Let's Talk Art: Abstract Artist Nanette Carter - 27 East

Arts & Living

Arts & Living / 1775638

Let’s Talk Art: Abstract Artist Nanette Carter

icon 21 Photos
Mary Abbott (American, 1921–2019)

Mary Abbott (American, 1921–2019) "Imrie," 1953. Oil on canvas, 71" x 74." Collection Thomas McCormick and Jane Kanter, Chicago.

Marina Adams (American, born
1960)

Marina Adams (American, born 1960) "Left Hand of the Dreamer," 2020. 98" x 78." Courtesy of the artist and Salon 94. New York.

Curator Alicia G. Longwell with artist Nanette Carter at the opening of

Curator Alicia G. Longwell with artist Nanette Carter at the opening of "Affinities for Abstraction: Women Artists on the East End, 1950–2020," at the Parrish Art Museum. JENNY GORMAN

Elaine de Kooning (American, 1920–1989)

Elaine de Kooning (American, 1920–1989) "Sun Wall," 1986–1987. Oil on canvas, 98" x 132". Parrish Art Museum, Water Mill, N.Y., Gift of Domna Stanton.

Artist Nanette Carter at the opening of

Artist Nanette Carter at the opening of "Affinities for Abstraction: Women Artists on the East End, 1950–2020," at the Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum.JENNY GORMAN JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

"Affinities for Abstraction: Women Artists on the East End, 1950–2020," installation view, Parrish Art Museum. JENNY GORMAN

Betty Parsons (American, 1900-1982),

Betty Parsons (American, 1900-1982), "It Was That Way," 1971. Acrylic on wood. Courtesy Berry Campbell, New York.

Artist Virva Hinnemo at the opening of

Artist Virva Hinnemo at the opening of "Affinities for Abstraction: Women Artists on the East End, 1950–2020," at the Parrish Art Museum. JENNY GORMAN

Artist Virva Hinnemo at the opening of

Artist Virva Hinnemo at the opening of "Affinities for Abstraction: Women Artists on the East End, 1950–2020," at the Parrish Art Museum. JENNY GORMAN

Virva Hinnemo working in her Springs studio.

Virva Hinnemo working in her Springs studio. COURTESY THE ARTIST

Virva Hinnemo working in her Springs studio.

Virva Hinnemo working in her Springs studio. COURTESY THE ARTIST

Virva Hinnemo working in her Springs studio.

Virva Hinnemo working in her Springs studio. COURTESY THE ARTIST

Virva Hinnemo working in her Springs studio.

Virva Hinnemo working in her Springs studio. COURTESY THE ARTIST

Sue Williams (American, born 1954)

Sue Williams (American, born 1954) "Irritated Weave," 2001. Oil and acrylic on canvas, 82" x 132." © 2021 the artist Sue Williams. Courtesy 303 Gallery, New York.

Virva Hinnemo working in her Springs studio.

Virva Hinnemo working in her Springs studio. COURTESY THE ARTIST

authorAnnette Hinkle on May 5, 2021

Nanette Carter is one of the artists whose work is on view in the Parrish Art Museum exhibition “Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020.”

Q: As a female Abstract painter, did you face hurdles regarding acceptance and respect in what was initially a very male-dominated field?

All African American artists who work in the Abstract vein have had difficulties. I have triple jeopardy — I’m an Abstract artist, a woman and I’m Black. It’s so exciting, in this show I’m hanging between Dorthea Rockburne and Mary Abbot and right across from Joan Mitchell, who I’ve been looking at since I was in college. I’m 67, so that was long time ago.

Q: Your parents had a home in Sag Harbor Hills beginning in the early 1970s. How did coming to this area influence your artistic growth?

I grew up in Montclair, New Jersey, but I think being around the galleries and seeing these artists working in the Abstract vein. I was working with Abstraction when i was very young. My first studio was in my bedroom and I would collage these papers together. Being in the Hamptons and knowing I wanted to be in the arts, I went to the Parrish Art Museum. I love Fairfield Porter’s work. I’d also go to Guild Hall and see lots of Pollocks and de Koonings — male artists are celebrated all the time. I got a job in the Guild Hall ticket booth in college, so I’d go to the openings and was always the only Black person in the room. At one opening I went to, I saw this tall Black man and went up to talk to him. It was [artist] Al Loving. He had rented a space in a theater in Southampton and was doing a performance piece, and invited me to come and meet many other people.

Not only did I work at Guild Hall that summer, when I finished at Pratt, Guild Hall hired me to teach a monotype class for adults. It was all painters who wanted to learn the different technique and I made so many great friends and then I did a show at Guild Hall — the Eastville Artists, a group of African American artists — and Al Loving curated the show. Then Hans Namuth was asked to curate a Parrish anniversary show and I had a fairly large painting in that.

Q: What other artists on the East End had an influence on you?

My mentor from Sag Harbor was Frank Wimberley. Frank lived down the street from my parents and Al Loving fell in love with Sag Harbor when I brought him to the Black community on the bay. They were wonderful, gracious people. Not all artists are giving of their time and their works.

Q: Did Montclair also provide inspiration and support for you?

Montclair schools were very advanced. They had a dark room, potters wheels, kilns, oil paints. I did linoleum cuts in elementary school and we had a small table top press. The teachers were incredible, we would go to the Guggenheim and the Met and hear artists speak. Being in Montclair and Sag Harbor, the two communities did influence the work.

Q: What element of the East End inspires your work?

For me, it was the landscape. I was a block away from the bay, I rolled out of bed and down the street and there I was. You can see how I took from nature to talk about different ideas. A lot of my work also speaks of social issues of the time. “Cantilevered,” my recent works which are a bit more architectural for me, talks about balancing information with what’s going on in social media and seeing things as they happen. It’s so much. As someone born in the ’50s we moved at a slower pace. I’m working seven days a week now. But I’ve been teaching at Pratt for 20 years, and I’m retiring. I’ve really enjoyed the students, they keep me alive and abreast of trends, but I’m ready to get back full-time in the studio.

Q: Now that you’re finishing up your teaching career, what are your next plans?

I love to travel, and I have a five-week residency in Siena, Italy, on June 1. I got both my vaccines and I’m hoping to do some other residencies like Yaddo and MacDowell. Being retired will open up a lot more time to travel.

You May Also Like:

A ‘Hidden Child’: Erika Hecht Reflects On World War II In New Memoir

On the edge of Sag Harbor Village, Erika Hecht lives in a modest home surrounded ... 22 Jun 2021 by Michelle Trauring

New Project Space Features Ceramics By Rebecca Manson

Fairfax Dorn, principal of Fairfax Dorn Projects (FDP), is currently presenting “An Impulsive Forage,” an exhibition highlighting new work by artist Rebecca Manson in collaboration with Josh Lilley, London, at The Living Room, a project space in East Hampton. The show runs through July 4. It marks Manson’s first U.S. solo exhibition and features ceramic sculptures made in her studio outside New York City. As a master of clay, Manson captures the vulnerabilities of nature. The sculptures on view express the relationship between beauty and decay. She is a graduate of the ceramics department of the Rhode Island School of ... by Staff Writer

G.E. Smith’s ‘Portraits’ Welcomes Telecaster Master Jim Weider

On July 5, G.E. Smith launches his fifth series of “Portraits,” this year for Guild ... by Staff Writer

Market Art + Design Returns For 2021

Market Art + Design, the East End’s premier and longest-running art and design fair, has ... by Staff Writer

Jessica Ambrose Gets Sirius

In early May, SiriusXM Radio announced that “Lunch on the Deck,” a weekly program hosted ... by Staff Writer

Southampton Arts Center Hosts Outdoor Talk With Carl Safina

Conserving nature and tapping into human creativity may not immediately appear to be connected. But ... by Staff Writer

Guild Hall Is Getting A Make-Over For Its 90th Birthday

Guild Hall, located at 158 Main Street in East Hampton, has launched a $10 million capital campaign, in celebration of its 90th Anniversary (1931-2021), to bring the institution to the next level. As Guild Hall looks to the future, it has engaged the world’s most sought-after minds to match the physical footprint with the caliber of their artistry: Bran Ferren/Applied Minds, Peter Pennoyer Architects, Hollander Design | Landscape Architects, Ben Krupinski Builder, and Jon Maass and Pamela Torres as owner’s reps. At this point, Guild Hall has reached 50 percent of its goal thanks to the support of the Board ... by Staff Writer

A Trio Of Concerts Curated By Joel Ross For Duck Creek

The Arts Center at Duck Creek will present the first two concerts this weekend in ... by Staff Writer

‘Fish & Men’ Screening And Panel At SAC

As part of its exhibition “EARTH: Artists as Activists,” On Thursday, July 8, at 7:30 ... by Staff Writer

Nelson H. White Retrospective

On Saturday, June 26, the Grenning Gallery in Sag Harbor opens a retrospective exhibition featuring ... by Staff Writer
logo

Welcome to our new website!

To see what’s new, click “Start the Tour” to take a tour.

We welcome your feedback. Please click the
“contact/advertise” link in the menu bar to email us.

Start the Tour
Landscape view not supported
Send this to a friend