Tuesday, June 30, 2009
"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
FOURTH MENTION DUE TO UPDATE:
Mark Mulroney will be part of the following exhibition:
Mixed Greens Presents
10th Anniversary Exhibition
July 9- Aug. 14, 2009
Opening: July 9, from noon-6 p.m.
Mixed Greens
531 W. 26th Street
New York, N.Y. 10001
***
Prov.: Mixed Greens, New York
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
FOURTH MENTION DUE TO UPDATE:
Mark Mulroney will be part of the following exhibition:
Mixed Greens Presents
10th Anniversary Exhibition
July 9- Aug. 14, 2009
Opening: July 9, from noon-6 p.m.
Mixed Greens
531 W. 26th Street
New York, N.Y. 10001
***
Prov.: Mixed Greens, New York
Tuesday, June 23, 2009
"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
THIRTEENTH MENTION DUE TO UPDATE
Max Gimblett has a new exhibition, his first in Germany:
PARADE - THE PRESENCE OF BEAUTY
HAMISH MORRISON GALERIE
EXHIBITION DATES: JUNE 19 - AUGUST 1
Hamish Morrison Gallery is pleased to present, for the first time in Germany, New Zealand artist Max Gimblett (1935). His work enjoys special recognition in his home country with which he has retained many links, but especially in the United States where he has lived since the 1970s. This year his works have been exhibited at the Guggenheim Museum New York as part of the exhibition The Third Mind - American Artists Contemplate Asia, 1860-1989.
The work of Max Gimblett is characterized by paintings and drawings of great virtuosity and finesse as a bridge between different cultures. The contact with artists like Brice Marden, Robert Motherwell and Jackson Pollock has had significant influence on his painting in the context of abstract expressionism. However, since the 1980s his cultural curiosity which had first been aroused by Maori art has been reflected by the influence of Asian culture on his work and his life.
By using the Greek word Téménos which refers to the space dedicated to a sacred shrine or sanctuary, to describe the exhibition, Gimblett does not evoke the religious aspect of art, but its spiritual dimension. The technological and aesthetic delicacy of his paintings consisting of rare and precious materials such as sheets of silver, gold and palladium imported from all over the world and combined with traditional materials and contemporary polymers results in masterful and fascinating works. The unique forms of his paintings break the convention, which automatically identifies a rectangle suspended from a wall as a work of art or at least as a decorative image. The viewer becomes aware of this quasi-votive character of the work, allowing him access to a dimension beyond time and space, opening a space of meditation.
In the act of painting, his gestures reflect an energy, a rhythm and a dance in which the viewer can participate. This participation is made possible by the perception of time by observation; time, which according Gimblett is concentric. The spectator, by following the traces of the paint brush, witnesses the beginning, accelerations, decelerations and the culmination of the gesture. For Gimblett the process of painting is not a cold cerebral act expressing the Cartesian “I” of the proud and egocentric modern man, but the Buddhist principle of non-self eclipsing one’s judgment. His painting expresses intuitive, pure energy.
The titles of his works and their shapes reflect the wealth of inspiration and syncretism of the artist as well as his interest in different cultures and his reflections on the Jungian collective unconscious. He appears to look beyond the Jungian self which is the unknown centre of personality where antinomies and the collective unconscious expressed by myths of different cultures and embodied by certain signs, such as quatrefoil (Apricot Garden, Celestial) are reconciled. By using the quatrefoil with its association to the four elements, windows, flowers in general or lotus in particular, Gimblett convokes the vital forces and archetypal transcendence of the human psyche.
This motif explains the most recurring references such as the influence of Japanese painter Sengai Gibon (1750-1837), for whom the circle, triangle and square – bases for many of Gimblett’s works - alone represent the universe. (The Gaze - For Jackson Pollock 2008, Guggenheim Enso Series, 2008). According to the philosopher of Buddhism Daisetz Teitaro Suzuki, the circle corresponds with the infinite without beginning and without end, while the triangle is the beginning of all forms, and the square, a double triangle, stands for the process of duplication. The approximation of the series Guggenheim Enso with "Ten Ox Herding Pictures", which reflect the path to enlightenment in Zen, is particularly interesting, especially the 8th picture above entitled: "Self and Ox Forgotten"
Gimblett's work is a synthesis not only of the many questions and answers posed by the history of art, but also between cultures by bringing together opposing values and principles, such as calligraphy and geometry, abstraction and figuratism, as well as aesthetic and philosophical propositions of east and west. In bringing together these spiritual considerations and coming to terms with the seductive power of images, and the intellectual and aesthetic enjoyment, Gimblett achieves in his work the reconciliation of the Apollonian and Dionysian.
Hamish Morrison Galerie
Heidestrasse 46-52
10557 Berlin
Germany
TEL +49 30 280 40577
FAX +49 30 280 41898
Mobile +49 172 561 3487
www.hamishmorrison.com
***
Prov. Direct from Artist
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
THIRTEENTH MENTION DUE TO UPDATE
Max Gimblett has a new exhibition, his first in Germany:
PARADE - THE PRESENCE OF BEAUTY
HAMISH MORRISON GALERIE
EXHIBITION DATES: JUNE 19 - AUGUST 1
Hamish Morrison Gallery is pleased to present, for the first time in Germany, New Zealand artist Max Gimblett (1935). His work enjoys special recognition in his home country with which he has retained many links, but especially in the United States where he has lived since the 1970s. This year his works have been exhibited at the Guggenheim Museum New York as part of the exhibition The Third Mind - American Artists Contemplate Asia, 1860-1989.
The work of Max Gimblett is characterized by paintings and drawings of great virtuosity and finesse as a bridge between different cultures. The contact with artists like Brice Marden, Robert Motherwell and Jackson Pollock has had significant influence on his painting in the context of abstract expressionism. However, since the 1980s his cultural curiosity which had first been aroused by Maori art has been reflected by the influence of Asian culture on his work and his life.
By using the Greek word Téménos which refers to the space dedicated to a sacred shrine or sanctuary, to describe the exhibition, Gimblett does not evoke the religious aspect of art, but its spiritual dimension. The technological and aesthetic delicacy of his paintings consisting of rare and precious materials such as sheets of silver, gold and palladium imported from all over the world and combined with traditional materials and contemporary polymers results in masterful and fascinating works. The unique forms of his paintings break the convention, which automatically identifies a rectangle suspended from a wall as a work of art or at least as a decorative image. The viewer becomes aware of this quasi-votive character of the work, allowing him access to a dimension beyond time and space, opening a space of meditation.
In the act of painting, his gestures reflect an energy, a rhythm and a dance in which the viewer can participate. This participation is made possible by the perception of time by observation; time, which according Gimblett is concentric. The spectator, by following the traces of the paint brush, witnesses the beginning, accelerations, decelerations and the culmination of the gesture. For Gimblett the process of painting is not a cold cerebral act expressing the Cartesian “I” of the proud and egocentric modern man, but the Buddhist principle of non-self eclipsing one’s judgment. His painting expresses intuitive, pure energy.
The titles of his works and their shapes reflect the wealth of inspiration and syncretism of the artist as well as his interest in different cultures and his reflections on the Jungian collective unconscious. He appears to look beyond the Jungian self which is the unknown centre of personality where antinomies and the collective unconscious expressed by myths of different cultures and embodied by certain signs, such as quatrefoil (Apricot Garden, Celestial) are reconciled. By using the quatrefoil with its association to the four elements, windows, flowers in general or lotus in particular, Gimblett convokes the vital forces and archetypal transcendence of the human psyche.
This motif explains the most recurring references such as the influence of Japanese painter Sengai Gibon (1750-1837), for whom the circle, triangle and square – bases for many of Gimblett’s works - alone represent the universe. (The Gaze - For Jackson Pollock 2008, Guggenheim Enso Series, 2008). According to the philosopher of Buddhism Daisetz Teitaro Suzuki, the circle corresponds with the infinite without beginning and without end, while the triangle is the beginning of all forms, and the square, a double triangle, stands for the process of duplication. The approximation of the series Guggenheim Enso with "Ten Ox Herding Pictures", which reflect the path to enlightenment in Zen, is particularly interesting, especially the 8th picture above entitled: "Self and Ox Forgotten"
Gimblett's work is a synthesis not only of the many questions and answers posed by the history of art, but also between cultures by bringing together opposing values and principles, such as calligraphy and geometry, abstraction and figuratism, as well as aesthetic and philosophical propositions of east and west. In bringing together these spiritual considerations and coming to terms with the seductive power of images, and the intellectual and aesthetic enjoyment, Gimblett achieves in his work the reconciliation of the Apollonian and Dionysian.
Hamish Morrison Galerie
Heidestrasse 46-52
10557 Berlin
Germany
TEL +49 30 280 40577
FAX +49 30 280 41898
Mobile +49 172 561 3487
www.hamishmorrison.com
***
Prov. Direct from Artist
Monday, June 08, 2009
"WARPED WOMEN," (COLLAGE, MIXED-MEDIA PAINTING) by SUSAN BEE
Location: Blue Bedroom, Pygmalion-Second Floor
Eleventh MENTION DUE TO UPDATE]
UPDATE:
I moved Susan Bee's painting into my bedroom recently -- like it that much! And, her exhibition Eye of the Storm: New Paintings at A.I.R. Gallery was recently reviewed in Art News. You can see the review at http://epc.buffalo.edu/authors/bee/images/Art-News_2009.jpg
***
Prov.: A.I.R. Gallery, New York; Direct from Artist.
Location: Blue Bedroom, Pygmalion-Second Floor
Eleventh MENTION DUE TO UPDATE]
UPDATE:
I moved Susan Bee's painting into my bedroom recently -- like it that much! And, her exhibition Eye of the Storm: New Paintings at A.I.R. Gallery was recently reviewed in Art News. You can see the review at http://epc.buffalo.edu/authors/bee/images/Art-News_2009.jpg
***
Prov.: A.I.R. Gallery, New York; Direct from Artist.
Sunday, April 05, 2009
"DON'T TOUCH ME" (2003) (MIXED MEDIA, 9.5 x 1.1 x 2 IN) INSTALLATION by STELLA LAI
Location: Foyer, Pygmalion-First Floor
"FOUR SEASONS VACATION -2" (2003) (gouache on paper, 30 X 22 in) by STELLA LAI
Location: Yellow Bedroom, Pygmalion-Second Floor
"FOUR SEASONS VACATION -4" (2003) (gouache on paper, 30 X 22 in) by STELLA LAI
Location: Yellow Bedroom, Pygmalion-Second Floor
"PUCHAA MASK" (2002) (YARN, 13 x 9 x 8 IN) SCULPTURE by STELLA LAI
Location: Galatea Offsite/San Francisco Apartment
"PUCHAA IN BOX" (MIXED MEDIA, 2001) SCULPTURE by STELLA LAI
Location: Galatea Offsite/San Francisco Apartment
"PUCHAA'S SHORTCUT" (2002) (ROTATING MOTOR AND MIXED MEDIA, 9 x 4 x 4 IN) SCULPTURE by STELLA LAI
Location: Library, Pygmalion-First Floor
"UNTITLED" (PUCHAA DRUNK AMONG WINE BOTTLES" (2003) DRAWING by STELLA LAI
Location: Library, Pygmalion-First Floor
"MTR SUPER HERO" (2003) (SILK SCREEN PRINT & HAND PAINTED PUSHPIN, #2/25) by STELLA LAI
Location: Turret Guest Bathroom, Pygmalion-First Floor
"[ ] PUCHAA AND CHECHE" DRAWING by STELLA LAI
Location: Library, Pygmalion-First Floor
EPHEMERA (DRAWINGS IN E.T.'S ART/POETRY JOURNAL, GALATEA GUEST BOOK, NLA AUCTION CHAPBOOK, & INVITATION AND INDIVIDUAL MASK MOLD FROM "DON'T TOUCH ME" INSTALLATION)
Location: Library, Pygmalion-First and Second Floors
"PUCHAA" (PAPER SCULPTURE) (2003) by STELLA LAI
Location: Galatea Offsite--SF Apartment
"A&G" (WATERCOLOR) (2006) by STELLA LAI
Location: Library, Pygmalion-Second Floor
THIRTEENTH MENTION DUE TO UPDATE]
UPDATE
Stella Lai recently issued a Newsletter to encompass her busy-nesses! To wit:
2009 Updates
There's been a few exciting pieces of news I would like to share with everyone since my show in Beijing Oct 2008.
Interview with Daily Serving
by Allison Gibson
Allison and I meet in Ojai through Nathan Larramendy. She is currently writing for Daily Serving and Beautiful Decay magazines. View at http://www.dailyserving.com/2009/03/stella_lai_1.php#more
Giant Robot
by Martin Wong
I am very proud to be on the cover of Giant Robot 58th Issue. There is an 8 page interview with Martin inside. Thank you Giant Robot! View at http://www.giantrobot.com/
Beautiful/Decay: A to Z
Beautiful/Decay magazine and the Kopeikin Gallery are excited to celebrate the release of Beautiful/Decay's 26th Issue Z with a retrospective art show. View at http://www.kopeikingallery.com/
Flash Art Review
by Cecilia Freschini
FF2 Gallery in Beijing was reviewed in Flash Art. "Best of Beijing" View at http://www.tree-axis.com/stella/assets/press/FlashArt-sm.jpg
***
Prov.: Direct from Artist; Lizabeth Oliveria Gallery, CA
Location: Foyer, Pygmalion-First Floor
"FOUR SEASONS VACATION -2" (2003) (gouache on paper, 30 X 22 in) by STELLA LAI
Location: Yellow Bedroom, Pygmalion-Second Floor
"FOUR SEASONS VACATION -4" (2003) (gouache on paper, 30 X 22 in) by STELLA LAI
Location: Yellow Bedroom, Pygmalion-Second Floor
"PUCHAA MASK" (2002) (YARN, 13 x 9 x 8 IN) SCULPTURE by STELLA LAI
Location: Galatea Offsite/San Francisco Apartment
"PUCHAA IN BOX" (MIXED MEDIA, 2001) SCULPTURE by STELLA LAI
Location: Galatea Offsite/San Francisco Apartment
"PUCHAA'S SHORTCUT" (2002) (ROTATING MOTOR AND MIXED MEDIA, 9 x 4 x 4 IN) SCULPTURE by STELLA LAI
Location: Library, Pygmalion-First Floor
"UNTITLED" (PUCHAA DRUNK AMONG WINE BOTTLES" (2003) DRAWING by STELLA LAI
Location: Library, Pygmalion-First Floor
"MTR SUPER HERO" (2003) (SILK SCREEN PRINT & HAND PAINTED PUSHPIN, #2/25) by STELLA LAI
Location: Turret Guest Bathroom, Pygmalion-First Floor
"[ ] PUCHAA AND CHECHE" DRAWING by STELLA LAI
Location: Library, Pygmalion-First Floor
EPHEMERA (DRAWINGS IN E.T.'S ART/POETRY JOURNAL, GALATEA GUEST BOOK, NLA AUCTION CHAPBOOK, & INVITATION AND INDIVIDUAL MASK MOLD FROM "DON'T TOUCH ME" INSTALLATION)
Location: Library, Pygmalion-First and Second Floors
"PUCHAA" (PAPER SCULPTURE) (2003) by STELLA LAI
Location: Galatea Offsite--SF Apartment
"A&G" (WATERCOLOR) (2006) by STELLA LAI
Location: Library, Pygmalion-Second Floor
THIRTEENTH MENTION DUE TO UPDATE]
UPDATE
Stella Lai recently issued a Newsletter to encompass her busy-nesses! To wit:
2009 Updates
There's been a few exciting pieces of news I would like to share with everyone since my show in Beijing Oct 2008.
Interview with Daily Serving
by Allison Gibson
Allison and I meet in Ojai through Nathan Larramendy. She is currently writing for Daily Serving and Beautiful Decay magazines. View at http://www.dailyserving.com/2009/03/stella_lai_1.php#more
Giant Robot
by Martin Wong
I am very proud to be on the cover of Giant Robot 58th Issue. There is an 8 page interview with Martin inside. Thank you Giant Robot! View at http://www.giantrobot.com/
Beautiful/Decay: A to Z
Beautiful/Decay magazine and the Kopeikin Gallery are excited to celebrate the release of Beautiful/Decay's 26th Issue Z with a retrospective art show. View at http://www.kopeikingallery.com/
Flash Art Review
by Cecilia Freschini
FF2 Gallery in Beijing was reviewed in Flash Art. "Best of Beijing" View at http://www.tree-axis.com/stella/assets/press/FlashArt-sm.jpg
***
Prov.: Direct from Artist; Lizabeth Oliveria Gallery, CA
"[] (FOAM, CONTACT PAPER, SHADOW BOX-TYPE FRAME)" by STEPHANIE SYJUCO
Location: Babaylan Lodge
NINETEENTH MENTION DUE TO UPDATE
Stephanie Syjuco has an update on her recent activities:
-----------------------------------
EXHIBITIONS & EVENTS:
-----------------------------------
The Village (Small Encampments)
solo exhibition
James Harris Gallery, Seattle, WA
April 2 - May 2, 2009
Opening reception: Thursday, April 2, 5-7pm
http://www.jamesharrisgallery.com
Syjuco constructed small cut-out dioramas taken from tourist photographs of the Philippines and placed them conspicuously throughout her apartment. She then photographed her living space as a personal travelogue. Her apartment became the landscape for the stage-like settings of the dioramas; acting as crude reminders of a place she is connected to by birth and yet very unfamiliar with. The four sets of paired photographs and the slide projection installation take on two seemingly disparate narratives: a documentary portrait of the artist’s domestic space with a completely constructed and fantasized “homeland” hidden within. The idea that she is a "counterfeit" Filipino is something Syjuco’s been very interested in playing with recently; exploring the murky area of cultural authenticity and even the fictions we create for our own allegiances. By examining and constructing objects with fictional identities and histories, the artist reveals a larger truth: that we constantly invent narratives about ourselves and about others.
It's Not Us, It's You
The San Jose Institute for Contemporary Art, San Jose, CA
April 4 - June 20, 2009
Opening reception: Friday, April 3, 6-8pm
http://www.sjica.org/
"It’s Not Us, It’s You" is an exhibition that explores the inevitability of rejection in our lives – a timely topic in today’s woeful economic climate. Through a tragic and sometimes heartbreaking lens, the artists in this exhibition respond to the reality of rejection with subversion, self-reflection, humor and brutal honesty. The show is guest curated by artist Ray Beldner and includes paintings, sculpture, video, and multi-media work from artists Anthony Discenza, Stephanie Syjuco, Michael Arcega, Kara Maria, Steve Lambert, Jonn Herschend, Dee Hibbert-Jones, Nomi Talisman, Desiree Holman, Orly Cogan, Kate Gilmore, Robert Eads and Arthur Gonzalez.
Innapropriate Covers
David Winton Bell Gallery, List Art Center, Brown University, Providence, RI
April 11 - May 29, 2009
Opening reception Friday, April 10, 5:30pm
Artist Talk with Stephanie Syjuco on opening night, beginning at 5:30pm
http://www.brown.edu/Facilities/David_Winton_Bell_Gallery/future_frameset.html
Through various forms of "covering" and acts of "inappropriation" the works chosen for this exhibition seek to uncover layers of meaning that were previously hidden or obscured. Although appropriation techniques have a deep and variable history throughout 20th-century art, in contemporary culture the rampant use of sampling, remixing, and appropriation has become a general and widespread activity. Inappropriate Covers seeks to revitalize the discussion of appropriation, using the combination of the two words in the exhibition's title to further develop and enrich our understanding of appropriation practices — practices where the artist seizes preexisting cultural materials to use as source materials for the creation of his or her own artwork.
Tech Tools of the Trade: Contemporary New Media Art
de Saisset Museum, Santa Clara University, Santa Clara, CA
April 17 - June 28, 2009
Opening reception: Friday, April 17
http://www.scu.edu/desaisset/exhibits/Tech-Tools-of-the-Trade.cfm
This survey exhibition features work produced by Bay Area-based or Bay Area-rooted artists using new media—defined in the context of this exhibition as electronic, digital, or web-based. Organized into accessible thematic sections, the work in this exhibition explores the ways that technology has shaped our sense of selves, our vision, our bodies, and our world. The exhibition examines our cultural fascination with technology (including our continued faith in its benefits), our myriad uses of the internet, as well as the potentially troubling applications of technology in simulation and surveillance.
Panel Discussion:
Tactical Digital Aesthetics
Wednesday, May 20, 2009 from 6:00-8:00 pm, de Saisset Museum
An evening of art and conversation exploring new media, remediation, and cultural politics. Keynote by Johanna Drucker; roundtable by Ray Beldner, Stephanie Syjuco, Anthony Discenza, and Johanna Drucker; and moderated by Katie Vann and Kathy Aoki.
Unsolicited Fabrications
solo exhibition
Pallas Contemporary Projects (in conjunction with Space 126), Dublin, Ireland
Opening reception: Friday, May 1, 2009
http://www.pallasprojects.org/
Exploring issues of authorship, collaboration, and production, this solo exhibition presents a display and fabrication area where the artist will be making a collection of sculptures based on a shared database of online “artworks” created by users of SketchUp (a shareware 3-D modeling program). Acting as their "unsolicited fabricator," and using common everyday materials, Syjuco's attempts to handmake computer-designed sculptures calls into question ideas of craft, the copy, and also how a group of anonymous amateur designers come to define what an art object "looks like."
Rising Tide: Arts & Ecological Ethics
Conference and panel discussions
Sponsored by California College of the Arts & Stanford University
http://www.risingtideconference.org/
Saturday April 18, 11am - 12:15pm
I'll be speaking on the panel entitled "Material Culture and Sustainability":
What are new materials that artists/designer/architects are experimenting with? What materials have impacts on which industries? Where are the holes in research? What is sustainable business? How is culture sustainable?
Moderator: Bonnie Sherk, with panelists Stephanie Syjuco, Lynda Grose, and Banny Bannerjee
----------------------------------------
For recent work, including past projects and lots of images, visit:
http://www.stephaniesyjuco.com
***
Prov.: New Langton Arts, San Francisco
Location: Babaylan Lodge
NINETEENTH MENTION DUE TO UPDATE
Stephanie Syjuco has an update on her recent activities:
-----------------------------------
EXHIBITIONS & EVENTS:
-----------------------------------
The Village (Small Encampments)
solo exhibition
James Harris Gallery, Seattle, WA
April 2 - May 2, 2009
Opening reception: Thursday, April 2, 5-7pm
http://www.jamesharrisgallery.com
Syjuco constructed small cut-out dioramas taken from tourist photographs of the Philippines and placed them conspicuously throughout her apartment. She then photographed her living space as a personal travelogue. Her apartment became the landscape for the stage-like settings of the dioramas; acting as crude reminders of a place she is connected to by birth and yet very unfamiliar with. The four sets of paired photographs and the slide projection installation take on two seemingly disparate narratives: a documentary portrait of the artist’s domestic space with a completely constructed and fantasized “homeland” hidden within. The idea that she is a "counterfeit" Filipino is something Syjuco’s been very interested in playing with recently; exploring the murky area of cultural authenticity and even the fictions we create for our own allegiances. By examining and constructing objects with fictional identities and histories, the artist reveals a larger truth: that we constantly invent narratives about ourselves and about others.
It's Not Us, It's You
The San Jose Institute for Contemporary Art, San Jose, CA
April 4 - June 20, 2009
Opening reception: Friday, April 3, 6-8pm
http://www.sjica.org/
"It’s Not Us, It’s You" is an exhibition that explores the inevitability of rejection in our lives – a timely topic in today’s woeful economic climate. Through a tragic and sometimes heartbreaking lens, the artists in this exhibition respond to the reality of rejection with subversion, self-reflection, humor and brutal honesty. The show is guest curated by artist Ray Beldner and includes paintings, sculpture, video, and multi-media work from artists Anthony Discenza, Stephanie Syjuco, Michael Arcega, Kara Maria, Steve Lambert, Jonn Herschend, Dee Hibbert-Jones, Nomi Talisman, Desiree Holman, Orly Cogan, Kate Gilmore, Robert Eads and Arthur Gonzalez.
Innapropriate Covers
David Winton Bell Gallery, List Art Center, Brown University, Providence, RI
April 11 - May 29, 2009
Opening reception Friday, April 10, 5:30pm
Artist Talk with Stephanie Syjuco on opening night, beginning at 5:30pm
http://www.brown.edu/Facilities/David_Winton_Bell_Gallery/future_frameset.html
Through various forms of "covering" and acts of "inappropriation" the works chosen for this exhibition seek to uncover layers of meaning that were previously hidden or obscured. Although appropriation techniques have a deep and variable history throughout 20th-century art, in contemporary culture the rampant use of sampling, remixing, and appropriation has become a general and widespread activity. Inappropriate Covers seeks to revitalize the discussion of appropriation, using the combination of the two words in the exhibition's title to further develop and enrich our understanding of appropriation practices — practices where the artist seizes preexisting cultural materials to use as source materials for the creation of his or her own artwork.
Tech Tools of the Trade: Contemporary New Media Art
de Saisset Museum, Santa Clara University, Santa Clara, CA
April 17 - June 28, 2009
Opening reception: Friday, April 17
http://www.scu.edu/desaisset/exhibits/Tech-Tools-of-the-Trade.cfm
This survey exhibition features work produced by Bay Area-based or Bay Area-rooted artists using new media—defined in the context of this exhibition as electronic, digital, or web-based. Organized into accessible thematic sections, the work in this exhibition explores the ways that technology has shaped our sense of selves, our vision, our bodies, and our world. The exhibition examines our cultural fascination with technology (including our continued faith in its benefits), our myriad uses of the internet, as well as the potentially troubling applications of technology in simulation and surveillance.
Panel Discussion:
Tactical Digital Aesthetics
Wednesday, May 20, 2009 from 6:00-8:00 pm, de Saisset Museum
An evening of art and conversation exploring new media, remediation, and cultural politics. Keynote by Johanna Drucker; roundtable by Ray Beldner, Stephanie Syjuco, Anthony Discenza, and Johanna Drucker; and moderated by Katie Vann and Kathy Aoki.
Unsolicited Fabrications
solo exhibition
Pallas Contemporary Projects (in conjunction with Space 126), Dublin, Ireland
Opening reception: Friday, May 1, 2009
http://www.pallasprojects.org/
Exploring issues of authorship, collaboration, and production, this solo exhibition presents a display and fabrication area where the artist will be making a collection of sculptures based on a shared database of online “artworks” created by users of SketchUp (a shareware 3-D modeling program). Acting as their "unsolicited fabricator," and using common everyday materials, Syjuco's attempts to handmake computer-designed sculptures calls into question ideas of craft, the copy, and also how a group of anonymous amateur designers come to define what an art object "looks like."
Rising Tide: Arts & Ecological Ethics
Conference and panel discussions
Sponsored by California College of the Arts & Stanford University
http://www.risingtideconference.org/
Saturday April 18, 11am - 12:15pm
I'll be speaking on the panel entitled "Material Culture and Sustainability":
What are new materials that artists/designer/architects are experimenting with? What materials have impacts on which industries? Where are the holes in research? What is sustainable business? How is culture sustainable?
Moderator: Bonnie Sherk, with panelists Stephanie Syjuco, Lynda Grose, and Banny Bannerjee
----------------------------------------
For recent work, including past projects and lots of images, visit:
http://www.stephaniesyjuco.com
***
Prov.: New Langton Arts, San Francisco
Wednesday, March 18, 2009
"BANGKA (2007)," INK AND GOUACHE ON PAPER by JENIFER WOFFORD
Location: Library Bathroom, Pygmalion-First Floor
"FALLING NURSE (2007)," (18 X 14") INK ON PAPER by JENIFER WOFFORD
Location: Library Bathroom, Pygmalion-First Floor
TWENTIETH MENTION DUE TO UPDATE
and
"THROUGH THE LOOKING GLASS, I, II AND III (2002)," THREE PHOTOGRAPHIC PRINTS by MAIL ORDER BRIDES
Location: Turret Guest Bathroom, Pygmalion-First Floor
TWENTY-FIRST MENTION DUE TO UPDATE
UPDATE:
Jenifer Wofford sends a deservedly-ebullient note on her latest exhibition:
Hello, good peoples:
Wofford’s got a show opening! Wahoo!
I’m showing the production drawings, as well as some new prints, from my recent Market Street public art posters. The show is called “The Villanueva Vignettes”, after Flor Villanueva, the name of the fictional Filipina nurse in the posters, as well as the name of the very real, fabulous Filipina who posed for my reference images, Nicole (Maxali) Villanueva.
The Villanueva Vignettes opens at the SFMOMA Artist Gallery, in the upstairs Loft space, this Thursday the 19th! Hope to see you fine people there! (Please note: the gallery is out at, erm, Fort Mason, NOT downtown by the museum.)
http://www.sfmoma.org/pages/artists_gallery_exhibitions
http://www.sfmoma.org/pages/artists_gallery
The Villanueva Vignettes
March 19 - April 24, 2009
Opening reception: March 19, 5:30-7:30 pm
SFMOMA Artist Gallery Loft
SFMOMA Artists Gallery at Fort Mason
Building A, Fort Mason Center
San Francisco, CA 94123 USA
415.441.4777
***
Prov.: Intersection for the Arts, San Francisco; and Galleon Trade Fundraiser/Direct from Artist
M.O.B.s: Lizabeth Oliveria Gallery, Culver City, CA
Location: Library Bathroom, Pygmalion-First Floor
"FALLING NURSE (2007)," (18 X 14") INK ON PAPER by JENIFER WOFFORD
Location: Library Bathroom, Pygmalion-First Floor
TWENTIETH MENTION DUE TO UPDATE
and
"THROUGH THE LOOKING GLASS, I, II AND III (2002)," THREE PHOTOGRAPHIC PRINTS by MAIL ORDER BRIDES
Location: Turret Guest Bathroom, Pygmalion-First Floor
TWENTY-FIRST MENTION DUE TO UPDATE
UPDATE:
Jenifer Wofford sends a deservedly-ebullient note on her latest exhibition:
Hello, good peoples:
Wofford’s got a show opening! Wahoo!
I’m showing the production drawings, as well as some new prints, from my recent Market Street public art posters. The show is called “The Villanueva Vignettes”, after Flor Villanueva, the name of the fictional Filipina nurse in the posters, as well as the name of the very real, fabulous Filipina who posed for my reference images, Nicole (Maxali) Villanueva.
The Villanueva Vignettes opens at the SFMOMA Artist Gallery, in the upstairs Loft space, this Thursday the 19th! Hope to see you fine people there! (Please note: the gallery is out at, erm, Fort Mason, NOT downtown by the museum.)
http://www.sfmoma.org/pages/artists_gallery_exhibitions
http://www.sfmoma.org/pages/artists_gallery
The Villanueva Vignettes
March 19 - April 24, 2009
Opening reception: March 19, 5:30-7:30 pm
SFMOMA Artist Gallery Loft
SFMOMA Artists Gallery at Fort Mason
Building A, Fort Mason Center
San Francisco, CA 94123 USA
415.441.4777
***
Prov.: Intersection for the Arts, San Francisco; and Galleon Trade Fundraiser/Direct from Artist
M.O.B.s: Lizabeth Oliveria Gallery, Culver City, CA
Friday, February 27, 2009
"AGENTS" (1996) (INK, GRAPHITE AND GEL MEDIUM ON CLEAR MYLAR, 17 x 11 IN) by SHARON LOUDEN
Location: Dining Room, Pygmalion-First Floor
"AGENTS" (1996) (INK, GRAPHITE AND GEL MEDIUM ON CLEAR MYLAR, 17 x 11 IN) by SHARON LOUDEN
Location: Dining Room, Pygmalion-First Floor
[FIFTEENTH MENTION DUE TO UPDATE]
UPDATE:
Sharon Louden has a new solo exhibition! Here are details:
SHARON LOUDEN: TAKING TURNS
March 8-June 7, 2009
Weatherspoon Art Museum
The University of North Carolina at Greensboro
Greensboro, NC 27402
Sharon's exhibition will take place both inside and outside the Museum. In the gallery will be a series of recent paintings and a new animation. Outside, the artist will create a three-dimensional fiber-optic piece in the Weatherspoon's sculpture Garden.
Also:
Professional Practices Seminar for Artists with Sharon Louden
Wednesday, March 4, 4:30-6 p.m.
Free and open to the public. For more information, visit http;//weatherspoon.uncg.edu
***
Prov. Haines Gallery, San Francisco, CA
Location: Dining Room, Pygmalion-First Floor
"AGENTS" (1996) (INK, GRAPHITE AND GEL MEDIUM ON CLEAR MYLAR, 17 x 11 IN) by SHARON LOUDEN
Location: Dining Room, Pygmalion-First Floor
[FIFTEENTH MENTION DUE TO UPDATE]
UPDATE:
Sharon Louden has a new solo exhibition! Here are details:
SHARON LOUDEN: TAKING TURNS
March 8-June 7, 2009
Weatherspoon Art Museum
The University of North Carolina at Greensboro
Greensboro, NC 27402
Sharon's exhibition will take place both inside and outside the Museum. In the gallery will be a series of recent paintings and a new animation. Outside, the artist will create a three-dimensional fiber-optic piece in the Weatherspoon's sculpture Garden.
Also:
Professional Practices Seminar for Artists with Sharon Louden
Wednesday, March 4, 4:30-6 p.m.
Free and open to the public. For more information, visit http;//weatherspoon.uncg.edu
***
Prov. Haines Gallery, San Francisco, CA
"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
TWELFTH MENTION DUE TO UPDATE
Max Gimblett's works, including collaboration with poet Robert Creeley, are covered in the following article:
"Live music and stunning artwork - Dogs of Auckland" on Scoop: Independent News
***
Prov. Direct from Artist
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
TWELFTH MENTION DUE TO UPDATE
Max Gimblett's works, including collaboration with poet Robert Creeley, are covered in the following article:
"Live music and stunning artwork - Dogs of Auckland" on Scoop: Independent News
***
Prov. Direct from Artist
Thursday, February 19, 2009
"TAB (THERESA AFTER BRICE)" (1997 & 2005) (DRAWING ON 2 LAYERS OF RICE PAPER) by THERESA CHONG
Location: Living Room, Pygmalion-1st Floor
"TWL" (renamed "BLACK LIGHTNING" after its image appeared as cover image on my book entitled with same name) (1997) (OIL ON WOOD, 22 X 22 IN) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
"EIGHT (A&B)" (1998) (OIL ON WOOD) (TWO PANELS, EACH 40 X 20 1/2 IN, HUNG 1/2 INCH APART) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
DRAWING ON RICE PAPER (Details to Come) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
MONEY & STAMP SERIES (2000) (PRINTS) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
DRAWINGS FOR POETRY COLLABORATION by THERESA CHONG
Location: Library, Pygmalion-Second Floor
DRAWING WITH BOOK (Details to Come) by THERESA CHONG
Location: Library, Pygmalion-Second Floor
DRAWING WITH BOY (Details to Come) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
[ELEVENTH MENTION DUE TO UPDATE]
UPDATE:
Theresa Chong opens a new exhibit. Here's press release:
Legacies of Abstraction:
Theresa Chong
Warren Isensee
Katia Santibañez
February 15 - March 22
Esther Massry Gallery
The College of Saint Rose
1002 Madison Avenue, Albany, NY 12203
T 518.485.3902 E flanagaj@strose.edu
GALLERY RECEPTION:
Friday, February 20, 5 -7:00 pm
ARTIST'S TALK:
Friday, February 20, 7:00 pm
985 Madison Avenue
Theresa Chong’s intricate gouache and pencil drawings on handmade Japanese rice paper explore mark making and gesture in abstraction. While open to multiple associations and varied interpretations – celestial maps, cascading particles on a field, even musical notation (the artist is an accomplished cellist) – the work remains fundamentally and purely abstract. Chong has been inspired by Abstract Expressionism, its energy and spontaneity, as in the work of Willem de Kooning and Jackson Pollock, and by pop art, particularly the clarity of line in the work of Roy Lichtenstein. In a 2006 catalogue essay, John Yau comments, “Chong’s drawings and animations evoke ephemerality, the appearance and disappearance of things in time.”
Chong was born in Seoul, South Korea, in 1965 and immigrated with her family to Fairbanks, Alaska, in 1974. She attended Oberlin Conservatory and BostonUniversity’s School of Fine Arts. She received her master of fine arts degree from theSchool of Visual Arts, New York, in 1991. Her work is included in thecollections of the Whitney Museum; the Museum of Fine Arts, Houston; Yale University Art Gallery; and the Fogg Art Museum at Harvard University, among others.She served two faculty residencies at Anderson Ranch Arts Center in Colorado in 2003 and 2005. Chong received a New York Foundation for the Arts fellowship in 2003 and a grant from the Sam and Adele Golden Foundation in 2007.
Warren Isensee’s small, colored pencil drawings and large-scale paintings revel in vivid, exuberant, unrestrained color within the context of classic, geometric abstraction. Isensee avoids the anonymous, impersonal appearance often associated with hard-edged painting. His unexpected and playful juxtapositions of vibrant color are visually intense and emotionally expressive. In 2006, Ken Johnson, art critic for The New York Times wrote, “ These glowing grid, striped and concentric rectangle paintings play adroitly with conventions of Modernist abstraction and are almost hallucinogenically beautiful.”
Born in Asheville, N.C., in 1956, Isensee studied architecture at the University of Oklahoma and subsequently majored in painting and graphic design. The artist was included in the American Academy of Arts and Letters’ Invitational Exhibition of Visual Arts and received a Purchase Award. He received the Joan Mitchell Foundation Grant in 1999 and has exhibited extensively in the United States. Isensee’s work is held in the collections of the Blanton Museum in Austin, Texas, and the Neuberger Museum of Art in Purchase, N.Y., among others.
Katia Santibañez’s paintings and drawings synthesize geometric patterns with organic forms in order to bring nature and architecture to an abstract state. Intricate and delicate, her art reveals the intimacy of the artist’s hand and mind. Santibañez’s work is both a rational examination of the grid, the core of 20th century reductivist aesthetics and a distillation of nature with associations to natural forms such as saplings, ferns, vines and roots. While working within the grid, the artist explores a boundless variety of possibilities that are evocati ve with a restrained expressiveness. In the exhibition catalogue for Santibañez’s 2008 solo show at Danese Gallery, Dr. Lucy Bowditch, Saint Rose art historian comments, “Each square is a unique formal visual poem. Santibañez starts with a familiar structure and then generates unbounded variety and possibility within that system.”
Santibañez was born in Paris in 1964. She earned her bachelor of fine arts degree in 1990 from the École Nationale Supérieure des Beaux-Arts de Paris, France. Santibañez’s paintings and drawings have been included in numerous exhibitions in the United States and abroad.
All three artists live and work in New York City and are represented by the Danese Gallery in Chelsea.
For further information please contact the Esther Massry Gallery.
Monday through Thursday: 10am - 8pm
Friday: 10am - 4:30pm
Sunday: 12 - 4pm
***
Prov. Direct from Artist; Danese Gallery (New York); Little Red Schoolhouse Fundraiser (New York)
Location: Living Room, Pygmalion-1st Floor
"TWL" (renamed "BLACK LIGHTNING" after its image appeared as cover image on my book entitled with same name) (1997) (OIL ON WOOD, 22 X 22 IN) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
"EIGHT (A&B)" (1998) (OIL ON WOOD) (TWO PANELS, EACH 40 X 20 1/2 IN, HUNG 1/2 INCH APART) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
DRAWING ON RICE PAPER (Details to Come) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
MONEY & STAMP SERIES (2000) (PRINTS) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
DRAWINGS FOR POETRY COLLABORATION by THERESA CHONG
Location: Library, Pygmalion-Second Floor
DRAWING WITH BOOK (Details to Come) by THERESA CHONG
Location: Library, Pygmalion-Second Floor
DRAWING WITH BOY (Details to Come) by THERESA CHONG
Location: Galatea Offsite/San Francisco Apartment
[ELEVENTH MENTION DUE TO UPDATE]
UPDATE:
Theresa Chong opens a new exhibit. Here's press release:
Legacies of Abstraction:
Theresa Chong
Warren Isensee
Katia Santibañez
February 15 - March 22
Esther Massry Gallery
The College of Saint Rose
1002 Madison Avenue, Albany, NY 12203
T 518.485.3902 E flanagaj@strose.edu
GALLERY RECEPTION:
Friday, February 20, 5 -7:00 pm
ARTIST'S TALK:
Friday, February 20, 7:00 pm
985 Madison Avenue
Theresa Chong’s intricate gouache and pencil drawings on handmade Japanese rice paper explore mark making and gesture in abstraction. While open to multiple associations and varied interpretations – celestial maps, cascading particles on a field, even musical notation (the artist is an accomplished cellist) – the work remains fundamentally and purely abstract. Chong has been inspired by Abstract Expressionism, its energy and spontaneity, as in the work of Willem de Kooning and Jackson Pollock, and by pop art, particularly the clarity of line in the work of Roy Lichtenstein. In a 2006 catalogue essay, John Yau comments, “Chong’s drawings and animations evoke ephemerality, the appearance and disappearance of things in time.”
Chong was born in Seoul, South Korea, in 1965 and immigrated with her family to Fairbanks, Alaska, in 1974. She attended Oberlin Conservatory and BostonUniversity’s School of Fine Arts. She received her master of fine arts degree from theSchool of Visual Arts, New York, in 1991. Her work is included in thecollections of the Whitney Museum; the Museum of Fine Arts, Houston; Yale University Art Gallery; and the Fogg Art Museum at Harvard University, among others.She served two faculty residencies at Anderson Ranch Arts Center in Colorado in 2003 and 2005. Chong received a New York Foundation for the Arts fellowship in 2003 and a grant from the Sam and Adele Golden Foundation in 2007.
Warren Isensee’s small, colored pencil drawings and large-scale paintings revel in vivid, exuberant, unrestrained color within the context of classic, geometric abstraction. Isensee avoids the anonymous, impersonal appearance often associated with hard-edged painting. His unexpected and playful juxtapositions of vibrant color are visually intense and emotionally expressive. In 2006, Ken Johnson, art critic for The New York Times wrote, “ These glowing grid, striped and concentric rectangle paintings play adroitly with conventions of Modernist abstraction and are almost hallucinogenically beautiful.”
Born in Asheville, N.C., in 1956, Isensee studied architecture at the University of Oklahoma and subsequently majored in painting and graphic design. The artist was included in the American Academy of Arts and Letters’ Invitational Exhibition of Visual Arts and received a Purchase Award. He received the Joan Mitchell Foundation Grant in 1999 and has exhibited extensively in the United States. Isensee’s work is held in the collections of the Blanton Museum in Austin, Texas, and the Neuberger Museum of Art in Purchase, N.Y., among others.
Katia Santibañez’s paintings and drawings synthesize geometric patterns with organic forms in order to bring nature and architecture to an abstract state. Intricate and delicate, her art reveals the intimacy of the artist’s hand and mind. Santibañez’s work is both a rational examination of the grid, the core of 20th century reductivist aesthetics and a distillation of nature with associations to natural forms such as saplings, ferns, vines and roots. While working within the grid, the artist explores a boundless variety of possibilities that are evocati ve with a restrained expressiveness. In the exhibition catalogue for Santibañez’s 2008 solo show at Danese Gallery, Dr. Lucy Bowditch, Saint Rose art historian comments, “Each square is a unique formal visual poem. Santibañez starts with a familiar structure and then generates unbounded variety and possibility within that system.”
Santibañez was born in Paris in 1964. She earned her bachelor of fine arts degree in 1990 from the École Nationale Supérieure des Beaux-Arts de Paris, France. Santibañez’s paintings and drawings have been included in numerous exhibitions in the United States and abroad.
All three artists live and work in New York City and are represented by the Danese Gallery in Chelsea.
For further information please contact the Esther Massry Gallery.
Monday through Thursday: 10am - 8pm
Friday: 10am - 4:30pm
Sunday: 12 - 4pm
***
Prov. Direct from Artist; Danese Gallery (New York); Little Red Schoolhouse Fundraiser (New York)
