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Wednesday, February 09, 2011

"ENSO" (DRAWING ON FOUR PIECES OF HANDMADE PAPER) by MAX GIMBLETT
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (COLLABORATIVE DRAWING ON BUTCHER PAPER BETWEEN MAX GIMBLETT, E.T., T.P. AND NOMI) (2001)
Location: Galatea Offsite/San Francisco Apartment

"[]" (2003) (PRINT, 15/25) by MAX GIMBLETT
Location: Yellow Bedroom, Pygmalion-Second Floor

"UNTITLED" (SUMI INK DRAWING AGAINST ASIA SOCIETY PROGRAMS) (2001) by MAX GIMBLETT
Location: Babaylan Lodge

POETRY/ART BROADSIDE by MAX GIMBLETT AND E.T.
Location: Babaylan Lodge

"DOUBLE HEADED CREATURE FEATURE" (ARTISTS' BOOK, 17.5 X 7 X 0.5 IN) by MAX GIMBLETT AND JOHN YAU WITH TOBY HINES
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO OF E.T.'S ART/POETRY JOURNALS by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO COPIES OF MAX GIMBLETT MONOGRAPH by MAX GIMBLETT (2003)
Location: Library, Pygmalion-Second Floor

EPHEMERA by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

SIXTEENTH MENTION DUE TO UPDATE

Max Gimblett is part of two new exhibitions:

Gow Langsford Gallery
The Daring Young Man on The Flying Trapeze, a collection of new works by visionary painter Max Gimblett. Tuesday 1 February, 5 - 7 pm at Gow Langsford and John Leech Galleries.

Gimblett, who has been permanently based in New York since the seventies, will be in New Zealand for the duration of the show and this visit marks a notable time in the artist's career. Earlier this year two works of Gimblett's have become part of the permanent collection of the Solomon R. Guggenheim Museum in New York, signalling the regard with which he is held internationally. This month Christchurch Art Gallery will celebrate the addition of a significant number of Max Gimblett works to their permanent collection. Gimblett is also gifting his old school, Auckland Grammar a major new painting.

Borrowing from the title of William Saroyan's seminal text, The Daring Young Man on the Flying Trapeze (1934), Max Gimblett celebrates the spectacle of everyday existence in this new body of work. The exhibition of over twenty paintings will continue at a second space at John Leech Gallery on neighbouring Kitchener Street and is accompanied by a full colour catalogue.

+++++

Page Blackie Gallery

on the shores of infinity
Max Gimblett, Feb 8—Mar 6, 2011

***
Prov. Direct from Artist

Monday, January 10, 2011

"MOONLIGHT" (1999) (WATERBASED MIXED MEDIA ON WOOD, 24 X 24 IN) by RICHARD TSAO
Location: Atop Turret Steps, Pygmalion-Second Floor

[NINTH MENTION DUE TO UPDATE]

UPDATE:


Richard Tsao is opening a new exhibition; here's the gallery press release:

Art Projects International
429 Greenwich Street, Suite 5B
New York, New York, 10013

Richard Tsao: Nam Wan at API
January 14 - February 18, 2011
Art Projects International


Art Projects International is pleased to announce a solo exhibition of Richard Tsao's recent work. The exhibition will be on view from January 14 to February 18, 2011.

Richard Tsao’s paintings look to have been torn from nature at its most ecstatic. Immediately attractive with their brilliant harmonies and colors of the purest intensity, these works are obviously contemporary, yet they seem to come, rather than from the hurried now, from the earliest points of an ancient universe. Their brilliance cannot be tied to the commercial or pop; it speaks of geological and astral time. With pigment thoroughly encrusting the canvas or wood supports and with sections of the encrustations sticking out well beyond the supports’ edges, Tsao’s works are less painted than accumulated—they may be years in the making. And, as in nature, the works’ beauty also contains the hint of a warning—it could signify deliciousness or, maybe, poison or acid.

Tsao’s titles emphasize associations with nature and the ambiguous territory the works inhabit as art. Freeze is a long yellow rectangle; a heavily clotted green and yellow left side becomes smoother and more yellow on the right. The matte, powdery surface and the brilliant canary/lemon yellow pose a puzzle, “what substance is it that is frozen?” Or, perhaps, more to the point, “where are we?” The cool colors of Avalanche might seem in harmony with associations of the event of falling ice and snow. The white splat on the surface of the painting is at first comforting in being normative as a known painting gesture and as an understandable metaphor tied to the title. But the matte white sits every so lightly on the surface and soon rich pigmentation—blues, greys, yellows, reds—peeking through; texture from silky to jagged; layer upon layer of material having either flowed into place or congealed into shape; and, further, an unpredictable shape and jagged edges, all, announce themselves as the larger subject. The white splash—reading clearly as an art historical gauntlet retrieved by Tsao and then re-thrown as a new painterly challenge—is understood as part of the work and an invitation to enter it.

We are all haunted by the colors of our childhood. A film from a particular era may bring on nostalgia purely because of its palette. Certain combinations of sensations may bring us back to specific moments in our past. Tsao, of Chinese descent, grew up in Thailand. He has from early on, and does, raise orchids. In New York when viewing Tsao’s color-drenched works it is not possible to imagine the mental landscape that he reviews in cataloguing his personal inventory of influences. The viewer sees, from the other side, a highly sophisticated craftsman conveying to the viewer a natural ordering, even if energetic and chaotic, of color and surface which in its deep inherent logic, again far from any but Tsao to decipher, offers not only outward, startling beauty but the beauty of the complexity of natural formation.

As one could get lost in the colorings and patterns of a mineral pool, Tsao’s work, which takes, as mentioned, extended periods of time to develop and is created by pooling and flowing pigments, allowing natural chance to have its say, can absorb all one’s attention just as unaltered objects torn from a beautiful world can. But, importantly, in the end, the viewer must come to the awareness that these exact works hanging exactly as they are cannot have come into being except through careful artistic deliberation—through choice.

The exhibition is accompanied by a catalogue with an essay by Susan H. Edwards.

About Richard Tsao
Richard Tsao, originally from Thailand, is known for using a process oriented, labor-intensive approach and particular aesthetic of beauty in creating his paintings and works on paper. His solo exhibitions include Art Link, Seoul; Chambers Fine Art, New York; 100 Tonson Gallery, Bangkok; and Queens Museum of Art (Bulova), New York. He has also exhibited in numerous group exhibitions including Paper and Process 2, Art Projects International, New York; Krungthep 226, Bangkok Art + Culture Center, Thailand; Different Ways of Seeing: The Expanding World of Abstraction, Noyes Museum of Art, New Jersey; and The Inverse Mirror, Chambers Fine Art, New York.

For more information contact Art Projects International at 212.343.2599.

***
Prov.: Margaret Thatcher Projects, New York

Sunday, January 09, 2011

"[]" (2000) PRINT (45/100) by MAX COLE
Location: Green Bedroom, Pygmalion-Second Floor

FIFTH MENTION DUE TO UPDATE

Max Cole has a new exhibition! Here's the gallery press release:

Haines Gallery
49 Geary Street Fifth Floor
San Francisco CA 94108
415.397.8114 art@hainesgallery.com

January 6 - February 12, 2011

Terra Firma: Paintings by Max Cole

Haines Gallery is pleased to announce its eighth exhibition for New York artist
Max Cole. Having refined her practice over a period of four decades, Cole has
earned a reputation as a premier practitioner of reductive painting with a consistently and highly recognizable aesthetic. Employing a subtle palette of black, white, and shades of grey, this new body of work includes a selection of gem-like
small-scale pieces as yet unseen here in San Francisco.

From a distance, Cole's works appear to be composed of simple bands of color.
But upon closer inspection, these horizontal bands reveal intricate patterns of short, vertical hatch marks consisting of alternating colors. What at first appears devoid of the human hand reveals itself as an accumulation of subtle imperfections. The stripes seem to vibrate, at one moment alluding to foggy horizons or waving fields of grain, and in the next falling flat on the canvas's surface. This allusion to landscape is befitting of an artist who was raised on the plains. Horizontal, unpopulated landscapes are as much a part of her visual lexicon as is Native American thought (Cole maintained a close relationship with her paternal Grandfather, who was half-Cherokee), and indeed, her works evolve from the ideal of
harmony with nature, which is at the heart of that culture.

Cole's work has been described as obsessive, but she prefers the term passionate, as it is self-determination rather than compulsion that urges her towards creation and completion. Cole does not rely on a preconceived plan; the work unfolds through time and rigorous process.

***
Prov.: Haines Gallery, San Francisco

Tuesday, November 30, 2010

"WALLPAPER FOR GIRLS: YOUR MOTHER AS STRIPPER TATTOOS" (1997) (OIL ON VINYL, 30 x 30 IN) by INKA ESSENHIGH
Location: Dining Room, Pygmalion-First Floor

[NINTH MENTION DUE TO UPDATE]

Inka Essenhigh currently has an ongoing exhibition:

"BETWEEN PICTURE AND VIEWER; THE IMAGE IN CONTEMPORARY PAINTING"
Exhibition curated by Tom Huhn and Isabel Taube
Visual Arts Gallery
School of the Visual Arts
209 E. 23rd St.
New York, N.Y. 10010

The exhibition lasts through Dec. 22, 2010.

***
Prov.: Stefan Stux Fine Arts, New York City

"ENSO" (DRAWING ON FOUR PIECES OF HANDMADE PAPER) by MAX GIMBLETT
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (COLLABORATIVE DRAWING ON BUTCHER PAPER BETWEEN MAX GIMBLETT, E.T., T.P. AND NOMI) (2001)
Location: Galatea Offsite/San Francisco Apartment

"[]" (2003) (PRINT, 15/25) by MAX GIMBLETT
Location: Yellow Bedroom, Pygmalion-Second Floor

"UNTITLED" (SUMI INK DRAWING AGAINST ASIA SOCIETY PROGRAMS) (2001) by MAX GIMBLETT
Location: Babaylan Lodge

POETRY/ART BROADSIDE by MAX GIMBLETT AND E.T.
Location: Babaylan Lodge

"DOUBLE HEADED CREATURE FEATURE" (ARTISTS' BOOK, 17.5 X 7 X 0.5 IN) by MAX GIMBLETT AND JOHN YAU WITH TOBY HINES
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO OF E.T.'S ART/POETRY JOURNALS by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO COPIES OF MAX GIMBLETT MONOGRAPH by MAX GIMBLETT (2003)
Location: Library, Pygmalion-Second Floor

EPHEMERA by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

FIFTEENTH MENTION DUE TO UPDATE

Max Gimblett is part of an ongoing group exhibition:

"BETWEEN PICTURE AND VIEWER; THE IMAGE IN CONTEMPORARY PAINTING"
Exhibition curated by Tom Huhn and Isabel Taube
Visual Arts Gallery
School of the Visual Arts
209 E. 23rd St.
New York, N.Y. 10010

The exhibition lasts through Dec. 22, 2010.

***
Prov. Direct from Artist

"UNTITLED (BOXING)" (1997) (INK ON PAPER, 5.25 X 4 IN) by LEONARD DUFRESNE
Location: Green Bedroom, Pygmalion-Second Floor

THIRD MENTION DUE TO UPDATE

Leonard Dufresne has a new exhibition:

LEONARD DUFRESNE
LIFE STUDIES
Dec. 4, 2010-Jan. 8, 2011

O.K. Harris
383 West Broadway
New York, N.Y. 10012

The artist will be present on Dec. 4, from 3-5 p.m. at gallery.

***
Prov.: O.K. Harris, New York

DESK AND CHAIR by LARRY BUECHLEY
Location: Kitchen, Pygmalion-First Floor

COMPUTER DESK by LARRY BUECHLEY
Location: Galatea Offsite, SF Apartment

CHEVAL MIRROR by LARRY BUECHLEY
Location: Master Bedroom, Pygmalion-Second Floor

SPIRAL LIBRARY LADDER (PADAUK AND MAPLE) by LARRY BUECHLEY
Location: Library, Pygmalion-Second Floor

LIBRARY LADDER by LARRY BUECHLEY
Location: Library, Pygmalion-First Floor

WOOD AND GLASS COFFEE TABLE by LARRY BUECHLEY
Location: Family Room, Pygmalion-First Floor

BREAKFRONT (LARGE) by LARRY BUECHLEY
Location: Dining Room, Pygmalion-First Floor

BREAKFRONT (SMALL) by LARRY BUECHLEY
Location: Dining Room, Pygmalion-First Floor

LIBRARY DESK (WALNUT & MAPLE, 57 x 30 x 20, 2006) by LARRY BUECHLEY
Location: Library, Pygmalion-Second Floor

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


A chair by Larry and Nancy Buechley is on the cover of Woodwork, a national magazine. They also did a page on their work in their gallery section.

In June, the Buechleys were in Boston giving a presentation at MIT to the Furniture Society.

***
Prov.: Direct from Artists

Thursday, October 07, 2010

"UNTITLED, DIPTYCH" (1998) (OIL ON CANVAS, LEFT: 9 x 8 IN; RIGHT: 10 X 10 IN) by SONITA SINGWI
Location: Guest Bedroom Hallway, Pygmalion-Second Floor

"UNTITLED" (1999) (WHITE BACKGROUND PAINTING) by SONITA SINGWI
Location: Hallway Before Pantry, Pygmalion-First Floor

DRAWING IN E.T.'S ART/POETRY JOURNAL
Location: Library, Pygmalion-Second Floor

SECOND MENTION FOR UPDATE

Lovely to hear of Sonita Singwi's latest exhibition! Here are deets:

You are cordially invited to ‘Inland’, an exhibition exploring our relationship with landscape, with paintings by Sonita Singwi, works on paper by Christian Legendre and Alistair Teale, and sculpture by Rachel Urkowitz.

Opening reception: Friday October 15th, 5-8pm and for one weekend only,
Saturday 16th and Sunday 17th October from noon until 6pm. 10-20 45th Rd, Long Island City, NY 11101
Near the 7, G, E and W trains.
A map, directions and gallery information available at tel: (917) 847 861

It is also possible to preview the show through the catalogue at the printer's website: http://www.blurb.com/bookstore/detail/1632655

***
Prov.: LiebmanMagnan Gallery, New York; Direct from Artist

"ENSO" (DRAWING ON FOUR PIECES OF HANDMADE PAPER) by MAX GIMBLETT
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (COLLABORATIVE DRAWING ON BUTCHER PAPER BETWEEN MAX GIMBLETT, E.T., T.P. AND NOMI) (2001)
Location: Galatea Offsite/San Francisco Apartment

"[]" (2003) (PRINT, 15/25) by MAX GIMBLETT
Location: Yellow Bedroom, Pygmalion-Second Floor

"UNTITLED" (SUMI INK DRAWING AGAINST ASIA SOCIETY PROGRAMS) (2001) by MAX GIMBLETT
Location: Babaylan Lodge

POETRY/ART BROADSIDE by MAX GIMBLETT AND E.T.
Location: Babaylan Lodge

"DOUBLE HEADED CREATURE FEATURE" (ARTISTS' BOOK, 17.5 X 7 X 0.5 IN) by MAX GIMBLETT AND JOHN YAU WITH TOBY HINES
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO OF E.T.'S ART/POETRY JOURNALS by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

DRAWINGS IN TWO COPIES OF MAX GIMBLETT MONOGRAPH by MAX GIMBLETT (2003)
Location: Library, Pygmalion-Second Floor

EPHEMERA by MAX GIMBLETT
Location: Library, Pygmalion-Second Floor

FOURTEENTH MENTION DUE TO UPDATE

Max Gimblett continues to keep busy. Here's some of his latest activities:

LEWIS HYDE & MAX GIMBLETT
OXHERDING

JAPAN SOCIETY GALLERY, NEW YORK
OCTOBER 1, 2010 - JANUARY 16, 2011

Created by painter Max Gimblett and author Lewis Hyde, oxherding is a contemporary American version of the Ten Oxherding Pictures, a Zen parable. The original Chinese texts tell of a herder who searches for an elusive ox. Combined with images, they serve as an instructional tool, guiding Zen monks through successive stages of awareness toward enlightenment.

Gimblett is one of New Zealand’s most distinguished and honored artists, while Hyde, a MacArthur “Genius” award recipient, is celebrated for his clear-eyed perspective and intense sensitivity to the nuance and beauty of language. The two met in the early 1990s and began to work collaboratively at Gimblett’s studio in New York. Begun in 2002 and completed in 2010, oxherding consists of ten ink drawings, ten poems with prefaces, and a set of jointly produced artist books.

Hyde started by gathering existing translations of the Ten Oxherding Pictures texts and made his own first drafts, “translating from English to English.” Working with a specialist adviser, he then moved character by character through the Chinese poems until he understood how they were constructed and what they had to say. Finally he produced three English versions: a “one-word ox” (one English word per Chinese character), a “spare-sense ox” (each Chinese syntactic unit translated into a simple English sentence), and an “American ox” which takes considerable liberties while trying to be faithful to Hyde’s intuitions about the meaning of the series.

Gimblett, a Zen lay monk and student of Jungian psychology who has long viewed artistic creation as a form of meditation, brings an open mind and heart to the practice of ink drawing. Using a Chinese brush loaded with Japanese ink, he made these images rapidly, in “one breath,” working from left to right across the handmade American paper. Unlike earlier Oxherding Pictures, Gimblett’s drawings are not illustrations, but rather embodiments of his spiritual connection to the themes of the series.

Suzanne De Vegh, Curator, Japan Society Gallery, New York.


++++++++++++

Max is also shown painting in a video "Nihon New York - Episode 02 - Zen in America: Painting with NYC's Max Gimblett" viz YouTube! Click here: http://www.youtube.com/watch?v=Cw7BWbs8ANs


***
Prov. Direct from Artist

"PATCHWORK: X-27 EXPLORER" (ROBOT SERIES) (2005) (VINTAGE PAPER, STITCHING HOLES. GRAPHITE, WATERCOLOR, INK) (4 X 4, FRAMED) by LISA SOLOMON
Location: Library, Pygmalion-First Floor

[FIFTEENTH MENTION DUE TO UPDATE]

UPDATE:


Just catching up as moi beloved artists continue to keep busy! Here's some news from Lisa Solomon of some upcoming exhibits:

Where Have All the Trees Gone? a solo exhibit at Angels Gate
November 7, 2010 - January 8, 2011

<<< Opening Reception: Saturday November 7, 2-4pm
<<< i will be attending !!

ANGELS GATE CULTURAL CENTER
3601 South Gaffey Street
San Pedro, California 90731
Phone: 310-519-0936
gallery hours Tuesday - Sunday 11-5
the Galleries are located in Building A

where have all the trees gone?
is a new body of worked i've created stemming from a NASA aerial photograph of the deforestation of tierras bajas in bolivia. the landscape is both beautiful and hauntingly sad - and the image immediately reminded me of doilies.

in this exhibition will be new paintings with incorporated crocheted aspects, 2 felt "quilts", crocheted doily trees, and a wall decal installation.

++++++++++++++++++++++++++++++++++

Aesopica: The Working Proof group show
i will be showing my piece inspired by the fable "the mischievous dog", and using my dogs : tonka and garbo. there will be 10 signed prints of this piece available during the show.

<<< november 19, 2010 - Jan 9, 2011
<<< reception: friday, november 19, 7-9pm

RARE DEVICE
1845 Market Street
San Francisco, CA 94103
415.863.3969
Hours: Tue - Sat, noon to 7pm; Sun, noon to 6pm; closed Mon

++++++++++++++++++++

upcoming shows
i have two shows on the horizon....

<<< newness a group show with heather smith jones and jennifer garrido

december 3, 2010 - january 31, 2011
at
ARTSTREAM STUDIOS
in New Hampshire
gallery website

and

<<< a solo show featuring several different bodies of work at THE CLAYMAN INSTITUTE FOR GENDER RESEARCH on the Stanford University Campus will open in january 2011 and be viewable through the Spring [more info to follow] the clayman institute website

***
Prov.: Graystone, San Francisco; 2005 San Francisco International Art Expo

Thursday, September 09, 2010

"HEARTLAND" (1988) (72 x 96 IN) by LEONARD KOSCIANSKI
Location: Family Room, Pygmalion-First Floor

"HEARTLAND" (PASTEL STUDY FOR PAINTING) by LEONARD KOSCIANSKI
Location: Green Bedroom, Pygmalion-Second Floor

"IN THE TWILIGHT OF THE GLEAMING" (1988) (48 x 66 IN) by LEONARD KOSCIANSKI
Location: Galatea Offsite--SF Apartment

"LETTER WITH SKETCH" by LEONARD KOSCIANSKI by LEONARD KOSCIANSKI
Location: Library, Pygmalion-Second Floor

THIRD MENTION DUE TO UPDATE:

Leonard Koscianski will soon open a new exhibition at O.K. Harris in New York, Sept. 11 - Oct. 16, 2010. The artist also will be present at the gallery this Saturday, Sept. 11, from 3-5 p.m.

There's also a useful article on Leonard Koscianski by John Seed at The Huffington Post. Click on excerpt below for the whole thing:
At 2:15 Koscianski is back in the studio, refreshed and ready to exert all the physical and mental energy he can muster, battling with his paintings into the evening. When I asked Koscianski about his palette and color choices he told me that he "sweats color." No wonder his finished paintings gleam with ferocity, a quality that the artist wants his viewers to recognize, fear and value.

"Fierceness is in all of us," he observes, "It erupts from the depths of our animal brain. As we mature we learn to control it... when uncontrolled it can destroy us. Reaching any difficult goal requires a certain amount of inner fierceness."

In an effort to channel his own ferocity Koscianski has built a career as an iconoclastic artist, guarding the integrity of his art while attempting to stifle his own ego. Seen another way, Koscianski is a very civilized man with a highly developed wariness about the potential for violence in both the real world and in the inner world of his imagination. The studio is where he struggles to forge a balance between the two.

***
Prov.: O.K. Harris, New York; Direct from Artist

"Philip the Arabian, First Half of the III Century, A.D." (2006) (ACRYLIC ON WOOD BLOCK, 6.5 x 5.75 x .75) by MARK MULRONEY
Location: Galatea Offsite - San Francisco Apartment

"Untitled" (2005) (ACRYLIC ON WOOD BLOCK, 7.75 x 4.75 x 1.05) by MARK MULRONEY
Location: Galatea Offsite - San Francisco Apartment

FIFTH MENTION DUE TO UPDATE:

Mark Mulroney just opened a new exhibition; here is the gallery's press release:

Mark Mulroney
Really Creative Pictures

SEPTEMBER 9&NDASH;OCTOBER 9, 2010
OPENING: FRIDAY, SEPTEMBER 10, 6-8PM

Mixed Greens is very pleased to present Mark Mulroney’s fourth solo exhibition with the gallery. Really Creative Pictures will consist of paintings, books and a multi-part mural.

For as long as he can remember, Mark Mulroney has made a daily practice of drawing in several sketchbooks simultaneously—recording images, ideas and perplexing haikus. Each sketchbook is a collection of characters, source material, inspiration, sexual depravity and off-color humor. Like many artists, Mulroney has often found it difficult to translate the spontaneity of a sketch to canvas.

For this exhibition, Mulroney will display a selection of sketchbooks and a series of both large and small-scale “sketch paintings” where the collage and immediacy of his private books is captured on board and canvas. The viewer is now privy to multiple versions of an image and a stream-of-consciousness that was previously concealed.

For those who have followed Mulroney’s work, Really Creative Pictures will be an exciting encapsulation of the last decade. Old and new characters and drawing styles coalesce in the new pieces. It is Mulroney’s most personal show to date, but the multiple perspectives and truncated storylines will leave viewers with countless interpretations. A portal of sorts into the mind of Mulroney, this sketch-inspired body of work recalls the past while simultaneously revealing a more complex present and future.

Mixed Greens
531 W. 26th Street
New York, N.Y. 10001

***
Prov.: Mixed Greens, New York

Tuesday, July 27, 2010

"PATCHWORK: X-27 EXPLORER" (ROBOT SERIES) (2005) (VINTAGE PAPER, STITCHING HOLES. GRAPHITE, WATERCOLOR, INK) (4 X 4, FRAMED) by LISA SOLOMON
Location: Library, Pygmalion-First Floor

[FOURTEENTH MENTION DUE TO UPDATE]

UPDATE:


Kearny Street Workshop in San Francisco has piloted a new program with the theme of "emergence” to "help our artists to emerge from obscurity into the greater cultural conversation." Lisa Solomon is their second selection for this series, and you can go HERE for an interview with her!

Lisa's work will be available through the KSW Office Gallery. Taking advantage of the wonderful light and high ceilings of KSW's new office space, they are presenting her work from Monday - Thursday from 11 am - 5 pm through August 31.

***
Prov.: Graystone, San Francisco; 2005 San Francisco International Art Expo

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