TULLMAN COLLECTION ARTIST AUSTIN PARKHILL PAINTING SELECTED FOR HONORABLE MENTION BY PROFESSIONAL ARTIST

A TRIP BACK TO THE FUTURE (Tribeca Flashpoint Media Arts Academy)

A TRIP BACK TO THE FUTURE

                         (Tribeca Flashpoint Media Arts Academy)
          We decided to revisit mega-collector Howard Tullman’s newly-renamed college, now called Tribeca Flashpoint Media Arts Academy, to catch up on what new artists and works of art he’s added to the constantly rotating displays at the Academy which he selects from his own personal collection. We also wanted to see what, if anything, has changed since Robert DeNiro and his partners became major investors in the school and when we could expect to see a branch of Tribeca Flashpoint in the Big Apple.

          Tullman was his usual energetic self and he was quick to point out that many of the newer pieces on the walls were paintings by artists prominently featured in issues of the American Art Collector magazine which he continues to rely upon as a regular source for identifying new artists and selecting work for his extensive collection.

Tullman says that Alyssa Monks’ work continues to amaze and impress him and that he thinks she’s an important new voice in the New York arts community and tremendously dedicated and talented.

          As we started our walk through the main campus building (about 100,000 square feet of newly-renovated and very “green” space), it was immediately apparent that there were an astonishing number of additional works and many of which would be familiar to our readers as well as to anyone active in the arts markets and national fairs over the last three years. We recognized artists from the Midwest and both coasts and Tullman pointed out that there were also a number of new works from international artists – particularly Germany and Mexico which were major acquisitions.

Tullman says that this very large painting by German artist Jorg Lohse works on multiple levels – first it’s just amazingly well painted and then the students connect with the pop culture references as well.

          We were struck again by the fact that substantial works of art are literally everywhere your eyes wander and the fact that the views are simply amazing. A new initiative now includes printed and framed artists’ statements and comments about their work which are posted alongside a number of the pieces. As our tour continued through the various floors, we took extensive notes as well as a couple of rest breaks because there’s a real risk of simply being overpowered by the sheer size and scale of the presentations. In fact, we’re not sure - for pure stomach-wrenching visceral impact – that there’s a museum we’ve seen anywhere which can match the power and emotion of the Tribeca Flashpoint space. It just oozes energy and excitement.

          So much art and so little time. While he wasn’t especially interested in giving us a firm number, we learned that there are now more than 1400 individual paintings and drawings in the overall collection with more than 200 large-scale works on display at Tribeca Flashpoint alone. Several recent articles have noted that The Tullman Collection is now among the five largest collections of contemporary realist work in the United States even after giving effect to more than a million dollars of recent donations to museums and foundations throughout the country.

Cameron Gray’s “Oops! I Did It Again” with its prominent Britney Spears image is actually a collaboration organized over the Internet by the artist with hundreds of other artists. Tullman says it’s both iconic and also perfectly consistent with Tribeca Flashpoint’s emphasis on collaboration and team work.

The Stefanie Gutheil piece called “Birdcage” is somewhat of a departure for the collection, but Tullman says that the artist has so much imagination and such a special world of her own creation that it just felt like it belonged here with the animation students.

          But the simple numbers don’t begin to describe how the environment and the electric atmosphere of Tribeca Flashpoint surrounds you from the first instant you step into the space. It’s also immediately apparent that the students, staff and faculty share this energy and enthusiasm for great and beautifully-executed work in their everyday activities. The range and diversity of the collection is quite substantial, but almost every piece also seems to be a highly-focused reflection of Tullman’s very critical eye.

In examples like this Tim Okamura painting called “The Conversation”, the students are challenged to imagine and/or supply the narrative and try to explain the piece in their own words.

         As we continued walking through the space, Tullman mentioned specifically that powerful narrative continues to be an important consideration in his selections of new work. But, most importantly, each piece still needed to be executed in a fashion consistent with Tribeca Flashpoint’s overall theme of excellence.

         Tullman said that storytelling has always been and will always be a central concern of the visual arts (noting also that it’s become an increasingly important tool in education) and it’s really no different at Tribeca Flashpoint. He laughed and said: “I like to say that all the technology in the world won’t save a story that sucks.” But, he went on to say: “Even more crucial from an education standpoint – and especially for younger students – is how the requirement to “tell a story” engages students and gives them a sense of ownership and responsibility that simply talking “at” them will certainly no longer achieve – if it ever did.

         At Tribeca Flashpoint, working in constantly-changing teams across all four of the main digital disciplines, the students essentially construct their own learning approaches (aided, guided and abetted by the faculty) since everyone believes that it’s absolutely clear, in any creative group, that you’ll have a variety of people who learn at different paces and in different ways.

Tullman pointed out this striking Austin Parkhill painting and said that he expects that there will always be paintings that are confrontational and very much “in your face” just to keep things interesting.

          The real bottom line and the primary outcomes they look for from the graduates at Tribeca Flashpoint are pretty simple. Tullman says that they’re trying to build creative problem-solvers with great people skills for the next digital generation.

The main lobby at Tribeca Flashpoint features this large painting by Canadian artist William Lazos

          He continued and noted that “In many ways, our students and graduates will face the same kind of challenges and issues that every artist confronts each time he or she sets up in front of a blank canvas. The fundamental questions never really change regardless of the medium of expression. They will always be:

What do I want to say?

How can I best say it?

What will it take to get the job done?

Do I have what it takes?

TULLMAN COLLECTION ARTIST AUSTIN PARKHILL IN RECENT ARTICLE IN DENVER'S SYNTAX

Austin Parkhill’s paintings are gigantic. They are solitary moments of time. They are candid. They are photorealistic.

It was written that a negative contribution of the American frontier and its ideologies was the problem that “bigger” was being equated with “better”. Really, it was no wonder: what with all that wide-open land, the huge skies and the colossal, shining mountains and promise for an improved future. While we all know that “bigger” is not qualitatively akin to “better”, with Austin Parkhill’s work: Bigger is certainly better – certainly, it’s more profound.

A Colorado native now living in Boston, Parkhill’s works are humongous: sometimes 7 feet by 6 feet. Painting the kind of monstrous, breathtaking portraits that Parkhill does – at this scope: every pore, scar and zit are revealed. His work dwarfs your human size. His canvasses possess the kind of emotional momentum to magnify your own scars and humiliations; triumphs and losses. Standing in front of these kinds of canvases, I felt confused about smirking, grinning, or even chuckling. Things this big mean something else. Or do they?

His work hinges on the ethics of honesty in visual expression. Parkhill’s paintings begin as candid photographs. Snapshots. Real moments occupied by real people – 5 and a half or 6 foot people not primping or posing or in their best clothes and makeup. It’s the honesty of these sometimes-awkward moments, these real moments, that intrigues Parkhill.

How real can a painting get? Ask Parkhill’s girlfriend’s mother – she became the subject of one of his paintings. When she saw it – she wasn’t as fuzzy as you would think. It was too personal. Too real. She didn’t agree with her body’s lines – as Parkhill saw them to be.

But while his work is massive on the physical scale: there is a microscopic fantasy to it all that is best fleshed-out by the element of time.

Parkhill’s paintings can take him a hundred hours. Maybe even 150. With that much time spent looking at the same face(s), life sure must be bizarre. But no, he assured me: he’s not making eye contact with the photograph and painting as much as he is involved in small patches of the canvas. 8 inch squares. Small sections. Parts and pieces, not always the whole.

Austin Parkhill’s history is a bit atypical for most visual artists. For the bulk of his life he has been an athlete. He played hockey in the junior leagues out of high school. And you read it right: Parkhill isn’t a small kid. He’s a big boy. But don’t read it wrong: he isn’t some kind of dummy. On the converse, Parkhill is supremely articulate about his work, his process, his mediums – as well as other artist’s work. Our time together revealed one of the most eloquent, humble, knowledgeable and concerned artists that we have seen in the (p)ages of syntax.



Philosophically, Parkhill’s current body of work plays on the stodginess of the art world. But instead of playing into it, he retorts and creates a sense of humor. And you can see it, in the same way that you can see every pore of that pretty girl with the five foot face.



As for Parkhill’s future? Many would shrug. Say it’s bleak if portraiture is involved. Many would say Parkhill has found his legs in an antiquated form. Parkhill won’t completely disagree, citing the real possibility of painting the portraits of politicians, the wealthy – altogether stiff, staged people. But then, he will point toward the Smithsonian’s Outwin Boochever Portrait Competition – one he was a finalist in, in 2009 – where you will find progressive, provocative portraits. To this, Parkhill shrugs, ominously.



What’s left to do? Much. Many things. Maybe New York. He’s already represented by one of Denver’s best galleries: Plus. Maybe Miami? Whichever way, Parkhill knows that he will keep his eyes on 8” patches of canvas; and keep working. He wants to dive deeper into this current body of honesty. And honestly, he’s only getting better.



Moreover, Parkhill is committed. You can hear it in his voice. You can see it in his work. I assure you: One would have to possess a hockey man’s beating heart to be an Argonaut like this.



Keep your eyes on Parkhill’s mammoth work, here: www.austinparkhill.com

NEW ART FOR THE TULLMAN COLLECTION FROM AUSTIN PARKHILL "ASHLEY" - THANKS TO PLUS GALLERY