Carolyn Frischling

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Carolyn Frischling, 7th 2017 ArtSlant Prize Showcase Winner: Avvolgente | Enfolding 2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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7th 2017 ArtSlant Prize Showcase Winner: Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
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Carnegie Museum 2016
2016. 3D print with polymer ceramic coating 24 x 24 x 24 in © Carolyn Frischling & Isaac Budmen
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Carnegie Museum 2016
2016. 3D print with polymer ceramic coating 24 x 24 x 24 in © Carolyn Frischling & Isaac Budmen
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Carnegie Museum 2016
2016. 3D print with polymer ceramic coating 24 x 24 x 24 in © Carolyn Frischling & Isaac Budmen
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Carnegie Museum 2016
2016. 3D print with polymer ceramic coating 24 x 24 x 24 in © Carolyn Frischling & Isaac Budmen
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3rd 2016 ArtSlant Prize Showcase Winner: Appstraction
2016. 3D print with polymer ceramic coating 24 x 24 x 24 inches © Carolyn Frischling & Isaac Budmen
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The Cloud of Unknowing
2017. Bronze with black marble base 11 x 11 x 11 in on 1 in black marble base © Carolyn Frischling
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Studio 2016
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The Cloud of Unknowing
2017. Bronze with black marble base 11 x 11 x 11 in on 1 in black marble base © Carolyn Frischling
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Studio 2016
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The Cloud of Unknowing
2017. Bronze with black marble base 11 x 11 x 11 in on 1 in black marble base © Carolyn Frischling
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Studio 2016
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Carolyn Frischling, 5th 2015 ArtSlant Prize Showcase Juried Winner: Quidditas VIII 2014. New-media 30 x 30 x 1 inches © Carolyn Frischling
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5th 2015 ArtSlant Prize Showcase Juried Winner: Quidditas VIII
2014. New-media 30 x 30 x 1 inches © Carolyn Frischling
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2nd 2016 ArtSlant Prize Showcase Winner: Quidditas #selfie II
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
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4th 2016 ArtSlant Prize Showcase Winner: Quidditas #selfie I
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
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6th 2015 ArtSlant Prize Showcase Winner: Quidditas VII
2014. New-media 30 x 30 x 1 inches © Carolyn Frischling
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Quidditas IV
2013. New-media 20 x 20 inches, resin-coated Durst Lambda Fuji Crystal print on aluminum panel © Carolyn Frischling
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Hypostatization I
2014 new-media © Carolyn Frischling
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Quidditas V
2013 New-media © Carolyn Frischling
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Hypostatization III
2014. New-media resin-coated Durst Lambda Fuji Crystal print on aluminum panel © Carolyn Frischling
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Quidditas I
2013 New-media © Carolyn Frischling
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3rd 2014 ArtSlant Prize Showcase Winner: Quidditas/Unknowable I
2014. new-media 20 x 20 x 1 inches © Carolyn Frischling
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Quidditas/Unknowable II
2014. New-media 20 x 20 x 1 inches © Carolyn Frischling
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Quidditas/Unknowable III
2014. New-media 20 x 20 x 1 inches © Carolyn Frischlng
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Quidditas/Unknowable IV
2014. New-media 20 x 20 x 1 inches © Carolyn Frischling
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1st 2016 ArtSlant Prize Showcase Juried Winner: Quidditas #selfie III
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
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Cloud Singularity
2014 New-media © Carolyn Frischling
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5th 2016 ArtSlant Prize Showcase Winner: Simoom
2016 Video © Carolyn Frischling
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Carolyn Frischling, 7th 2013 ArtSlant Prize Showcase Winner: Graffuturism 5 2013 new-media © Carolyn Frischling
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7th 2013 ArtSlant Prize Showcase Winner: Graffuturism 5
2013 new-media © Carolyn Frischling
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Graffuturism 4
2013 New-media © Carolyn Frischling
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Graffuturism 3
2013 New-media © Carolyn Frischling
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Graffuturism 2
2013 New-media © Carolyn Frischling
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Graffuturism 1
2013 New-Media © Carolyn Frischling
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Yellow Path
2013 New-media © Carolyn Frischling
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Singularity II (I Met You at the Corner)
2014 New-media © Carolyn Frischling
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Lady Mondegreen
2013 New-media © Carolyn Frischling
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1st 2013 Showcase Winner: Amphiboly
2013 new-media © Carolyn Frischling
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6th 2013 ArtSlant Prize Showcase Winner: Convergence
2013 new-media © Carolyn Frischling
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Convergence
2013 New-media © Carolyn Frischling
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Actualizing Abstraction
2014. New-media 2 x 9 x 9 inches © Carolyn Frischling
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5th 2013 ArtSlant Prize Showcase Winner: Tautology
2013 new-media © Carolyn Frischling
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Tautology
2013 New-media © Carolyn Frischling
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Carolyn Frischling, 1st 2015 ArtSlant Prize Showcase Winner: Exegesis, Room Five, Panther Modern November 2014 new-media © Carolyn Frischling
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1st 2015 ArtSlant Prize Showcase Winner: Exegesis, Room Five, Panther Modern
November 2014 new-media © Carolyn Frischling
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Exegesis
2014 new-media © Carolyn Frischling
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Exegesis
2014 new-media © Carolyn Frischling
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Exegesis
2014 new-media © Carolyn Frischling
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Carolyn Frischling, 2nd 2015 ArtSlant Prize Showcase Winner: Oneiros 2015. new-media 30 x 30 x 1 inches © Carolyn Frischling
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2nd 2015 ArtSlant Prize Showcase Winner: Oneiros
2015. new-media 30 x 30 x 1 inches © Carolyn Frischling
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4th 2015 ArtSlant Prize Showcase Winner: Oneiros
2015. new-media 30 x 40 x 1 inches © Carolyn Frischling
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Oneiros
2015. new-media 30 x 40 x 1 inches © Carolyn Frischling
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Oneiros
2015 © Carolyn Frischling

Solo Exhibitions

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Idiosyncrasy Mendelson Gallery
Mendelson Gallery
5874 Ellsworth Ave. Pittsburgh, PA 15232
October 3rd, 2013 - November 3rd, 2013
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States of Mind Sewickley Gallery
Sewickley Gallery
549 Beaver St. Sewickley, PA 15143
June 1st, 2012 - July 1st, 2012

Group Exhibitions

Entity
The Artsmiths of Pittsburgh
1635 McFarland Road, Pittsburgh, PA 15216US
September 14th, 2017 - September 28th, 2017
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Metamorphic Resonance
Sala Ex Marmi
Via Santini 9 e Via Nazario Sauro 54 Pietrasanta, Lucca IT
July 2nd, 2017 - August 2nd, 2017
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Via Festival 2016
Ace Hotel Pittsburgh
Pittsburgh, PA US
October 7th, 2016 8:00 PM - 10:00 PM
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real-fake 2.0
Bronx Art Space
305 E 140th St., #1A Bronx, NY 10454
September 9th, 2016 - October 5th, 2016
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Full Spectrum Ahead
The Gallery 4
206 S. Highland Ave Pittsburgh, Pennsylvania 15206
June 11th, 2016 - July 30th, 2016
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Associated Artists of Pittsburgh 105th Annual Exhibition at Carnegie Museum of Art
Carnegie Museum of Art
4400 Forbes Avenue Pittsburgh, PA 15213
May 14th, 2016 - August 14th, 2016
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Electric Objects Showroom Opening Reception
72 Spring Street (and Crosby)
72 Spring Street (and Crosby) New York City, New York 10012
December 11th, 2015 - December 11th, 2015
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Associated Artists of Pittsburgh 104th Annual Exhibition at Butler Institute of American Art
The Butler Institute of American Art (Trumbull)
9350 East Market Street Howland Township, Ohio 44484
June 14th, 2015 - July 25th, 2015
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CALL FOR BUSHWICK 2015
@98 Moore Street, Brooklyn, NY 11206
98 Moore Street Brooklyn , NY 11206
June 6th, 2015 - June 6th, 2015
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PULSE! Art + Technology Festival at Telfair Museum of Art
Telfair Museum of Art
207 W York Street Savannah , GA 31401
January 21st, 2015 - April 12th, 2015
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Snap To Grid LACDA
LACDA - Los Angeles Center for Digital Art
104 E. 4th St. Los Angeles, CA 90013
December 11th, 2014 - January 10th, 2015
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Cavellini 1914 - 2014
WhiteBox Art Center
USA
November 15th, 2014 - December 15th, 2014
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Cinema 05 | 17 Artists - 11 Cities - 4 Countries Kenneth Paul Lesko Gallery
Kenneth Paul Lesko Gallery
1305 West 80th Street Cleveland, OH 44107
September 19th, 2014 - November 15th, 2014
20140701180130-tautology
Associated Artists of Pittsburgh Most Wanted
Most Wanted Fine Art
143 W Bridge Street Homestead, PA 15120
June 28th, 2014 - July 6th, 2014
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Associated Artists of Pittsburgh 103rd Annual Exhibition at Westmoreland Museum of American Art
Westmoreland Museum of American Art
221 North Main Street Greensburg, PA 15601
June 1st, 2014 - September 2nd, 2014
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Uncharted
Trespass Gallery
139A Franklin Street Clarksville, TN 37040
May 10th, 2014 - June 5th, 2014
20140701061721-mmasters
Mobil Masters Proof eBook launch at Macworld 2014
Moscone Center
747 Howard Street San Francisco, CA 94103
March 27th, 2014 - March 30th, 2014
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Snap to Grid
LACDA - Los Angeles Center for Digital Art
104 E. 4th St. Los Angeles, CA 90013
December 12th, 2013 - January 4th, 2014
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The Wrong New Digital Art Biennale
Paradise Hills Gallery
1-9 Doonside Street Richmond, VIC 3121Australia
November 1st, 2013 - January 31st, 2014
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Snap To Grid LACDA
LACDA - Los Angeles Center for Digital Art
104 E. 4th St. Los Angeles, CA 90013
January 11th, 2013 - February 11th, 2013
20140425033047-aap
Archived Fein Art Gallery
Fein Art Gallery
519 E. Ohio Street Pittsburgh, PA 15212
August 3rd, 2012 - August 17th, 2012
Bio

 

Carolyn studied at Grinnell College in Iowa, emphasizing painting, drawing and printmaking. At Washington University in St. Louis, she intensified her focus on printmaking. Over time, Carolyn expanded her art practice to include 2D digital works and videos. This ultimately led her to create 3D digital images and turning them into physical sculptures. Her prints, videos and sculpture have been shown in galleries in Pittsburgh, New York and Minneapolis, and in recent exhibitions at Westmoreland Museum of American Art, Butler Institute of American Art (Trumbull), and Carnegie Museum of Art. 

 

Simoom from Carolyn Frischling on Vimeo

Original video and music by Carolyn Frischling, "Simoom (Arabic: سموم‎ samūm; from the root سم s-m-m, "to poison") is a strong, dry, dust-laden local wind that blows in the Sahara, Israel, Jordan, Syria, and the deserts of Arabian Peninsula." – Wikipedia

 

Parallel Visions: Carolyn Frischling 

Deianira Tolema

“Parallel Visions” refers to multiple interpretations and is merely an introduction to Carolyn’s work. This current body of work provides an introduction for those not acquainted with the socio-historical impact of abstract art on cognitive psychology and digital art. 

 

In “Digital Art (World of Art), third edition,” (Thames & Hudson reprint 2015), art critic and curator Christiane Paul explains how and why digital art has been conceived to “demarcate an invisible yet physical space.”1 As abstract, conceptual and minimal art were a reaction to the narrative qualities of figurative art, digital art has always aimed to undermine the boundaries between innovation and the remains of certain academic standards and traditions. 

 

Donald Kuspit’s essay “The Matrix of Sensations,” published on Artnet (2005), indicates Impressionism, Pointillism, Abstract Art and Constructivism as milestones of Digital Art, and compares the transition from “objective” art to digital art to Duchamps’s Nude Descending a Staircase. Here, an evanescent female figure seems to be trapped in some sort of inter-dimensional interference while walking down a staircase. Indeed, according to Christiane Paul, “Digital art questions the authenticity of a work of art and its location in space and time.”2  

 

Digital Art is also intertwined with Dada, Fluxus, kinetic art, Futurism and Conceptual art, thus its origins can be traced back to Duchamp’s Rotary Glass Plates and Moholy Nagy’s kinetic light sculptures.  Paul explains: “Some artworks try to translate qualities of the virtual world into the physical environment; others strive to map the physical in the virtual; and yet others are aimed at fusing the two spaces.”3 

 

Carolyn’s work in this regard aims to encapsulate a moment of history: that both digital representation and Abstract art are emblems of our emotional detachment from reality. Abstract shapes tend to be detected first by our perception, and then by our consciousness, as an undefinable yet familiar manipulation of the basic structures of matter.  However creativity is drawn to the conceptual aspects of subjective interpretation. In Carolyn’s work the dichotomy between form and interpretation evokes both the origins of the universe and a perceived need for self-isolation of the post-atomic era. 

 

Another element that inevitably comes to light in Carolyn’s abstract juxtapositions of space and volumes is the connection between art and society: our artworks today are, indeed, a reflection of our social and psychological needs just as much as the hunting scenes depicted in the primeval stages of our evolution or the angels of the Middles Ages were projections of our anxieties and uncertainties. 

 

Nowadays the main concern of both artists and intellectuals embodies their urge to resolve the issues produced by the concepts of “individual and collective identity.” Frischling’s abstract digital prints and videos are conceived to erase the echoes of any human activity or presence; as such, she has figured out a way to flatten the differences between real and virtual, two-dimensional and three-dimensional. Her works are an invitation to establish a renewed connection with our true selves in a dimension where art is meant to be impermanent while coexisting with the object of its representation. 

 

In the work “Quidditas/Unknowable 3”, for example, volume and color are the absolute protagonists. The space they are immersed in is not secondary to what’s happening in the foreground: this unique three–dimensional effect, which almost resembles the solids and voids of the human body, evokes a desire of the artist to turn her perception into a more tangible version of it. 

 

Returning to the symbiotic interaction between form and space, the background is two-dimensional, metaphysical: if we compared one of these works to Francis Bacon’s “Lying Figure with Hypodermic Syringe” (1963), we’d have to admit that in Carolyn’s work there’s a net boundary between form and space, while in Bacon’s work there’s no apparent logic in the exchange of information between two-dimensional and three-dimensional forms. Carolyn’s art can also be compared to the work of William Latham and his biomorphic manipulations.  

 

Another experiment that might be useful for a comprehensive analysis of her work, would consist of turning one of the main subjects of her compositions into photographic negatives: imagine transforming the work “Synthesis 2”, for example, into a work of Charles Cohen where the subject is blank; then focus on what we were used to perceive as the main subject of our composition: what do you see? The artwork has been deprived of its three-dimensional qualities while maintaining its conceptual integrity. Even the movements and bright colors that we would normally associate to a wide range of positive emotions appear to have been attacked by one of Nechvatal’s viruses. During this “process of partially aware/partially subconscious extraction and manipulation of the true essence of form,” the subjects of Carolyn’s work have been confirming and denying their own identity and purpose at the same time. What lies beneath the surface of this perceptual contradiction? The artist refers to the superficiality of pop culture, which can’t subtract itself from indicating the “other side of the coin.” In an equation where: form = the identity of an artist, Carolyn’s work implies the reinterpretation of a certain preexisting information, a kind of “encrypted transcription.”  

 

“Anthropocentrism” as applied to our nihilistic need for alienation and destruction, can obliterate even facial features, the equivalent of eluding any trace of human presence in a work of art. Although Carolyn’s subjects are not human, these abstracted forms could be associated to an antithetical desire to embrace a reality where everything is dislocated and nameless. In Carolyn’s work the psychological and sociological aspects related to her ambiguous transfigurations of reality are also emblems of the coexistence of pain and pleasure, typical of any interaction between two or more entities provided by a complex neuronal system. According to Alex Forsythe, when a work of art is too complex, it “results in a kind of perceptual overload”3. However when its content is easy to read, the work is perceived as pleasant. 

 

In the works of the series “Graffuturism” and ”Oneiros”, the level of complexity depends on the viewer: these shapes can be interpreted either as a random juxtaposition of forms and hypothetical contents, or as an intricate sequence of algorithms that find their roots in the subtext of a feasible reality. 

 

Carolyn’s work incorporates a superimposition of layers conveying the intersections between individual and collective consciousness, and their role in defining the mechanism of today’s society through a combination of perceptions announcing their transit into the physical world. 

 

References

1. Paul, Christiane (2015-06-01). Digital Art (World of Art) (Kindle Location 2627). Thames and Hudson Ltd. Kindle Edition.

2. Paul, Christiane (2015-06-01). Digital Art (World of Art) (Kindle Locations 969-970). Thames and Hudson Ltd. Kindle Edition. 

3. Kat, Austen (2012-07-11). Get the Picture? Art in the Brain of the Beholder. New Scientist.

 

Please view my Room Five at Panther Modern, the first virtual museum built by the artist avatar LaTurbo Avedon.

Washington University in St. Louis MFA in Printmaking 1993

New York University Publishing Institute 1986

Grinnell College BA in French 1986

Institute de Touraine 1985

 

Residency 

June 2017 The Digital Stone Project Robotic Stone Carving Workshop at Garfagnana Innovazione in Tuscany, Italy

 

Awards

Artslant Prize 1st Showcase 2016 Juried Award in New-media

Artslant Prize 5th Showcase 2015 Juried Award in New-media

Irene Pasinski Sailor and Richard Waichler Memorial Award, Associated Artists of Pittsburgh Annual Exhibition at Butler Institute of American Art, June 2015

 

Books

AAP 105th Annual Exhibition Catalog Carnegie Museum of Art Associated Artists of Pittsburgh Press 2016

Multiple[x] Complejidad Y Sosotenibilidad dx5 Digital & Graphic Art Research Facultad de Bellas Artes Universidad de Vigo Spain 2015

Studio Visit, vol. 27 1/15

Mobil Masters Proof eBook launch Macworld 2014

 

Press

New art exhibit opens in Mt. Lebanon 2017

[ANTI} MATERIA 12/14/16

THE REAL-FAKE.ORG.2.0 AES+F 2016

The Real-Fake.org 2016

Associated Artists’ 105th Annual is a strong sampling of work from the region Pittsburgh City Paper 6/20/2016

Associated Artists of Pittsburgh's annual exhibit shows off wide range of works Pittsburgh Tribune-Review 6/04/2016

Full Spectrum Ahead The Gallery 4  6/11/2016

Formalism Dominates at the 105th Associated Artists of Pittsburgh Annual The Glassblock 5/27/2016

Electric Objects Artist Interview Series 2015

Carolyn Frischling ArticulAction Art Review 11/2014

Cinema 05 The Kenneth Paul Lesko Gallery 9/2014

Associated Artists Annual at Westmoreland is a respectable reflection of regional art Pittsburgh Post-Gazette 7/30/14

A Conversation with Mobile Artist Carolyn Frischling ArtofMob 6/26/2014

Saltzy Selfies - Around 100 Image Makers blog post 2/29/2014

Carolyn Frischling's Dynamic Work Brings Printmaking Into The Digital Age Beautiful/Decay Magazine 2/10/2014

Digital printmaker wants work to impart a sense of well-being Pittsburgh Post-Gazette 10/16/2013

 

 

 

 

20170801183103-dspexhibition5
7th 2017 ArtSlant Prize Showcase Winner: Avvolgente | Enfolding
2017. Bianco Piastramarina 30 x 22 x 18 in, 76 x 55 x 46 cm © Carolyn Frischling
20160622203022-img_2303
5th 2016 ArtSlant Prize Showcase Winner: Simoom
2016 Video © Carolyn Frischling
20160217013941-yes1
4th 2016 ArtSlant Prize Showcase Winner: Quidditas #selfie I
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
20160418011304-image
3rd 2016 ArtSlant Prize Showcase Winner: Appstraction
2016. 3D print with polymer ceramic coating 24 x 24 x 24 inches © Carolyn Frischling & Isaac Budmen
20160217014101-yes2
2nd 2016 ArtSlant Prize Showcase Winner: Quidditas #selfie II
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
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1st 2016 ArtSlant Prize Showcase Juried Winner: Quidditas #selfie III
2016. New-media 45 x 45 x 1 inches © Carolyn Frischling
20140110045218-image
6th 2015 ArtSlant Prize Showcase Winner: Quidditas VII
2014. New-media 30 x 30 x 1 inches © Carolyn Frischling
20140131234733-img_1050
5th 2015 ArtSlant Prize Showcase Juried Winner: Quidditas VIII
2014. New-media 30 x 30 x 1 inches © Carolyn Frischling
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2nd 2015 ArtSlant Prize Showcase Winner: Oneiros
2015. new-media 30 x 30 x 1 inches © Carolyn Frischling
20141228201528-image
1st 2015 ArtSlant Prize Showcase Winner: Exegesis, Room Five, Panther Modern
November 2014 new-media © Carolyn Frischling
20140111052054-image
3rd 2014 ArtSlant Prize Showcase Winner: Quidditas/Unknowable I
2014. new-media 20 x 20 x 1 inches © Carolyn Frischling
20140409170920-12
2nd 2014 ArtSlant Prize Showcase Winner: Actualizing Abstraction
2014. new-media 9 x 9 x 2 inches © Carolyn Frischling
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7th 2013 ArtSlant Prize Showcase Winner: Graffuturism 5
2013 new-media © Carolyn Frischling
20130723133721-caro
6th 2013 ArtSlant Prize Showcase Winner: Convergence
2013 new-media © Carolyn Frischling
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5th 2013 ArtSlant Prize Showcase Winner: Tautology
2013 new-media © Carolyn Frischling
20130724162128-photo_5
1st 2013 Showcase Winner: Amphiboly
2013 new-media © Carolyn Frischling
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