https://www.youtube.com/watch?v=H427LSpQytw
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.
Anne Lindberg sleep, 2005 (reconfigured in 2012) rayon thread, pillow cases, 60 by 48 by 24 inches
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.
Anne Lindberg pivot green blue, Egyptian cotton and staples, 30ft by 21ft by 5 ft
I am thrilled to create a new installation for this exciting exhibition that includes work by: Nicole Chesney, Song Dong, Tara Donovan, Teresita Fernandez, Spencer Finch, Barbara Gallucci, David Hockney, Anne Lindberg and Jason Middlebrook.
From the museum's press release: http://www.mfa.org/exhibitions/landscape-abstracted
This new installation in the Linde Family Wing for Contemporary Art’s Eunice and Julian Cohen Galleria offers a contemporary spin on landscape art. Ten works, including sculptures, paintings, installation, and video art, present contemporary art as the latest chapter in the story of landscape art through the ages, as told by the MFA’s encyclopedic collection. Works include a number of new acquisitions that have never before been on view, as well as new commissions by Jason Middlebrook and Anne Lindberg. Their soaring creations evoke nature’s sublime potential through color and pattern, using the dramatic architecture of the Linde Family Wing to guide their work.
Jason Middlebrook has been invited to paint the largest wall in the Cohen Galleria, which measures 24 by 80 feet. Middlebrook’s signature patterning weds the geometry of modern abstraction with the lines of wood grain to “create a tension between something organic and something man-made.” Another site-specific work by artist Anne Lindberg evokes nature by using only thread and staples. Suspended from the vaulted ceiling of the Linde Family Wing’s second floor, Lindberg’s work soars gracefully above visiting guests. This is the first time Lindberg has created a work installed at this height (16½ feet), allowing visitors to look up through a field of color.
Works from the MFA’s collection that expand the definition of “landscape” beyond the horizon line include chenille beanbag Topia Chairs (2008) by Barbara Gallucci, a professor at the School of the Museum of Fine Arts. Another take on the theme is seen in the playful video, Eating Landscape (2005), which depicts artist Song Dong (Chinese, born in 1966) building an edible tableau that satirizes traditional Chinese ink landscapes.
Working in the legacy of Claude Monet, Spencer Finch’s Shield of Achilles (Dawn, Troy, 10/27/02) (2013), re-creates the light of dawn. He carefully observes and notates the colors at a precise time and location, reproducing them with filtered fluorescent light bulbs. Ghost (Vines) (2013) by Teresita Fernández references nature’s fleeting presence. Layers of precision-cut metal are backed with bright green silkscreen ink that casts a soft green glow around sharp, machined edges––mimicking the pattern of moss. Other works on view in the installation include Two Whites Over Antique Red Over Cadmium Red (2013) by Pat Steir, Garrowby Hill (1998) by David Hockney, Verity (magenta blue), Repose, and Verity (blue green gray) by Nicole Chesney, andUntitled (2003) by Tara Donovan.
This installation view of Anne Lindberg’s exhibit, “Anne Lindberg: Drawn Together,” at Haw Contemporary shows “Drawn Above,” a bundle of shimmering threads suspended at eye level and above that bridges the gallery’s expanse, and “Drawn Below,” a monumental graphite drawing on cotton board. Photograph by Derek Porter
Darkness and light coexist in the work of Anne Lindberg and Anthony Baab.
Lindberg’s drawing with thread and graphite on paper explores the physical and metaphysical nature of being, while Baab’s brooding marker-on-inkjet prints seem to excavate the dark, mysterious and unfamiliar places we can be drawn to.
Lindberg continually expands the notions of drawing and of physical reality. “Drawn Above” is a bundle of shimmering threads that bridges the gallery’s expanse. The threads shiver and seem to alter the gallery air. Situated below them, “Drawn Below” is a monumental graphite drawing on cotton board. Spanning almost the length of the gallery, the work is stolid and centers the effervescence of “Drawn Above.” The dark graphite lines vary from dark to light across the expanse.
Lindberg’s gift is her ability to intuitively feel her way through space. Her drawings are delicate, yet telegraph the gravitas of the human hand and the consciousness that controls that hand.
Repetitious parallel lines suggest bodily rhythms: We breathe in and out, blink, move and swallow unconsciously thousands of times a day. Lindberg’s meditative works illuminate the simplicity of the beautiful but quotidian functions of our bodies.
While artists and galleries often make exaggerated claims about how a work can transform the space in which it lives, Lindberg has, indeed, created a transformative piece that seems to charge the air with an enchanted lightness.
Baab’s multiple drawings on inkjet prints suggest mathematical, topographical and otherwise mysterious systems of image-making. In his artist’s statement he notes, “My aim in these works was to create a living, moving image. I began with a photograph of a folded sheet of glossy paper that was printed, re-folded and re-photographed many times. The process later required drawing to further animate the graphic content of the photograph.”
“Untitled (Varg)” (2014), a work in marker on ink jet print by Kansas City artist Anthony Baab, is part of his exhibit, “Anthony Baab: Ummagumma,” at Haw Contemporary. Photograph by EG Schempf
The show’s title, “Ummagumma,” refers to the 1969 Pink Floyd album’s content and to its cover art. Baab’s technique of rephotographing a single image in one picture multiple times borrows from the Droste effect — a picture within a picture, which summons mathematical theories and imagery, such as the fractals that Baab exploits to excellent effect.
In “Untitled (Theresa),” the imagery suggests an aerial view of a dark landscape that Baab has embellished with purple, green and copper-colored marks. The work is unsettling, inscrutable and obsessively dense. In “Untitled (Varg),” what looks like an alien cube or doorway covered by pictographic marks sits heavily on an actively drawn ground. It, too, feels obscure, confusing, a little threatening and beguilingly seductive.
We are drawn to these dark spaces and structures. And while they may feel hidden and impenetrable, their repetitive nature is psychologically soothing as our subconscious seeks out rhythms, patterns and systems.
Baab notes the influence of “sci-fi and fantasy art from the ’70s and M.C. Escher’s morphing landscapes” in the three tidy stipple drawings he shows, but those parameters apply to all of these works, which often feel like portals to an infinite space.
Baab’s two dye-infused aluminum monolithic sculptures evoke the structural imagery found in the prints, although they are less menacing and, counterintuitively, are more static than the flat drawings.
Lindberg and Baab’s enigmatic systems are perfect companions. The works are mutually seductive but also remain discrete in their dense and layered ideologies. Their mystery and undiscovered territory suggest that there will always be more.
Read more here: http://www.kansascity.com/entertainment/visual-arts/article609806.html#storylink=cpy
I'm pleased to announce the opening of drawn together by Anne Lindberg and Ummagumma by Anthony Baab @ Haw Contemporary on Friday, May 30th from 5 - 9pm.
Anne Lindberg, in drawn together at Haw Contemporary, presents for the first time both two and three-dimensional drawings conceived as an environmental work that activates the full spectrum of the gallery space.
eye level as a coordinating reference point and measure of scale, her immersive exhibition gracefully summons an awareness of the body in space. Here, the body is a messenger of physical and emotional geographies. Above is a hovering, airy cloud of fine white threads spanning the gallery’s long dimension; aligned and below eye level is a dense black drawing that in scale and breadth mirrors and hinges the installation. These two massive works bring together Lindberg’s expanded definitions of drawing languages as they utilize subtle shifts in color & tone, tool, surface, delicate materiality, perspective and architectural space. drawn together deepens the phenomenological and physiological underpinnings of her practice and firmly positions her as a strong influence in the dialogue on drawing in contemporary art.
As Lindberg prepares to move to upstate New York, drawn together is a metaphor to express her deep gratitude to the Kansas City community who has supported her for more than 20 years.
Lindberg’s work has been in exhibitions at venues including The Drawing Center (NYC), Tegnerforbundet (Norway), SESC Bom Retiro (Sao Paulo), Nerman Museum of Contemporary Art, Detroit Institute of Art, Bemis Center for Contemporary Art, Cranbrook Art Museum, Nevada Museum of Art, and Kemper Museum of Contemporary Art. Her work is held in collections of the Nevada Museum of Art, Detroit Institute of Art, Nerman Museum of Contemporary Art, Kemper Museum of Contemporary Art, Daum Museum of Contemporary Art, Spencer Museum of Art, Collection of Howard & Cindy Rachofsky, US Sprint, H&R Block, UIowa Hospitals & Clinics, Missouri Bank & Trust, American Century Investments, Hewlett Packard, Kansas City Chiefs, Federal Reserve Bank and many private collections internationally.
In 2014, Lindberg’s work has been exhibited at US Embassy in Rangoon, Burma, Atlanta Contemporary Art Center, and Carrie Secrist Gallery. She is preparing for a group exhibition at the Museum of Fine Arts Boston this summer, and in 2015 at the University of Wyoming Art Museum and The Mattress Factory.
Lindberg is recipient of a 2011 Painters & Sculptors Joan Mitchell Foundation Grant, Charlotte Street Foundation Fellowship, two ArtsKC Fund Inspiration Grants, Lighton International Artists Exchange grant, Art Omi International Artists Residency, two AIA Allied Arts and Crafts awards, 2013 Coda Art + Design Award, and Mid-America National Endowment for the Arts Fellowship. She holds a BFA from Miami University and an MFA from Cranbrook Academy of Art. Her studio is currently in Kansas City.
"My aim in these works was to create a living, moving image. I began with a photograph of a folded sheet of glossy paper that was printed, refolded, and re-photographed many times. The process later required drawing to further animate the graphic content of the photograph. Further on, sculptural forms push the photograph into three-dimensional space, only to be compressed into a flat image again. I returned to drawing in the stipple drawings in order to introduce a slow, kinesthetic means of image making that evokes sci-fi and fantasy art from the 70’s and M.C. Escher’s morphing landscapes. Exhibited together, these works and their conditional mutations and adaptations lead to something altogether new."
Anthony Baab is an artist and adjunct instructor living in Kansas City who studied painting and printmaking at the Kansas City Art Institute (2004) before obtaining an MFA in Interdisciplinary Art from Cornell University (2009). Representing a wide range of media, his recent work consists of photographs, sculptures, and large-scale models that explore Minimalist notions of self reflexivity. He is a Charlotte Street Award Recipient (2006) who has participated in solo and group shows through various organizations including: Grand Arts, Nelson Atkins Museum of Art, Nerman Museum of Contemporary Art, and Tompkins Projects. His work is included in several permanent collections including The Nelson Atkins Museum of Art, Nerman Museum of Contemporary Art, and The Microsoft Collection. Publications include 10: Ten Years Fifty Six Artists, (Stacy Switzer), “No Static Models For This Artist”, Kansas City Star (Alice Thorson), and “Nonbeing There”, cover story for The Pitch Kansas City (Tracy Abeln).
you can view the press release on Haw Contemporary's website at www.hawcontempoary.com
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