吉安娜·考米特副教授,于 2005 年就职于肯特州立大学美术系。 2002 年毕业于艾尔弗 雷德大学纽约艺术与设计学院,并取得学士学位。 2002 年,在艾奥瓦大学取得文学硕士 学位,2003 年,取得美术硕士学位。 吉安娜曾获得彼洛克-克拉斯那基金会奖金,居住 在耶多、麦道威尔、比米斯当代艺术中心等艺术家社区。 她曾是艾尔弗雷德大学纽约艺 术与设计学院的客座助理教授,佛蒙特州科尔切斯特市的圣迈克尔大学的驻校艺术家。 吉安娜近期在“威廉·巴斯塔”、“夏新现当代艺术”、克利夫兰市的“同轴电缆多媒 体联盟”北卡罗莱纳州的威瑟斯庞艺术博物馆,马萨诸塞州杰弗里·杨画廊,绘图中心, 美国国家科学院博物馆,泰克斯特和斯班曼,沃斯贝斯的格文·布朗企业和纽约市的雷 切尔·优弗纳画廊展览作品。 她是雷切尔·优弗纳画廊的代表,在俄亥俄州的肯特市生活 并作画。

我最近的作品离不开这几个词：“复杂性、中心性、阳光和围墙”，指的是社会批评家简·雅各布斯关于“卓越的”城市公园的标准。 雅各布斯说，完美的公园是无法轻易描述出来，游园者可以通过各种方式利用这个公园（坐、跑、滑、午睡等），他或她将无法凭记忆绘出公园的地图，因为他或她没有一个固定的视觉角度。 在我的画中也有一个类似的目的：轴线提供视觉上的稳定的中心点，但观众没有固定视觉点和角度。这使得作品可以激发出动态的空间感—提供一个参考的空间，尽管不是一个特定的空间，但是我仍努力使画面保持平滑。 作画的同时，减少和隔离一些图像却让我认识到，我们的文化信息的进程是我工作的根本。 我的图像如何跟其他矩形相比？ 从相对静态的（取决于观察者的运动）窗框与色彩斑斓、画面跳动的电脑和电视屏幕图形的显示屏相比，我们看得到的很多不同的矩形很少是静止的。 广告在风景中随处可见，新闻频道会同时播放不同的故事，著名的互联网窗口和电视屏幕角落里闪烁的图标都不断提醒我们应该看哪里，做什么，或者去买什么。 我试图传达一种类似的感觉可以使我的作品不同于数字版本：使不同类型的视觉信息相互交叉，允许预先涂漆的痕迹和遮盖边缘，瞬间形成一个物理重写本。

Gianna Commito is an Associate Professor of Painting at Kent State, where she has taught since 2005. She received her BFA (1998) in painting and ceramics from The New York State School of Art and Design at Alfred University and MA (2002) and MFA (2003) in painting from the University of Iowa.  Gianna was awarded a Pollock-Krasner Foundation Grant and residencies at Yaddo, MacDowell, and The Bemis Center for Contemporary Art. She served as a Visiting Assistant Professor at the New York State College of Art and Design at Alfred University, and was an Artist in Residence at St. Michael’s College in Colchester, VT. Gianna has had recent exhibitions at Willam Busta Gallery, Shaheen Modern and Contemporary, and MoCA, in Cleveland, the Weatherspoon Art Museum in North Carolina, Geoffrey Young Gallery in Massachusetts, and The Drawing Center, The National Academy Museum, Taxter and Spengemann, and Gavin Brown’s Enterprise, Wallspace, and Rachel Uffner galleries in New York City.  She is represented by Rachel Uffner Gallery and lives and paints in Kent, Ohio.

My most recent paintings were made with the words “intricacy, centrality, sunshine, and enclosure” in mind, referring to the social critic Jane Jacobs’ criteria for an “outstanding” city park. Jacobs stated that the perfect park is one that cannot be described easily, that a visitor is utilizing it in such a variety of ways (sitting, running, sliding, napping, etc.) that he or she will be unable to map it from memory because he or she retains no fixed point of view. I have an analogous aim in my paintings: there is a central point of axis that provides some visual stability, but the viewers’ footing and point of view is always a bit unsettled. This is what activates the spatial dynamics within the work—there is a reference to space, though not a specific place, which I work hard to keep slippery. Paring down and isolating images while painting them in a way that is cognizant of how our culture processes information is fundamental to my work. How do my images compare to those framed by other rectangles? From relatively static (depending on the viewer’s movement) window frames and billboards to the frenetic competition of graphics on computer and television screens, the many different rectangles we watch are rarely still. The landscape is interrupted by advertisements, news channels present coverage of different stories simultaneously, pop-up windows on the Internet and flashing icons in the corner of the television screen alert us as to what we should watch, do, or buy next. I attempt to convey a comparable sense of how different types of visual information intersect, allowing the history of previously painted marks and masked edges to remain a physical palimpsest that differentiates my work from its digital counterparts.