoon Art Museum, Greensboro North Carolina, Drew Uniersity, Madison, New Jersey, Storefront Gallery, Bushwick and Melville House Books, Brooklyn.
He is the recipient of the Pollock-Krasner Award, the John Simon Guggenheim Memorial Fellowship and two Adolph and Esther Gottlieb Foundation Grants, and has been a member of the Elizabeth Foundation for the Arts since 2003.
He worked as a guard at the Metropolitan Museum of Art for twenty five years and appeared in the documentary film "Hidden Treasures: Stories from a Great Museum,” directed by Alexandra Isles. His work is in the collection of the Carnegie Museum of Art in Pittsburgh.
"Your Meaning is Part of His"
Oil and tar on canvas
60 x 48”
Oil on canvas
Tom Leaver lives and works in Oakland, CA. “My work has always been about the process of painting. Suggesting landscape rather than depicting a specific place. The paintings tend to feed off of and into each other. Painting is a daily ritual and some days an image emerges and some days they don’t. Either way it is the same process.” Leaver is represented in New York by Mckenzie Fine Art and in Sacramento by Jay Jay Fine art.
"The Sound of Snow"
46 x 34"
Oil on canvas
Lorna Ritz studied under the instruction of painter James Gahagan, (a student of Hans Hofmann), who was a very important teacher for her in the 60’s. She received an MFA from Cranbrook Academy of Art in 1971, in both painting and sculpture, (welding steel, and casting in bronze and iron). She welded steel for 25 years, but never stopped painting, and only paints now. It is color and paint that structures the space that then finds the volumetric composition in her painting. The paintings are earthy, rock-like and weighty, yet they have in them the rhythm of the sea.
Lorna is a nature painter; the nature “out there” coupled with her own internal landscape. Her inner finds the equivalent ‘out there. How colors relate is everything: the color finds the light, creates the shape. A process/improvisational painter, Lorna finds composition through rhythms, harmonies, synchronizations, counterpoints. Her painting process is unsettling, passionate, radical, and driven. Altogether, a body of paintings becomes like the movements of a symphony that take a year or more to fully realize. Each painting has immediacy to it, but takes time to complete; it’s her own personal paradox. The painting is the consequence of technique and skill brought about by the concept. That is how what ends up on her canvas gets said, and how the paintings come to be.
Oil and graphite on canvas
24 x 22”
Arlene Santana was born in Jersey City, N.J. She completed a BFA at Florida International University in Miami, and then moved to New York for graduate studies in Art and Humanities at New York University. She also studied at the Art Students League of New York with Richard Pousette-Dart. Santana lived and worked for five years in Italy in the Rome, Veneto, and Tuscany areas, painting and studying art, culture, and Italian language at the Dante Alighieri School in Rome.
Arlene Santana's paintings and drawings have been exhibited in over fifty group and solo shows in museums and galleries in Europe and America, including The Aldrich Museum of Contemporary Art, Viscaya Museum, and The Fort Lauderdale Museum of Art, and are included in many private collections. She now lives and works in the Hudson Valley.
Oil and alkyd on canvas
“My early years surrounded by logarithms and cloth-offcuts (my father a toolmaker, my mother a seamstress) gave me to this day, an insatiable appetite for fabulosity. Channelled into accountancy at 17, I quickly fled to Germany in the guise of shoe-factory bookkeeper.
Needing more time for my art, I became the first English postman in Kornwestheim and paid my rent in drawings. I returned to England to study and after four eventful, prize-littered years was offered a place at the Slade School of Fine Art, after which I was given a Slade Leaving Scholarship and an Associate Lectureship.
Money from this allowed me to buy a derelict village schoolhouse. Five years as lecturer, yokel and artist convinced me to move on. A Fine Art Fellowship at Nottingham University provided space and stimulation.
I returned to London and exhibited with the legendary gallerist Joshua Compston.
After a pastose period I embarked on a kind of ‘Paraphernalism,’ grinding and burning, alongside painting and drawing.
This work earned me a NESTA Fellowship followed soon after by an Established Artist Fellowship at UrbanGlass, Brooklyn.
A new studio and a lingering desire to use words in my art led to the production of around 250 bookworks culminating in a limited edition publication ‘The Dado Rail of Delusion.’”
This 'murmeration’ of books on the studio walls engendered a deep-seated desire for a return to the viscerality of pure painting.
The new works on canvas are choreographed palimpsests of this enduring passion.”