http://www.skydesign.com/casestudies/art-within-architecture
Skyline Design in Chicago, who printed the imagery for a recent government commission with the GSA Art in Architecture program, has highlighted "curtain wall." Working with Skyline Design, Helix Architecture + Design, the entire GSA project team and A2MG glaziers was a terrific experience, and I invite you to enjoy this PDF from the Skyline Design website to learn more about the project.
photography by Mike Sinclair
Carrie Secrist Gallery will participate in the inaugural edition of Material Art Fair in Mexico City.
Please visit Booth E-6 , where the gallery will exhibit new works by Derek Chan, Carson Fisk-Vitori and Anne Lindberg.
Material Art Fair is being held at the Hilton Mexico City Reforma
Carrie Secrist Gallery is pleased to announce two solo exhibitions by gallery artists Anne Lindberg and Michael Robinson, on view from February 15 through March 15, 2014.
Please join us for a reception for the artists on February 15, 2014 from 5-8 PM.
In gallery one, Anne Lindberg presents I have always been going North, a series of mixed media works that join quotidian photographs with linear mark making to examine the landscapes of private and public spaces.
This body of work was created from 2010-11, around the time Lindberg spent in residence in Svolvaer, Norway, a coastal fishing community in the Lofoten archipelago north of the Arctic Circle. In that region, cod, salmon, and herring are fished and put out to dry on large-scale wooden frameworks for “lutefisk,” or dried cod. Inspired by the formal and cultural architectures of these fish racks, Lindberg imitates their basic structures in ink pen atop photographic images of domestic spaces.
The resulting images function as topographical memories, provoking emotion and eroticism through their tactility and luminosity. By intermingling drawn fish racks with abstract pictures of mirrors, slept-in beds, and tile floors, Lindberg engages the histories of the Viking people in Scandinavia (the geographic north) as well as the temperament and sensibility of her personal ancestry.
Anne Lindberg (American, b. 1962) lives and works in Kansas City, MO where she is preparing a forthcoming installation for the Museum of Fine Arts, Boston (2014). Her work is currently on view at the Atlanta Contemporary Art Center. I have always been going North is the artist’s second solo exhibition with Carrie Secrist Gallery, Chicago.
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In gallery two, Michael Robinson presents his newest film The Dark, Krystle (2013). The piece recycles footage from Dynasty, the 1980s primetime soap opera known for its catfights, cliffhanger endings, and glitzy fashion. Through swelling music and rising action, Robinson explores the infinitely repeated gestures of central characters Krystle and Alexis, the angelic housewife and bitter ex-wife of oil tycoon Blake Carrington.
Robinson’s 10-minute montage begins with Krystle Carrington, in a hospital bed, crying, “I died in that fire and I don’t know who I am.” Using fire as both climax and symbol, Robinson smoothly transitions from one gesture to the next – re-running Krystle’s tears, fears, disappointments and worries.
“Game? What game?” Alexis Morell Carrington Colby Dexter Rowan demands, when Robinson introduces her midway through the piece. Donned in coral lipstick and white diamonds, Alexis is an icon of 1980s kitsch. While her ominous voiceovers taunt and threaten Krystle throughout the melodrama, Alexis’ singular menacing activity is drinking.
Throughout the film, the fabric of existence hangs in the balance again… and again…. and again. The rising stakes, however, do not correspond with a narrative arch or conclusion. Instead, Robinson’s montage empowers its viewers to observe everything they are really seeing. Absent of traditional dramatic structure, The Dark, Krystle exposes the artificiality of overdone gestures, specifically as they relate to the consumption habits of late capitalism.
Michael Robinson (American, b. 1981) has screened work in solo and group shows at festivals, museums, and galleries nationally and internationally including the 2012 Whitney Biennial; International Film Festival Rotterdam; The Walker Art Center; Tate Modern; and the Sundance Film Festival. Previous screenings of The Dark, Krystle include the 51st New York Film Festival; Dirty Looks NYC, Brooklyn; and DINCA Vision Quest, Chicago.
Recently completed GSA Art in Architecture project "curtain wall" at the Richard Bolling Federal Building in Kansas City was awarded a 2013 AIA Kansas City Allied Arts and Craftsmanship Merit Award at an awards reception on November 15.
"curtain wall" is comprised of 270 total units of custom printed glass in a basic 2 by 6 foot unit. The work totals approximately 60 by 60 feet across 4 levels of the escalator core in this federal office building. Helix Architecture + Design was engaged to renovate vast areas of the building, and had designed this stainless steel metal framework for basic glass. When I was brought into the project after a national selection process, I decided to develop imagery for this glass feature wall, and to work within their framework. The glass was printed at Skyline Design in Chicago.
I would like to give special thanks to the following individuals who made this project particularly meaningful by way of their generosity, expertise and management: Don Distler (GSA), Sylvia Augustus (GSA), Kimberly Baker (GSA), Tom Thomas (GSA), Ruven Ortiz (GSA), Kristine Sutherlin (Helix), Louis Zarr (Gastinger Walker Harden Architects), Mark Toth (Skyline Design), Charlie Rizzo (Skyline Design), Deborah Newmark (Skyline Design), Terry Carter (Carter Glass), Bruce Frisbie (Insulite Glass), Eric Nickeson (JE Dunn), Adam Cox (JE Dunn), Bob Vozar (JE Dunn), Matt Jacobs and Ross Dansby.
One of my drawings will be a part of the annual TWO x TWO fundraiser for AIDs and art at the Dallas Museum of Art on Saturday 26 October, 2013.
Carrie Secrist Gallery will be there to energize and support the event with work by Andrew Holmquist as well as mine.
Follow this link to Artsy.net to bid early on OWN IT NOW works by Anne Lindberg and Andrew Holmquist. Both artists' generous donations were chosen by the event's organizers as OWN IT NOW selections. There are no reserves, and the bidder with the highest bid at the close of the auction wins the work.
TWO x TWO for AIDS and Art, which benefits amfAR and the Dallas Museum of Art, raised over $4.6 million in 2012. Visit the TWO x TWO website to learn more about this wonderful event.
opening 10 January - March 8 2014
Curated by Stuart Horodner
Coloring features five artists who use color to investigate formal, phenomenological, cultural, and historical issues. Bill Adams produces prop-like objects that collapse painting and sculpture; Paul Stephen Benjamin stacks discarded video monitors that play sputtering remixes of archival footage; Rutherford Chang meditates on music and time using multiple copies of the Beatles’ 1968 White Album; Anne Lindberg installs taut accumulations of thread to create clouds of hovering color; and Kate Shepherd produces monochrome paintings with elegantly fractured surfaces.
Count me among those who believe that when the next big thing happens in the visual arts--and please, let it be soon!--it's going to come from someplace like Liverpool or Bergamo or Nanchang or Kansas City. While the rule for recent centuries was that it helped artists to live in New York, Paris, London, Tokyo, etc., that such cities were hotbeds of cultural discourse, providing a milieu where artists would collectively thrive (and that places like Kansas City were provincial outposts guaranteeing mediocrity), today places like LA and Berlin seem so burdened by the art market and art world careerist histrionics as to render them mannerist and curiously conformist, and to discourage individuality or personal vision.
Let's not burden these three artists from Kansas City with too much responsibility for the future of the visual arts. This exhibition was not about all of Kansas City, it simply showed three artists who interest Carrie Secrist, and whose independence and willingness to hunker down on visual ideas that intrigue them reflects their experiences in a city that's not unlike Goldilocks' porridge. Kansas City is just right, not too hot, not too cold, it has great museums and art schools, it's urban and has a solid art community, but it's decompressed, a place where you can pursue your visions at your own pace, where you don't worry too much about Documenta or the Turner Prize, or who did or didn't get reviewed in art ltd.
Anne Lindberg is a fastidious oscillator. Her patiently and somewhat obsessively drawn works made of thousands of hand-drawn, parallel vertical lines of graphite and colored pencils reflect that Midwestern work ethic, that mania for strict control and yet idiosyncratic effect that marks so much art from this region. Paul Anthony Smith, originally from Jamaica, performs what he calls "picotage" on photographic prints, using a ceramic tool to scrape and pin-prick away, also obsessively, also hundreds or thousands of times, mostly at the figures in these curious images, making them gritty and ghostlike, reintroducing ambiguity and mystery into the specificity of photography. And Kent Michael Smith slathers on clear resin like he's got it on tap, layering fragments of colorful abstract shapes within this viscous shiny aqueous ooze that makes his work transparently sedimentary; you see disparate pastel-like layers embalmed in a syrup as in some primordial pool that makes good abstract compositions. They are three fine artists working away in a place that's anything but provincial--after all, there's a Manhattan in Kansas too.
by James Yood
13 September - November 2, 2013
opening 13 September 6 - 9pm
also opening
MOUNT
curated by Peregrine Hoenig
with work by Terry Allen, Jack Daws, Adriane Herman,
Donna Huanca, John Woods and Sarah Xeno
Haw Contemporary
1600 Liberty Street Kansas City, MO 64102
816-842-5877
www.hawcontemporary.com