Catherine Murphy, "Studio Floor," 2015 pencil on paper, 28 3/4 by 31 3/16 inches
I'm pleased to have two new drawings included in Graphite Vision opening March 24 through April 23 at the Schick Art Gallery at Skidmore College in Saratoga Springs, NY.
Schick Art Gallery, Skidmore College
815 North Broadway
Saratoga Springs, NY 12866
POST-ELECTION: 150 artists and counting
Exhibition Co-Organized by Kristen Dodge and Kate Gilmore
Opening Saturday, January 28, Event programming begins at 2pm
Opening Day Co-Organized by Lauren Barnes and Shanekia McIntosh
Exhibition Dates: January 28 - March 5, 2017
SEPTEMBER will present Post-Election, an exhibition of over 170 artists co-organized by Kristen Dodge and Kate Gilmore. This exhibition was conceived in conversation between Kristen and Kate a few days after the U.S. Presidential Election. With the intention of providing a reason, space, and context for artists to respond to the current circumstance, they agreed to set a show in motion, and allow the call to take on a life of its own. Word spread between artists and within a short time, the number of participants rose from 50 to 150. The current list of participating artists is included below.
If you choose to make a work that addresses things internal, or external, or some state in-between, that is up to you. Make what you need to make in whatever form, and at whatever pitch you choose. -Excerpt from the call to participate.
If we stop to comprehend the “unrealistic” endeavors that we pursue, we would never do them. This show has been a leap of faith and a truly collaborative endeavor.
Lauren Barnes and Shanekia McIntosh are organizing the opening day of performances, talks, and events. Carrie Schneider is managing new media submissions. Courtney Childress, Sheree Hovespain, Eleanor King, Gina Magid, Carleen Sheehan, Elise Siegel, and Ana Wolovick are providing drop-off locations for participating artists. Lilah Friedland is managing the collection of works in collaboration with our staff. Many participating artists have personally shipped their work to the gallery and offered their time and resources.
A portion of all sales will be donated to the local factions of Planned Parenthood and Black Lives Matter.
Diana Al-Hadid, Jennifer Amadeo-Holl, Polly Apfelbaum, Colleen Asper, Lauren Barnes, Hannah Barrett, Kate Beck, Susan Bee, Andrea Belag, Anne Beresford, Iris Bernblum, Annie Bielski, Hannah Black, Nancy Bowen, Dawn Breeze, Kelsey Brod, Jacinta Bunnell, Beth Campbell, Carwash Collective, Rebecca Chamberlain, Lenora Champagne, Patty Chang, Nicole Cherubini, Jennifer Paige Cohen, Courtney Childress, Beninga Chilla, Christen Clifford, Liz Collins, Moira Connelly, Jennifer Dalton, Nancy Davidson, Jen Dawson, Donna Dennis, Shoshana Dentz, Melissa Auf der Maur, Leah Devun, Katherine Mitchell DiRico, Leah Dixon, Angelina Dreem, Jenny Dubnau, Sharona Eliassaf, Michelle Elzay, Julie Evans, Heide Fasnacht, Jean Feinberg, Rochelle Feinstein, Ashlee Ferlito, Alison Fox, Dana Frankfort, Lilah Friedland, Sarah Fuhrman, Sheila Gallagher, Chitra Ganesh, Mariah Garnett, Christy Gast, Tamara Gayer, Kate Gilmore, Jen Gilmore, JoanneGreenbaum, Catherine Hall, Ellen Harvey, Maren Hassinger, Paula Hayes, Clarity Haynes, Karen Heagle, Susana Heller, Elana Herzog, Jane Fox Hipple, Sheree Hovsepian, Nene Humphrey, Jessica Jackson Hutchins, Jamie Isenstein, Elizabeth Insogna, Alia S. Jackson, Catherine L. Johnson, Deborah Kass, Nina Katchadourian, Lisa Kereszi, Eleanor King, Chelsea Knight, Autumn Knight, Julia Kunin, Marcia, Kure, Cal Lane, Karen Lee, Miranda Lichtenstein, Cynthia Lin, Kimberly Lin, Anne Lindberg, Meg Lipke, Jen Liu, Patte Loper, Rebecca Loyche, Gina Magid, Dana Majana, Georgette Maniatis, Natasha Mayers, Suzanne McClelland, Francine Hunter McGivern, Shannekia McIntosh, Tess Middlebrook, Ander Mikalson, Marilyn Minter, Amalia Mourad, Carrie Moyer, Donna Moylan, Laurel, Nakadate, Maureen Nollette, Rachel Owens, Ruby Palmer, Alix Pearlstein, Sheila Pepe, Carla Perez-Gallardo, Tessa Perutz, Janine Polak, Kristine Potter, Sara Rafferty, Corinna Ripps, Kenya Robinson, Heather Rowe, Brie Ruais, Adelaide Ruff, Kathy Ruttenberg, Jackie Saccoccio, Naomi Safran-Hon, Jennifer Salomon, Lisa Sanditz, Carrie Schneider, Mira Schor, Lauren Seiden, Becky Sellinger, Nancy Shaver, Carleen Sheehan, Elise Siegel, Xaviera Simmons, Slinko, Barb Smith, Alexandria Smith, Shinique Smith, Jamie Sneider, Agathe Snow, Sarah Sole, Laurel Sparks, Meredyth Sparks, Allyson Strafella, Odessa Straub & Kip Kirkendall, Kianja Strobert, Maya Suess, Julianne Swartz, Jane Swavely, Monika Sziladi, Dannielle Tegeder, Constance Tenvik, Dorothea Van Camp Michalene Thomas, Sam Vernon, Stefanie Victor, Nicole Vidor, Jennifer Viola, Marianne Vitale, Wendy White, Jess Whittam, Lorna Williams, Karen Lee Williams, Martha Wilson, Ana Wolovick, Lachell Workman, Sun You
For further information, please contact firstname.lastname@example.org, or visit the gallery website: septembergallery.com. Gallery hours are Friday-Sunday, noon-6pm and by appointment.
My new drawing But want peace. will be included.
449 Warren Street #3, Hudson, NY 12534
Akron Art Museum
Thursday, October 20 • 6:30 pm • Free
Join Intersections artists Anne Lindberg and John Newman, Kent State University-Stark sculptor Andrea Myers and University of Akron professor Kate Budd for a panel discussion looking at ideas they are exploring, relationships between their work in two and three dimensions, and the materials and scale they choose to realize their objectives.
Intersections: Artists Master Line and Space showcases recent work by six sculptors for whom working on paper is also an essential part of their practice. Each of the artists’ works in two and three dimensions relate in different ways, although all are distinguished by their mastery of both line and form.
Mark Fox transforms his paintings and drawings into sculpture. The artist hand-corrugates his private drawings—some drawn from transcriptions of Catholic Doctrine—producing sheets of handmade "cardboard." He then cuts this material into sections and assembles sculptures that simultaneously invite reflection and deny access.
Anne Lindberg will create an onsite installation using taut cotton thread to draw lines that create a shimmering mass in space. Extending ideas the artist began exploring in drawings on mat board, scribing thousands of parallel lines using an architect’s bar, her installations are “built with color and air, filament by filament, through space.”
Nathalie Miebach creates drawings in the form of musical scores from data generated by weather events. These in turn inform colorful sculptures the artist weaves from wood, reed and yarn. Miebach prizes weaving for providing a grid to translate phenomena that occur in three dimensions and offering new ways of picturing data.
John Newman makes drawings before, during and after his sculptures, many of them as ways to understand how to realize new ideas. Noted for his eccentric combinations of natural, manufactured, computer-generated and hand-crafted elements in his modestly-scaled sculptures, Newman likewise uses a variety of materials and techniques in his works on paper.
Judy Pfaff, who will also construct an installation in the museum galleries, is a recognized pioneer of installation art. Aptly described as “a collagist in space,” Pfaff embraces a variety of materials and readily marries two- and three-dimensional elements in work distinguished by its dynamism and complexity.
Ursula von Rydingsvard uses graphite, a traditional drawing material, to emphasize the surfaces of her sculptures in cedar and cedar as a medium to create alluring works of paper. In describing her preference for cedar as her material, von Rydingsvard has commented on its lack of visible grain, how it is “neutral; it’s like a piece of paper.”
Works by each of these artists will be on display in dedicated gallery spaces, allowing for understanding of their processes and the diversity of ways they work across media.
Intersections: Artists Master Line and Space is organized by the Akron Art Museum and generously supported in part by the Lehner Family Foundation, National Endowment for the Arts, the Elizabeth Firestone Graham Foundation and the Ohio Arts Council. Special thanks to Hilton Garden Inn – Akron.
July 28 - August 29, 2016
Rirkrit Tiravanija & Tomas Vu
July 28 - August 29, 2016
Opening reception: Thursday July 28, 6pm to 8pm
Summer hours: Monday to Friday 10am - 6pm
Josée Bienvenu is pleased to present good news., an exhibition of international artists working on and off paper to deconstruct and reconfigure information. With the daily deluge of bad news at our fingertips, we become disoriented in our distanced yet simultaneously intimate sense of connectedness to the world.
Based in Sao Paulo, Ricardo Alcaide interested in the social aspects of architecture and design. His interest in geometric abstraction, modernist constructions, and dynamics in urban centers allow him to juxtapose the poetic and the political. In his Intrusion series, Alcaide hinders the pictorial and symbolic reality of luxurious spaces by introducing a foreign element to pages of design magazines.
Based in Jeddah, Saudi Arabia, Abdulaziz Ashour presents international newspapers that have been altered by communication officials, as well as new sanded collages made during his recent residency at the Josef and Anni Albers Foundation in Connecticut. Ashour’s gestures add another layer of obscurity, questioning the power of the image as a means to convey underlying ideology.
Argentine American artist Ernesto Caivano lives and works in New York. He presents a panoramic work and abstract drawings that form part of a post-anthropocentric narrative titled After the Woods. Caivano's intricate drawings take their cues from cosmology, mythology, philosophy, romantic poetry, science fiction, Japanese printmaking and fractal geometry.
Darío Escobar lives and works in Guatemala City. He presents a new series of graphite and cinnabar clay compositions. His work is characterized by the revitalization of materials charged with historical and symbolic meaning, reexamining Western art history and aesthetics from a Guatemalan perspective.
Fernanda Fragateiro lives and works in Lisbon, Portugal. Her works are characterized by a keen interest in re-thinking and probing modernist practices. Fragateiro frequently employs the method of repurposing already-existing and symbolically layered material, such as second-hand books and magazines, in order to fashion complex yet delicate work that is criss-crossed by an intricate web of inner references to art theory and architectural history.
Singaporean-born artist Simryn Gill was educated in India and the UK, and now lives and works in Sydney and Malaysia. Included in this exhibition are the studies of her Let Go, Let's Go series of collage drawings on paper, presented at the Australian Pavilion at the 55th Venice Biennale in 2013. Several of her works involve erasing or excising the printed word in a microcosmic struggle with authority as embodied by canonical texts.
Anne Lindberg’s works tap a non-verbal physiological landscape of body and space, provoking emotional, visceral and perceptual responses. She works with an expanded definition of drawing languages that reside between abstraction and metaphor. Her graphite drawings are optical, sensual and metaphysically charged.
Ukrainian American artist Yuri Masnyj lives and works in New York. Masnyj's drawings focus on the aesthetic of historical avant-garde, in particularly Russian Constructivism, combining elements inspired by graphic design, architecture, and the art-historical past. Commenting on the ways that the avant-garde has filtered into the mainstream, tempering its utopian spirit, Masnyj's work alludes to the institutionalization and domestication of these once-radical forms.
Born in Phoenix, Julianne Swartz lives and works in upstate New York. Her sculpture Stability Study (bowl), explores negative space and the interface between outside and inside. Her work encourages a quizzical reconsideration of our relationship to our body and our surroundings, a metaphoric investigation of the limitations, fragility and endurance of the body, and the weight of human relationships.
Born in Okinawa, Japan, Yuken Teruya lives and works in New York. Teruya manipulates everyday objects, transforming their meanings to reflect on contemporary society and culture, creating micro universes that pertain to broader concerns. Teruya’s Minding My Own Business series features old New York Times newspapers that have been meticulously sliced open to sprout delicate plant life, adding a nuanced narrative to dismal front page news that seldom gives attention to ecological matters.
Rirkrit Tiravanija and Thomas Vu collaborate on a series titled Green Go Home, it is part myth, part misunderstanding and part imagination. Tiravanija extends from the notion of relational aesthetics, and Vu's work plays with the roles of man and machine and the waning boundary between the two.
Adam Winner is an American artist based in Brooklyn. Made with dense layers of oil on paper, Winner’s sculptural paintings expose their own accidents and mistakes, laying bare the edges and seams. Exploring imperfect gestures and the manifestation of internal conflict, his drawings are imbued with a sense of self-doubt, yet with confident control over the materials.
My 2005 work titled "behold" is included in Quasi Segreti, Cassette tra Arte e Design (Almost Secret, Drawers between Art and Design," edited by Beppe Finessi for the Museo Poldi Pezzoli in Milan. The exhibition (which didn't include my work because it has been damaged) was curated by Finessi on the occasion of the Milan Design Week 2016.
"Anne Lindberg, former KC Art Institute professor, on her new show and Virginia Woolf"
From the Kansas Flint Hills to New York’s Hudson Valley, artist Anne Lindberg has always found inspiration in the land.
Lindberg was born in Iowa City, Iowa, in 1962. After earning a bachelor of fine arts from Miami University in Oxford, Ohio, and a master of fine arts from Cranbrook Academy of Art in Bloomfield Hills, Mich., Lindberg came to Kansas City in 1990, where she taught at Kansas City Art Institute for 10 years before resigning to work full time as an artist since then.
During that time, Lindberg frequently spent weekends camping in a pop-up trailer on a piece of property she and her husband owned in the Flint Hills. She fell in love with the landscape, which she says profoundly influenced her work at the time.
After her husband got a teaching position in New York, the couple bought a piece of property two hours outside the city in New York’s Hudson Valley, famous for the Hudson River school of landscape painters. They built a small house and studio where they now live full time.
Lindberg currently has an installation, “pivot green blue,” made up of miles of thread stapled overhead to create a cloud of color at Museum of Fine Arts, Boston (through July 2017).
Lindberg’s current solo show, “In Tandem,” runs through June 11 at Haw Contemporary, 1600 Liberty St., along with two other solo shows: “Works and Days” by Corey Antis, and “Don’t Stand Up” by Alex Kvares. This conversation, shortened and edited minimally for clarity, took place at the gallery.
Q: What was the inspiration for these black-and-white graphite pencil drawings?
A: In a way they are about the first period of time that we spent in our new home in the Hudson Valley. We arrived on a Sunday, and on Monday morning — thankfully we had brought groceries and had made a huge pot of chili — we got 24 inches of snow. Two days later we got 24 more inches of snow. So we were there in these two black buildings in a white world, and this was the work I made.
Q: The black buildings are your house and studio?
A: Yes. The studio is a kit barn structure and the house looks like a barn, and traditional horse barns in the area are dark. We are next to a wetland and surrounded by alfalfa fields, so the house has a lot of windows that allow you to be part of nature.
It’s a good life. My studio is 40 feet from my bed, and the grocery store is seven miles away, and the Internet allows you to be connected to the world. Boston is three hours to the north and New York City is two hours to the south.
Q: Why is there a quote from Virginia Woolf on the wall next to your drawings?
A: I ran across a recording of her speaking in a radio broadcast from 1937. There are very few recordings of her voice, so that was very powerful. This passage is her talking, not from her writing. Her voice is very compelling.
Q: How so?
A: The cadence, her pauses to find the right word. She (Virginia Woolf) says, “It is a serious fact that a word is not a single and separate entity but part of other words, indeed it is not a word until it is part of a sentence.
When I heard that I was working on these (paintings that are pairs of forms that touch but do not mirror each other). I worked on the forms one at a time, not knowing what they would be paired with at first.
So it was like I was making a word, and making a word, and making a word. And then when I joined them, that was what gave each one meaning. The message at the end of what I’ve transcribed here, where she (Woolf) is talking about the wildness of words and the difficulty of capturing them, is:
“If you want proof of this, consider how often in moments of emotion, when we most need words, we find none. Perhaps it is their most striking peculiarity, their need to change.”
So, words are slippery and you can’t capture them. And these are very abstract images. They are sort of distilled forms that are suggestive of many things, and they’re in pairs, which is inherently about the relationship of this to that. So it seemed appropriate somehow.
The pairing is also like two pages coming together. And I’m delighted in the alliance with Corey Antis’ work downstairs, which are actual books, and Alex Kvares’ works in the front, which are pages of ledger books. There’s a nice synergy in the gallery at the moment.
Having recently moved across the county to home of the Hudson River School painters, Anne Lindberg has recognized a deepening in her process, one which joins the personal and the abstract in reference to place and the sublime. In a small series of new drawings, Lindberg takes a new turn, this time toward a more graphic language yet also a deeper commitment to abstraction and metaphor. In the small Gallery 4 upstairs, this dense grouping of large black on white looming forms asks essential questions about time, causality and mediation of form. Tandem forms pack themselves into the picture plane in ways similar to her watery ephemeral forms of past, but this time with greater contrast. Like the elegy paintings of Robert Motherwell, the Signature/Monograph series of photographs by Erin Shirreff, and the shaped paintings of Ellsworth Kelly, Lindberg believes that form, when distilled, has history and resonance. Reaffirming her interest in the elemental languages of drawing, here the physical and visual power of the work comes from it’s hand-drawn intensity, and embrace of nuanced craft and materiality. Clearly embedded into the pliant mat board, these drawings have a weight, a sensual weight, a metaphysical weight. Pairs of full rounded forms seem to create each other, as though one has been formed by the other, mirrored in an open book where language is silent.
“It is a mysterious fact that a word is not a single and separate entity, but part of other words. Indeed, it is not a word until it is part of a sentence. Words belong to each other, although, of course, only a great poet knows that the word “incarnadine” belongs to “multitudinous seas.” How can we combine old words with new order so that they survive, so that they create beauty, so that they tell the truth? That is the question. It is words that are to blame. They are the wildest, freest, most irresponsible, the most un-teachable of all things. Of course, you can catch them and sort them and place them in alphabetical order in dictionaries. But words do not live in dictionaries; they live in the mind. If you want proof of this, consider how often in moments of emotion when we most need words we find none. Perhaps that is their most striking peculiarity, their need to change.”
excerpt from spoken words of Virginia Woolf,
part of a BBC radio broadcast from 1937, from a talk titled “Craftsmanship”
On Saturday evening March 12, Denman Maroney performed within my exhibition "fold and unfold" at the Omi International Art Center to a rapt audience. Using his signature hyper-piano style, Denman offered an interpretive meditation on the work. He encouraged the audience to walk around and come up to see how he was altering the instrument to create unique sounds and movements.
Here are a few videos:
Congratulations to this year's Anonymous Was A Woman award winners.
I am deeply grateful to have been included in the nominees this year, and I wish I could thank the person who nominated me.
What an incredible group of artists for 2015!
I am pleased to be showing a new drawing, one of the first made in my new studio in the Hudson Vally of New York State. I will miss the opening, but am honored to be showing work alongside so many of my dear artist friends in Kansas City.
Featured artists include Ricky Allman, Corey Antis, Anthony Baab, Miki Baird, Laura Berman, Robert Bingaman, James Brinsfield, Shenequa A. Brooks, Keith F. Davis, Deanna Dikeman, David Ford, Nate Fors, Archie Scott Gobber, Corey Goering, Peregrine Honig, Matthew Kluber, Michael Krueger, Alex Kvares, Anne Lindberg, Marcie Miller Gross, Dylan Mortimer, Armin Muhsam, Garry Noland, Danni Parelman, Travis Pratt, Warren Rosser, Eric Sall, Russell Shoemaker, Mike Sinclair, Debra Smith, Davin Watne.
I am very pleased to announce that I will have a solo exhibition at the Omi International Art Center in Ghent, NY opening in early 2016. The space is glorious and will be an ideal venue to realize an installation project during the depth of winter in the Hudson Valley. I hope you will plan to visit to Omi, perhaps with your cross country skis in hand, when you can see my new work. Plans are afoot for a large installation and relating drawings.
It's particularly meaningful for me to exhibit work at Omi since I was a resident in their Art Omi International Artist Residency in 2009, and I have also just moved to the Hudson Valley in 2015. What a nice welcome, I am grateful!
review by Kurt Shaw
For “Factory Installed, Part 1,” the latest exhibit to open at the Mattress Factory, eight artists were chosen from a pool of more than 500 applicants from 27 countries and 35 states to create new site-specific installations.
This first group figures in only half of the exhibit, with the rest coming in September. The exhibits at the installation-art museum on the North Side include an architecture/biology project by recent Carnegie Mellon University grads Jacob Douenias and Ethan Frier, along with new room-size installations by Anne Lindberg from Ancramdale, N.Y., Lawrenceville's John Morris and Brooklyn-based artist Julie Schenkelberg.
The installation “Living Things” — by Douenias, a School of Architecture grad, and Frier, who graduated from the School of Design — features futuristic-looking furniture that holds large glass containers filled with green liquid. It represents a future, the pair says, where “the symbiosis between human beings and micro-organisms is externalized and celebrated in the built environment.”
This is made most evident by the green liquid, which is actually water containing microalgae, some of the most ancient and prolific organisms on Earth. Microalgae are single-celled proto-plants without roots, stalks or leaves.
“Despite accounting for less than 1 percent of the Earth's total biomass, microalgae drive the biological pump, which maintains our atmosphere and the balance of carboniferous matter therein,” Douenias says. “The energy-dense and nutrient-rich material left behind by these microorganisms remains an almost entirely untapped renewable resource by humans.
“We have begun to harness the power of other micro-organisms in industries such as waste management, alcoholic-beverage production, agriculture, medicine and, more recently, biofuels.”
Microalgae, however, present a unique opportunity to designers, contends the pair.
“The absence of a superstructure to organize their anatomy allows the liquid suspension in which they live to be treated more like a material than a plant,” Frier says. “In the hands of an architect, industrial designer, engineer or systems designer, this liquid plant becomes a living material, which can be integrated symbiotically into the architectural environment. The plasticity of this living material allows us to create living structures.”
These living structures recycle light, heat and carbon dioxide from buildings and their inhabitants into rich, green biomass, which can be consumed as sustenance, used as agricultural fertilizer or converted to biofuel.
This installation reveals the phenomenological qualities of the highly beneficial micro-algae and challenges visitors to consider what the future of the domestic environment may become in the context of the precarious agricultural and energy needs of a ballooning population.
On the second floor, Schenkelberg has altered two rooms with her installation “The Color of Temperance: Embodied Energy.”
Including furniture, flatware and linens, the piece is a tour de force of domestic interiors turned inside out, as if a whole home has imploded and one is walking through the aftermath.
“The piece at the Mattress Factory is materials sourced directly from the area,” Schenkelberg says. “I create installations to envelope the viewer in my memories as well as their own.”
Having shades of blue throughout to hint at what she says are “healing powers of the earth and sky,” Schenkelberg says the whole purpose is to have a shared experience with the viewer, transporting us into a fictional, magical space.
“I take domestic memory of a decaying home environment, physically and psychologically, and convert it into something beautiful,” she says. “The items I choose are transformed from discarded materials to a fantasy environment.”
On the third floor, “shift lens” by Lindberg offers a response to the room it is in, which she surmises was likely originally used as a bedroom, with two sash windows, woodwork and a painted wooden floor.
“I was particularly taken with how the windows are like a lens, as though you are on the inside of a camera,” Lindberg says. That is why, she says, she decided to stretch taut thread in vertical and horizontal directions within the architecture — in cool and warm tones — in front of the windows to “filter the natural light that obscures your vision and creates a floating volume of color,” Lindberg says.
“I made the work in scale to your body, with its bottom edge near your knees and its top at the reach of your hand as it reaches overhead,” Lindberg says. “This is the zone of your body's primal and physiological understanding of space.”
Finally, Morris has filled the room next to Lindberg's installation with “Life, Afterlife,” an installation composed of ghosts of individual objects in the form of acrylic casts or painted coverings of everyday household items such as utensils, soda cans and combs.
“I paint on and peel stuff in a process that merges, painting, casting, drawing and sculpture,” Morris says.
The “results” blur the lines between life and death; handmade and ready-made; precious objects and “worthless trash.”
“I rarely have full control or know what to expect. Hopefully, the viewer shares moments of surprise and discovery,” he says.
The second half of the exhibit, which showcases works by Lisa Sigal of Brooklyn, N.Y.; Bill Smith of O'Fallon, Ill.; Rob Voerman of Arnhem, The Netherlands; and Marnie Weber of Los Angeles, won't open until Sept. 18 in the museum's galleries at 500 Sampsonia Way, with the entirety of the exhibit remaining on view through winter 2016.
I will exhibit a new work called shift lens in the 1414 Monterey gallery, 3rd floor.
Hope to see you there!
dirt from a whole
water in a puddle
wave n a tree
wave made of smoke
wave made of black smoke
wave made of black smoke
bright white wave in a tree
smoke from white paper
black smoke from white paper
spirit for six pages
black for 250
pages of wet paper
smoke from a mouth
smoke from a body
a body on a plain
a ship under ground
a plane in nature
a horn underground
a drum in the dirt
-James Cordas, March 2015
Composed of graphite on cotton mat board, drawn below by Anne Lindberg spans 42 1/2 feet and engages the entire length of our Chicago gallery. In the space between Lindberg's site-specific installations at Contemporary Arts Center Cincinnati and The Mattress Factory, Pittsburgh, Carrie Secrist Gallery is thrilled to show this monumental drawing as a touchstone for a new body of work.
Haw Contemporary opens "on behalf of one's obsessions" Friday, December 11, 2015.
Artists include: Barry Anderson, Jon Scott Anderson, Anthony Baab, Robert Bingaman, James Brinsfield, Justin Gainan, Peregrine Honig, Anne Lindberg, Marcie Miller Gross, Gary Noland, David Rhoads, Davin Watne, Susan White and Andrzej Zielinski
"The refusal to rest content, the willingness to risk excess on behalf of one's obsessions, is what distinguishes artists from entertainers, and what makes some artists adventurers on behalf of us all." John Updike
Produced by the MFA Boston, I am pleased to have this video on view to animate a new work, pivot green blue, that was made for this terrific exhibition curated by Al Miner called Landscape, Abstracted. Artists include: Nicole Chesney, Song Dong, Tara Donovan, Teresita Fernandez, Spencer Finch, Barbara Gallucci, David Hockney, Anne Lindberg and Jason Middlebrook. The exhibition is up through Summer 2017.
I am pleased announce that my work (including the above sculpture called "sleep" and 4 drawings from the insomnia series) will be included in Sleepless Nights at Galerie Hubert Winter in Vienna, Austria. Curated by Abigail Solomon-Godeau, this exhibition is part of a city wide project called The Century of the Bed from Curated By_Vienna.
Here is an excerpt from Beatriz Columna's essay The Century of the Bed:
The Century of the Bed
by Beatriz Colomina
In what is probably now a conservative estimate, The Wall Street Journal reported in 2012 that 80% of young New York City professionals work regularly from bed. Millions of dispersed beds are taking over from concentrated office buildings. The boudoir is defeating the tower. Networked electronic technologies have removed any limit to what can be done in bed. It is not just that the bed/office has been made possible by new media. Rather new media is designed to extend a 100-year-old dream of domestic connectivity to millions of people. The city has moved into the bed.
How did we get here?
Industrialization brought with it the 8 hour shift and the radical separation between home and office/ factory, rest and work, night and day. Post-industrialization collapses work back into the home and takes it further into the bedroom and into the bed itself. Fantasmagoria is no longer lining the room in wallpaper, fabric, images, and objects. It is now in the electronic devices. The whole universe is concentrated on a small screen with the bed floating in an infinite sea of information. To lie down is not to rest but to move. The bed is now a site of action.
Between the bed inserted in the office and the office inserted in the bed a whole new horizontal architecture has taken over. It is magnified by the “flat” networks of social media that have themselves been fully integrated into the professional, business and industrial environment in a collapse of traditional distinctions between private and public, work and play, rest and action.
What is the architecture of this new space and time? What is the nature of this new interior in which we have decided collectively to check ourselves in? What is the architecture of this prison in which night and day, work and play are no longer differentiated and we are permanently under surveillance, even as we sleep in the control booth?*
The exhibitions within the framework of curated by_vienna: The Century of the Bed address these questions and raise new ones. The individual projects offer insight into the diverse artistic investigations with this topic, but also into different kinds of curatorial practices.
*Read the unabridged version of Beatriz Colomina’s essay in the publication, which will be published on the occasion of the opening of curated by_vienna: The Century of the Bed and contains contributions of all participating curators and galleries.