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Monday, January 31, 2005

"SPIRIT RISING FROM WITHIN (CONTEMPLATION)" (KWEKWE SERPENTINE) by PETER MANDALA
Location: Library, Pygmalion-Second Floor


I'm very happy to have this sculpture at home. It's one of the inspirations to my new poem series, "The Masvikiru Quatrains," as discussed in a Feb. 1, 2005 post on my primary blog The Chatelaine's Poetics (with an example on my Gasping Poem blog).

***
Prov.: Spirits in Stone, St. Helena, CA



Friday, January 28, 2005

"THE BEATLES LIKE TSUNAMI" (2005) (ROUND CARDBOARD W/IN ROUND WOODEN CIRLE) by JOHN PATRICK MCKENZIE (1)
Location: Galatea Offsite--San Francisco Apartment

"BRUCE LEE LIKES 1980 THE YEAR OF THE MONKEY" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

"THE INCREDIBLE HULK IS MAD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (3)
Location: TBD

"AARON NOBLE IS GETTING OLD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (4)
Location: TBD

"ELVIS PRESLEY, PERRY COMO" (2004) (TORN OUT X-MAS TREE SHAPE) by JOHN PATRICK MCKENZIE
Location: TBD

"DAVID CASSIDY, BARBARA STREISAND" (2004) (TORN OUT X-MAS TREE SHAPE) by JOHN PATRICK MCKENZIE
Location: TBD

"ROBERT BLAKE WAS GETTING OLD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (5)
Location: TBD

"JOHNNY CASH LIKES" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (6)
Location: TBD

"ELVIS PRESLEY IS LIKE" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"YOKO ONO IS LIKE" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"LITTLE JACK HORNER (2ND LINE)" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"JULLIE VILLOTA IS SIXTY" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

"LIBERIA NIGERIA EGYPT" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"OSAMA BIN LADEN JOKER PENGUIN RIDDLER" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

John Patrick McKenzie is one of the artists at Creativity Explored, a nonprofit visual arts center for adults with developmental disabilities. McKenzie is autistic, which may (I say "may" since I'm speculating, not having any information on McKenzie's specific diagnosis) help explain the nature of repetition in his work.

Though McKenzie lives in San Francisco, one of my home base, I actually discovered him last week while visiting New York -- I saw him in a group exhibition, "Autism/Aspergers/Art" at Ricco/Maresca Gallery. McKenzie (along with Xylor Jane) were two artists who made drawings for which sighting meant falling in love. Though I'd ensured I'd see the show as autism is one of the issues I'm currently exploring through a poetic project relating to identity(ies), I didn't need to know or care that McKenzie was autistic. His drawings spoke for themselves: McKenzie had created his own language or "voice," something that many artists (whether with disabilities or not) struggle to achieve...and fail to achieve.

After returning to the Bay Area from New York, I stopped by Creativity Explored. I hadn't intended to walk out -- as I did -- with 14 works of art. It's no wonder that in his official bio, it's noted that McKenzie "has large number of local 'fanatic devotees' and has exhibited nationally and internally.

I also should say that the gist of his very effective drawings is that he is a visual poet -- his material is words but he transcends meaning through his visual art approach to text, i.e. with his unique font that allows for a repetition/patterning of certain shapes. I've found him so inspiring that I'll be writing an article on him for OurOwnVoice, which explains why I'll be including some footnotes in this entry -- notes for that article as I gotta park 'em somewhere!

Footnotes:
1) is it just tsunami effect of words/ note aptness of roundness for the vortext tsunami effect
2) effectiveness of patterned revealed in part by how, when he must have turned drawing upside down in mid-process to continue writing his text ...and it all works
3) very effective contrast of red ink against gold foil paper
4) effective white ink against black velvet surface
5) text-drawings on both side
6) round white paper

N.B. All of works' "titles" are simply first lines featured...

***
Prov.: Creativity Explored Art Gallery, San Francisco



Wednesday, January 26, 2005

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

[FOURTH MENTION DUE TO UPDATE]

UPDATE:


Inka Essenhigh's latest exhibition is "Inka Essenhigh; Recent Paintings at the Museum of Contemporary Art, North Miami." The exhibition continues until February 15, 2004.

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



Tuesday, January 18, 2005

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

[THIRD MENTION DUE TO UPDATE]

AND

"TREE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA

Location: Galatea Offsite/San Francisco Apartment

"UZAMA" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"CLOUDINUS" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"EVIL UGOLINOR" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"XENOPHANER" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"SEA SNAKE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"ALBATROSS NOTE" (RECORD) by Marcel Dzama (aka Dzama Radio)
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:


Inka Essenhigh and Marcel Dzama are part of a new exhibition at Susan Inglett Gallery, New York. Here's the press release:

LANDINGS curated by Ernesto Caivano 7 January – 5 February 2005

"Landscapes are culture before they are nature; constructs of the imagination Projected . . . but it should also be acknowledged that once a certain idea of landscape, a myth, a vision, establishes itself in an actual place, it has a peculiar way of muddling categories, of making metaphors more real than their references; of becoming, in fact, part of the scenery."
--Simon Schama, from
Landscape and Memory

"Landings" examines the work of a group of artists who explore the relationship between culture, nature, and representation. The artists in this exhibition lay claim to landscape as metaphor by revealing an internalized or invented subject matter. Whether referencing Flemish renaissance, folk/outsider art, modernism or Asian traditions of scenic renditions, the themes of landscapes are freely appropriated as a construct of the mind, a psychic proposition, and a reflection of obsessions. This show will focus on works that reveal a degree of intimacy, either directly with the viewer and/or as part of the process within the practice of each.

Artists in the exhibition include Russell Crotty, Henry Darger, Benjamin Degen, Kirsten Deirup, Lansing-Dreiden, Marcel Dzama, Inka Essenhigh, Hope Gangloff, William Kentridge, Blaze Lamper, Yuri Masnyj, Julie Mehretu, Paul Noble, Jockum Nordstrom, Fred Tomaselli, Luc Tuymans, Anton Vojacek, Matthew Wilson, Dustin Yellin and Yelena Yemchuk.

The exhibition will be on view at the gallery located 535 West 22 Street/6 Floor Tuesday to Saturday 10 AM to 6 PM. For additional information please contact Susan Inglett at 212/647-9111, fax 212/647-9333 or info@inglettgallery.com.

***
IE: Prov.: Stefan Stux Fine Arts
MD: Prov.: Susan Inglett Gallery, New York; Trillium Press, San Francisco; 2005 International San Francisco Art Expo



Monday, January 17, 2005

"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

I've seen Lisa Solomon's enchanting works before, and finally couldn't resist this piece from her "Robot Series." Graystone was featuring her small works at the 2005 SF Art Fair. She also had an installation work involving pink felt tanks at Richard Levy gallery across the way....Good to have her enchantment about....

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



"LOVING" (2005) (ACRYLIC & MIXED MEDIA ON PAPER) (13 x 13 UN) by TRAVIS SOMERVILLE
Location: TBD

Travis Somerville is my discovery at this year's San Francisco International Art Expo -- "discovery" in that I'd not been aware previously of his work. I don't know why it took so long for me to find him, given how his work so relates to my interest in identity, on top of how he's also a talented painter. I very much look forward to following him in the years ahead.

Other interesting links about Travis Somerville:
http://www.findarticles.com/p/articles/mi_m1248/is_3_92/ai_114006998

http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&contentId=A39245-2003May25¬Found=true

http://www.stretcher.org/archives/r6_a/2003_12_18_r6_archive.php

***
Prov.: Catherine Clark Gallery, San Francisco; 2005 San Francisco International Art Expo



"TREE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"UZAMA" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"CLOUDINUS" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"EVIL UGOLINOR" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"XENOPHANER" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"SEA SNAKE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"ALBATROSS NOTE" (RECORD) by Marcel Dzama (aka Dzama Radio)
Location: Galatea Offsite/San Francisco Apartment

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Marcel Dzama is also a musician, and inaugurates Trillium Press' Record Series. Just got his "Albatross Note" which is a working record with Side A presenting "Dracula in the Morning Last Winter Stole Your Parents" and Side B presenting "Are you on? Mother The New Crime Please Go."

The record seems to be in an unlimited edition, but it also is part of a ten edition mixed media installation "Dracula in the Cabin" (or some such title; can't remember) of 10-12 prints, a tiny cabin with faux beaver fur and the record. Got it this weekend at the 2005 SF Art Fair.

***
Prov.: Susan Inglett Gallery, New York; Trillium Press, San Francisco; 2005 International San Francisco Art Expo



Sunday, January 16, 2005

"INFORMAL ECONOMY VENDORS, #8" (2005) (ANALOG AND DIGITAL MEDIA RENDERED AND CUT ON VINYL MATERIAL) (1 OF 5) by JULIO CESAR MORALES
Location: Living Room, Pygmalion-First Floor

I've long admired the works of Julio Cesar Morales. He's a brilliant conceptualist (whose work I find inspiring as I delve into issues of identity in my own work), whose approaches reflect his background as shown in this response to his work by the City of San Diego Commission for Arts and Culture: "Morales understands first-hand the ways consciousness shifts and morphs as it moves between languages, cultures and political systems. He was born in Tijuana, where his grandfather worked a pushcart for 35 years, and grew up on both sides of the border."

Julio dropped by this weekend, partly to drop off this work which is an extension of his 2002 "Informal Economy Vendors" series that was also highlighted in his recently-closed exhibit at the Museum of Contemporary Art San Diego. Here are excerpts from the text of his exhibition essay written by curator Rachel Teagle:

"Inspired by the graphic design, popular music, and street life of his native Tijuana, Bay Area artist Julio Morales creates conceptual works of art expressed through digital technologies....Morales presents Informal Economy Vendors, an ongoing project (begun in 2002) that documents street vendors' customization of their pushcarts on the busy streets of downtown Tijuana, Los Angeles and San Francisco. The artwork explores the influence of Latin American economic strategies adapted to the new market conditions in California. The artist contends that the informal commercial activity of the pushcart is one of the ways in which Mexican American vendors create a new social space in the city while also connecting to a version of the public life they left behind.

"The pushcart is a very old type of vehicle used for bringing goods to market in urban settings. In Tijuana everything from vegetables and fruits to prepared foods, such as burritos and tamales, are available for sale from a pushcart. Although there are similar types of carts, each unit is unique because there are no prefabricated models. Each cart is painstakingly pieced together from found parts and recycled materials, usually parts that have been discarded in the U.S. For example, one of the burrito carts featured in the Informal Economy Vendors was converted from an American golf cart made in 1966. As a result of this necessary process of customization, each vehicle demonstrates its individual functionality and also its owner's personal aesthetic. Telling details, such as a velvet seat or a gleaming metal steering wheel scavenged from a hot rod car, belie the pride of the owner/operator/maker invests in his unique creation. Morales sees the pushcart as a type of folk art -- mobile collages made from reassembled samples (axles, tires, handles, motors, cabinets) of industrial culture. The carts reflect a gift for improvisation as well as a spirit of independence and ingenuity that MOrales defines as typically Tijuanense.

"Just as the pushcart vendors create their carts from a hybrid mix of recycled materials, Morales' artwork adapts multiple processes with which to document the cultural phenomenon of this informal economy. His project begins with analog photographs that document the vendors' work and later serve as the raw data for his digital manipulations. It is important to Morales that the photographs are made in a simple, straightforward manner. The images are visually indebted to the American school of street photography and conventional Mexican printing methods. Before scanning the photographs he retouches the prints with an airbrush technique popular in traditional portrait studios.

"Morales transforms the information collected in the photograhps in his Informal Illustrations, line drawings that delineate the innovative structural features of the pushcarts. The drawings are an archive of the multiple adaptations and customizations that have taken place as the vendors alter their vehicles. They recall a blueprint, made after the fact of a haphazard process of assembly.

[...]

"A series of related Informal Economy Vendors statuettes extends Morales' study to include the gestures, the visual language, fo the vendors themselves. The pose of vendors....can be tracked through studies in the wall drawing sna dIllustrations, bu in the clay model all attention is focused on the vendors and their intimate relationship to their vehicles. Their static poses, frozen in a moment of action, suggest that the pushcarts are an extension of the vendors' bodies, if not their spirit.

[...]

"...the artist hopes to again reference the larger sociological process in which Latin American economic strategies have come to, as he puts it, "contaminate" the urban landscape of California cities. (The Informal Economy Vendors project originated in Baja California, but like the phenomenon it analyzes, Morales extended his study to cities in "Alta California")."

***
Prov.: Direct from Artist





Saturday, January 08, 2005

"[]" by Patricia Wood
Galatea Offsite: San Francisco Apartment

"[] (after "From A Gray Monster In A Yellow Taxi") (2002) by Patricia Wood
Galatea Offsite: San Francisco Apartment

[SECOND MENTION DUE TO UPDATES]

UPDATES:


I met Patricia Wood when we were both resident artists at Villa Montalvo. Subsequently, she created paintings that became part of my "Poems Form/From The Six Directions Project." Now, her paintings are featured (with illustration) in my new book, I TAKE THEE, ENGLISH, FOR MY BELOVED (Marsh Hawk Press, 2005).

Patricia is also appearing in a new group exhibition. Here are details:

CRACKING THE CODE
with JUDITH MILLER, PATRICIA WOOD, KAREN SCHMITENDORF

January 10-February 4, 2005

Tsao Gallery
Davis Art Center
1919 F STreet
P.O. Box 4340
Davis, CA 95617
P: 530 756 4100

Gallery Hours: M-Thu, 9:30-8 p.m., Friday 9:30-5 p.m.
Call first to confirm gallery is open after 5 p.m.

***
Prov.: Direct from Artist



Thursday, January 06, 2005

"TWL" (renamed "BLACK LIGHTNING" after its image appeared 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

[FIFTH MENTION DUE TO UPDATE]

AND


"UNTITLED" (1998) (PRINTER'S INK & RESIN ON PAPER, 19 x 15 IN) by MAUREEN MCQUILLAN
Location: Red Bedroom, Pygmalion-Second Floor

"UNTITLED" (1999) (PRINTER'S INK & RESIN ON PAPER, 19 1/4 x 19 1/2 IN) by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

HOLIDAY CARD DRAWING by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

"UNTITLED" (PRINTER'S INK & RESIN ON PAPER, 1 1/8 x 7 IN) by MAUREEN MCQUILLAN
Location: Galatea Offsite/San Francisco Apartment

[FOURTH MENTION DUE TO UPDATE}

UPDATE:


Both Theresa Chong and Maureen McQuillan are in this new group exhibition that will open tomorrow! Here are details, sent my Theresa:

LINEAR GEOGRAPHY
January 7, 2005 - February 12, 2005
Opening reception Friday January 7th, 5.30 - 7.30 PM
At Bernard Toale Gallery, Boston, MA

Theresa Chong, Marsha Cotrell, Julia Featheringill, Maya Lin, Mark Lombardi, Maureen McQuillan

For me, mapping was a professional interest before becoming an aesthetic one; for thirteen years prior and during my studies in fine arts, I was employed by an environmental planning firm to make maps. This was before GIS or geographic information systems took over the field and most maps were to a major degree hand-drawn. The task of making a map was one of transforming one kind of information usually in text form and transposing it into a visual format - from words to images. The goal was to translate complex language into an easily understandable and visually pleasing diagram. On the one hand I had the task of making visual information understandable while on the other I was studying the visual and becoming aware of how artists were using the language of mapping. The artistic use of that language seemed split in two modes; one that focused more on the appearance or formal qualities of maps as exemplified in Katherine Harmon's book You Are Here: Personal Geographies and Other Maps of the Imagination published by Princeton University Press in early 2004. The diaristic maps included in Harmon's book take a nostalgic view of mapping. I came across the second mode to mapping while viewing Mark Lombardi's drawings at the Drawing Center in a traveling show titled “Global Networks.” Although not technically maps, what I realized when I saw Lombardi's show was what I found lacking in the drawings in Harmon's book; an interest in relaying complex systems of information, an engagement in current ideas, both of mapping and generally. Lombardi's drawings led to the discovery of other artists also engaged in making work that relates to the idea of mapping - in some cases as source material and in others in the final work. In each case, as in Lombardi's drawings, the visual tool for relaying information is line - linear geography.

***
Prov. Direct from Artists; Danese Gallery (New York); James Graham & Sons (New York); The Drawing Center; Little Red Schoolhouse Fundraiser (New York)



Wednesday, January 05, 2005

DRAWING IN E.T.'S ART/POETRY JOURNAL, VOL. II (2001) by PHIL SIMS
Location: Library, Pygmalion-Second Floor

A favorite from drawings in my Art/Poetry Journals is one done by Phil Sims. He had such a nifty process for making the drawing (which I'd witnessed over dinner at a Chinese restaurant with mutual friend Max Gimblett) -- Phil took a rectangular piece of paper and placed it over the page. Then he made cross-hatch marks around four edges. When he took off the cardboard, what was left on the page was a perfect rectangle demarcated by lines going towards the edges of the page. Brilliant -- and an apt fit for how his abstract paintings resonate lyrically off the edges of the canvas! Really fabulous!

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Phil Sims is currently exhibiting at Brian Gross Fine Art in San Francisco. His show was favorably reviewed on New Year's Day by Kenneth Baker in the San Francisco Chronicle. Here's the review which talks about the very interesting -- and logical (to me) -- justaposition of monochrome paintings and lush Japanese-style ceramic bowls:

Phil Sims: Fire/Light/Color/Matter
Through Jan. 29, 2005
Brian Gross Fine ARt
49 Geary Street
San Francisco, CA

To a hurried viewer, the contents of New Yorker Phil Sims' show at Brian Gross may make little sense, monochrome abstract paintings and tea bowls. But they point to the same ideal -- persistent, mindful attention.

At this stage in the evolution of painting as an art, it takes almost no effort to make color or marks on canvas appear to refer beyond themselves.

Sims' paintings address this condition directly, encouraging us to accept each piece as colored material on a surface, simply to stay with it, forgoing retreat into allusion, memory or private fantasy.

The viewer who acdepts that challenge can discover two things: the tea bowls' relevance to the paintings and the fact that the paintings' color shimmers with ambiguities that slip the net of words.

Minimizing decoration, Sims has composed his paintings in layers of color, as traces of pigment at the edges reflect. He has also mixed in sand, providing optical traction to what look down from a distance like featureless planes.

Sims' expertly made tea bowls knowingly evoke Japanese antiquities. Tea ceremony endures in Japan as a centuries-old discipline in which every move and implement serves to center the participant's attention on the passing moment.

Borrowing the ritual from China originally, Japanese tea masters, especially those involved with Zen, abandoned the refined aesthetics of Chinese tea bowls in favor of rougher, plainer ceramics.

Ceramic materials and techniques grant Sims some of the aesthetic richness he denies himself in painting. But only someone who buys a tea bowl -- they are inexpensive compared with the paintings -- can put it to the crucial test of handling.

For all their differences, both veins of Simis' work quietly insist on something many people do not want to recognize: that art reception takes as much discipline as art production.

Like much contemporary art that hews to contemplative ideals, Sims' work perhaps offers more involvement to its maker than to viewer. Still it adds up to handsome show.

***
Prov.: Direct from Artist



"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

[SIXTH MENTION DUE TO UPDATE]

UPDATE:


Sharon Louden has a new exhibit:

Sharon M. Louden
"The Motley Tails"

a large scale installation

opening reception: Friday, January 7th, from 6:30-8:00pm
exhibition dates: January 7th - February 19th, 2005

Numark Gallery
625-27 E Street NW
Washington, DC 20004-2204
(202) 628-3810 telephone
(202) 628-1925 fax
Numarkgall@aol.com
www.numarkgallery.com

Here's Numark's Official Press Release:

FOR IMMEDIATE RELEASE
5 January 2005

SHARON LOUDEN
The Motley Tails


7 January – 19 February 2005

Sharon Louden's installations and drawings give character to individual gestures through the illusion of movement, placement, and direction of marks. 'The Motley Tails', Louden's second one-person exhibition at Numark Gallery, which opens January 7, 2005, will feature a large-scale installation. A 'garden' of hanging, hairy anthropomorphic and jungle-like forms, assembled with thousands of strands of monofilament (fishing line) clamped by cage clips, hangs from the ceiling of the main gallery space and brushes along the floor. 'The Motley Tails' extends the artist's vocabulary with monofilament line -- she previously created installations using the material for the Kemper Museum of Contemporary Art (MO) in 2003 and at Carnegie-Mellon University (PA) in 2000 -- with the use of more varied colored and textured lines to transform the gallery environment

The artist states:

"My mission is to take simple materials and transform them into things that are gestural and come alive as individual, humorous entities unto themselves…. By making massive groupings that are repetitive in nature, the groups appear to take over and gain their own presence as figures that live in the world."

Accompanying the installation, in the entrance to the gallery and office area, will be a small series of minimal paintings, 'The Lingering', which relate directly to the 'Tails' installation. Embodying minimal gestures of line in empty space -- lines of gel and acrylic media drawn on a porcelain-like white surface created by many layers of sanded Venetian gesso -- the paintings developed originally from simple lines observed in bodies of motion.

Sharon Louden has exhibited at many contemporary museums and non-profit spaces including the Aldrich Museum of Contemporary Art (CT), The Drawing Center (NY), Kemper Museum of Contemporary Art (MO), Arkansas Arts Center, The Arthur M. Sackler Museum (MA), DiverseWorks Art Space (TX), and many others. She will be the subject of a one-person exhibition at the Neuberger Museum of Art, Purchase College in Purchase, NY, opening January 2006. Her work is also included in many significant museum and corporate collections including the National Gallery of Art, Museum of Fine Arts, Houston, Weatherspoon Art Museum (NC), Yale University Art Gallery (CT) and the Progressive Corporation (OH).

For additional information, please contact Cheryl Numark at 202.628.3810 or at numarkgall@aol.com.

***
Prov.: Haines Gallery, San Francisco



"[] (FOAM, CONTACT PAPER, SHADOW BOX-TYPE FRAME)" by STEPHANIE SYJUCO
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:


In her New Years' Greetings, Stephanie Syjuco mentions that she is in an exhibit currently up at the Whitney Museum (NYC) entitled "Political Nature" that runs from Dec 2004 until March 27, 2005. Stephanie expects to finish her MFA at Stanford this June 2005.

(Some of you gentle readers may remember the article I'd written on Stephanie's work, published by OurOwnVoice.)

***
Prov.: New Langton Arts, San Francisco



Tuesday, January 04, 2005

"UNTITLED" (2002) (GOUACHE ON WOOD PANEL) by CLARE ROJAS
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (2003) COMMISSIONED SITE-SPECIFIC MURAL INSTALLATION (GOUCHE/LATEX ON WALL) by CLARE ROJAS
Location: Master Bedroom Hallway, Pygmalion-2nd Floor

"ACHILLES" (2005) COMMISSIONED PAINTING by CLARE ROJAS
Location: TBD

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


As reported on moi primary blog, Clare Rojas has painted moi dawg Achilles! To wit:

from THE CHATELAINE'S POETICS:

CLARE ROJAS IMMORTALIZES ACHILLES!

"Painter, filmmaker and musician Clare E. Rojas is interested primarily in landscapes. Throughout her work she develops a personal, esoteric folklore with repeating characters that interact and travel through landscapes and environments. These whimsical, dreamlike panel paintings and drawings at first appear innocent, yet possess a fairy tale-like darkness lurking just beneath the surface."

Fortunately, the Chatelaine's mojo is more than sufficient to counter darkness when it comes to Achilles. I cite the above, though, as Clare Rojas has immortalized moi baby dawg in a painting via imagery that is unmistakably Clare Rojas. YaY! Here is Achilles with Clare's version of Galatea (off the pedestal, mind you) and now in her role here on the mountain as Mama Earth:




***
Prov.: Lizabeth Oliveira Gallery, Culver City, CA



Monday, January 03, 2005

DUE TO BLOGGER PROBLEM, ARCHIVES AS OF THIS DATE AND OLDER ARE PRESENTED NON-FORMATTED:

Tuesday, January 04, 2005
"UNTITLED" (2002) (GOUACHE ON WOOD PANEL) by CLARE ROJAS
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED" (2003) COMMISSIONED SITE-SPECIFIC MURAL INSTALLATION (GOUCHE/LATEX ON WALL) by CLARE ROJAS
Location: Master Bedroom Hallway, Pygmalion-2nd Floor

"ACHILLES" (2005) COMMISSIONED PAINTING by CLARE ROJAS
Location: TBD

[FIFTH MENTION DUE TO UPDATE]

UPDATE:

As reported on moi primary blog, Clare Rojas has painted moi dawg Achilles! To wit:

from THE CHATELAINE'S POETICS:

CLARE ROJAS IMMORTALIZES ACHILLES!

"Painter, filmmaker and musician Clare E. Rojas is interested primarily in landscapes. Throughout her work she develops a personal, esoteric folklore with repeating characters that interact and travel through landscapes and environments. These whimsical, dreamlike panel paintings and drawings at first appear innocent, yet possess a fairy tale-like darkness lurking just beneath the surface."

Fortunately, the Chatelaine's mojo is more than sufficient to counter darkness when it comes to Achilles. I cite the above, though, as Clare Rojas has immortalized moi baby dawg in a painting via imagery that is unmistakably Clare Rojas. YaY! Here is Achilles with Clare's version of Galatea (off the pedestal, mind you) and now in her role here on the mountain as Mama Earth:

[IMAGE]
***
Prov.: Lizabeth Oliveira Gallery, Culver City, CA
# posted by EILEEN @ 7:46 PM

Wednesday, January 05, 2005
DRAWING IN E.T.'S ART/POETRY JOURNAL, VOL. II (2001) by PHIL SIMS
Location: Library, Pygmalion-Second Floor

A favorite from drawings in my Art/Poetry Journals is one done by Phil Sims. He had such a nifty process for making the drawing (which I'd witnessed over dinner at a Chinese restaurant with mutual friend Max Gimblett) -- Phil took a rectangular piece of paper and placed it over the page. Then he made cross-hatch marks around four edges. When he took off the cardboard, what was left on the page was a perfect rectangle demarcated by lines going towards the edges of the page. Brilliant -- and an apt fit for how his abstract paintings resonate lyrically off the edges of the canvas! Really fabulous!

[SECOND MENTION DUE TO UPDATE]

UPDATE:

Phil Sims is currently exhibiting at Brian Gross Fine Art in San Francisco. his show was favorably reviewed on New Year's Day by Kenneth Baker in the San Francisco Chronicle. Here's the review which talks about the very interesting -- and logical (to me) -- justaposition of monochrome paintings and lush Japanese-style ceramic bowls:

Phil Sims: Fire/Light/Color/Matter
Through Jan. 29, 2005
Brian Gross Fine ARt
49 Geary Street
San Francisco, CA

To a hurried viewer, the contents of New Yorker Phil Sims' show at Brian Gross may make little sense, monochrome abstract paintings and tea bowls. But they point to the same ideal -- persistent, mindful attention.

At this stage in the evolution of painting as an art, it takes almost no effort to make color or marks on canvas appear to refer beyond themselves.

Sims' paintings address this condition directly, encouraging us to accept each piece as colored material on a surface, simply to stay with it, forgoing retreat into allusion, memory or private fantasy.

The viewer who acdepts that challenge can discover two things: the tea bowls' relevance to the paintings and the fact that the paintings' color shimmers with ambiguities that slip the net of words.

Minimizing decoration, Sims has composed his paintings in layers of color, as traces of pigment at the edges reflect. He has also mixed in sand, providing optical traction to what look down from a distance like featureless planes.

Sims' expertly made tea bowls knowingly evoke Japanese antiquities. Tea ceremony endures in Japan as a centuries-old discipline in which every move and implement serves to center the participant's attention on the passing moment.

Borrowing the ritual from China originally, Japanese tea masters, especially those involved with Zen, abandoned the refined aesthetics of Chinese tea bowls in favor of rougher, plainer ceramics.

Ceramic materials and techniques grant Sims some of the aesthetic richness he denies himself in painting. But only someone who buys a tea bowl -- they are inexpensive compared with the paintings -- can put it to the crucial test of handling.

For all their differences, both veins of Simis' work quietly insist on something many people do not want to recognize: that art reception takes as much discipline as art production.

Like much contemporary art that hews to contemplative ideals, Sims' work perhaps offers more involvement to its maker than to viewer. Still it adds up to handsome show.

***
Prov.: Direct from Artist

# posted by EILEEN @ 5:23 PM


"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

[SIXTH MENTION DUE TO UPDATE]

UPDATE:

Sharon Louden has a new exhibit:

Sharon M. Louden
"The Motley Tails"
a large scale installation

opening reception: Friday, January 7th, from 6:30-8:00pm
exhibition dates: January 7th - February 19th, 2005

Numark Gallery
625-27 E Street NW
Washington, DC 20004-2204
(202) 628-3810 telephone
(202) 628-1925 fax
Numarkgall@aol.com
www.numarkgallery.com

Here's Numark's Official Press Release:

FOR IMMEDIATE RELEASE
5 January 2005

SHARON LOUDEN
The Motley Tails

7 January – 19 February 2005

Sharon Louden's installations and drawings give character to individual gestures through the illusion of movement, placement, and direction of marks. 'The Motley Tails', Louden's second one-person exhibition at Numark Gallery, which opens January 7, 2005, will feature a large-scale installation. A 'garden' of hanging, hairy anthropomorphic and jungle-like forms, assembled with thousands of strands of monofilament (fishing line) clamped by cage clips, hangs from the ceiling of the main gallery space and brushes along the floor. 'The Motley Tails' extends the artist's vocabulary with monofilament line -- she previously created installations using the material for the Kemper Museum of Contemporary Art (MO) in 2003 and at Carnegie-Mellon University (PA) in 2000 -- with the use of more varied colored and textured lines to transform the gallery environment

The artist states:

"My mission is to take simple materials and transform them into things that are gestural and come alive as individual, humorous entities unto themselves…. By making massive groupings that are repetitive in nature, the groups appear to take over and gain their own presence as figures that live in the world."

Accompanying the installation, in the entrance to the gallery and office area, will be a small series of minimal paintings, 'The Lingering', which relate directly to the 'Tails' installation. Embodying minimal gestures of line in empty space -- lines of gel and acrylic media drawn on a porcelain-like white surface created by many layers of sanded Venetian gesso -- the paintings developed originally from simple lines observed in bodies of motion.

Sharon Louden has exhibited at many contemporary museums and non-profit spaces including the Aldrich Museum of Contemporary Art (CT), The Drawing Center (NY), Kemper Museum of Contemporary Art (MO), Arkansas Arts Center, The Arthur M. Sackler Museum (MA), DiverseWorks Art Space (TX), and many others. She will be the subject of a one-person exhibition at the Neuberger Museum of Art, Purchase College in Purchase, NY, opening January 2006. Her work is also included in many significant museum and corporate collections including the National Gallery of Art, Museum of Fine Arts, Houston, Weatherspoon Art Museum (NC), Yale University Art Gallery (CT) and the Progressive Corporation (OH).

For additional information, please contact Cheryl Numark at 202.628.3810 or at numarkgall@aol.com.

***
Prov.: Haines Gallery, San Francisco

# posted by EILEEN @ 5:22 PM
"[] (FOAM, CONTACT PAPER, SHADOW BOX-TYPE FRAME)" by STEPHANIE SYJUCO
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:

In her New Years' Greetings, Stephanie Syjuco mentions that she is in an exhibit currently up at the Whitney Museum (NYC) entitled "Political Nature" that runs from Dec 2004 until March 27, 2005. Stephanie expects to finish her MFA at Stanford this June 2005.

(Some of you gentle readers may remember the article I'd written on Stephanie's work, published by OurOwnVoice.)

***
Prov.: New Langton Arts, San Francisco

# posted by EILEEN @ 11:17 AM


Thursday, January 06, 2005
"TWL" (renamed "BLACK LIGHTNING" after its image appeared 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

[FIFTH MENTION DUE TO UPDATE]

AND

"UNTITLED" (1998) (PRINTER'S INK & RESIN ON PAPER, 19 x 15 IN) by MAUREEN MCQUILLAN
Location: Red Bedroom, Pygmalion-Second Floor

"UNTITLED" (1999) (PRINTER'S INK & RESIN ON PAPER, 19 1/4 x 19 1/2 IN) by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

HOLIDAY CARD DRAWING by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

"UNTITLED" (PRINTER'S INK & RESIN ON PAPER, 1 1/8 x 7 IN) by MAUREEN MCQUILLAN
Location: Galatea Offsite/San Francisco Apartment

[FOURTH MENTION DUE TO UPDATE}

UPDATE:

Both Theresa Chong and Maureen McQuillan are in this new group exhibition that will open tomorrow! Here are details, sent my Theresa:

LINEAR GEOGRAPHY
January 7, 2005 - February 12, 2005
Opening reception Friday January 7th, 5.30 - 7.30 PM
At Bernard Toale Gallery, Boston, MA

Theresa Chong, Marsha Cotrell, Julia Featheringill, Maya Lin, Mark Lombardi, Maureen McQuillan

For me, mapping was a professional interest before becoming an aesthetic one; for thirteen years prior and during my studies in fine arts, I was employed by an environmental planning firm to make maps. This was before GIS or geographic information systems took over the field and most maps were to a major degree hand-drawn. The task of making a map was one of transforming one kind of information usually in text form and transposing it into a visual format - from words to images. The goal was to translate complex language into an easily understandable and visually pleasing diagram. On the one hand I had the task of making visual information understandable while on the other I was studying the visual and becoming aware of how artists were using the language of mapping. The artistic use of that language seemed split in two modes; one that focused more on the appearance or formal qualities of maps as exemplified in Katherine Harmon's book You Are Here: Personal Geographies and Other Maps of the Imagination published by Princeton University Press in early 2004. The diaristic maps included in Harmon's book take a nostalgic view of mapping. I came across the second mode to mapping while viewing Mark Lombardi's drawings at the Drawing Center in a traveling show titled “Global Networks.” Although not technically maps, what I realized when I saw Lombardi's show was what I found lacking in the drawings in Harmon's book; an interest in relaying complex systems of information, an engagement in current ideas, both of mapping and generally. Lombardi's drawings led to the discovery of other artists also engaged in making work that relates to the idea of mapping - in some cases as source material and in others in the final work. In each case, as in Lombardi's drawings, the visual tool for relaying information is line - linear geography.

***
Prov. Direct from Artists; Danese Gallery (New York); James Graham & Sons (New York); The Drawing Center; Little Red Schoolhouse Fundraiser (New York)

# posted by EILEEN @ 8:32 PM

Sunday, January 16, 2005
"INFORMAL ECONOMY VENDORS, #8" (2005) (ANALOG AND DIGITAL MEDIA RENDERED AND CUT ON VINYL MATERIAL) (1 OF 5) by JULIO CESAR MORALES
Location: Living Room, Pygmalion-First Floor

I've long admired the works of Julio Cesar Morales. He's a brilliant conceptualist (whose work I find inspiring as I delve into issues of identity in my own work), whose approaches reflect his background as shown in this response to his work by the City of San Diego Commission for Arts and Culture: "Morales understands first-hand the ways consciousness shifts and morphs as it moves between languages, cultures and political systems. He was born in Tijuana, where his grandfather worked a pushcart for 35 years, and grew up on both sides of the border."

Julio dropped by this weekend, partly to drop off this work which is an extension of his 2002 "Informal Economy Vendors" series that was also highlighted in his recently-closed exhibit at the Museum of Contemporary Art San Diego. Here are excerpts from the text of his exhibition essay written by curator Rachel Teagle:

"Inspired by the graphic design, popular music, and street life of his native Tijuana, Bay Area artist Julio Morales creates conceptual works of art expressed through digital technologies....Morales presents Informal Economy Vendors, an ongoing project (begun in 2002) that documents street vendors' customization of their pushcarts on the busy streets of downtown Tijuana, Los Angeles and San Francisco. The artwork explores the influence of Latin American economic strategies adapted to the new market conditions in California. The artist contends that the informal commercial activity of the pushcart is one of the ways in which Mexican American vendors create a new social space in the city while also connecting to a version of the public life they left behind.

"The pushcart is a very old type of vehicle used for bringing goods to market in urban settings. In Tijuana everything from vegetables and fruits to prepared foods, such as burritos and tamales, are available for sale from a pushcart. Although there are similar types of carts, each unit is unique because there are no prefabricated models. Each cart is painstakingly pieced together from found parts and recycled materials, usually parts that have been discarded in the U.S. For example, one of the burrito carts featured in the Informal Economy Vendors was converted from an American golf cart made in 1966. As a result of this necessary process of customization, each vehicle demonstrates its individual functionality and also its owner's personal aesthetic. Telling details, such as a velvet seat or a gleaming metal steering wheel scavenged from a hot rod car, belie the pride of the owner/operator/maker invests in his unique creation. Morales sees the pushcart as a type of folk art -- mobile collages made from reassembled samples (axles, tires, handles, motors, cabinets) of industrial culture. The carts reflect a gift for improvisation as well as a spirit of independence and ingenuity that MOrales defines as typically Tijuanense.

"Just as the pushcart vendors create their carts from a hybrid mix of recycled materials, Morales' artwork adapts multiple processes with which to document the cultural phenomenon of this informal economy. His project begins with analog photographs that document the vendors' work and later serve as the raw data for his digital manipulations. It is important to Morales that the photographs are made in a simple, straightforward manner. The images are visually indebted to the American school of street photography and conventional Mexican printing methods. Before scanning the photographs he retouches the prints with an airbrush technique popular in traditional portrait studios.

"Morales transforms the information collected in the photograhps in his Informal Illustrations, line drawings that delineate the innovative structural features of the pushcarts. The drawings are an archive of the multiple adaptations and customizations that have taken place as the vendors alter their vehicles. They recall a blueprint, made after the fact of a haphazard process of assembly.

[...]

"A series of related Informal Economy Vendors statuettes extends Morales' study to include the gestures, the visual language, fo the vendors themselves. The pose of vendors....can be tracked through studies in the wall drawing sna dIllustrations, bu in the clay model all attention is focused on the vendors and their intimate relationship to their vehicles. Their static poses, frozen in a moment of action, suggest that the pushcarts are an extension of the vendors' bodies, if not their spirit.

[...]

"...the artist hopes to again reference the larger sociological process in which Latin American economic strategies have come to, as he puts it, "contaminate" the urban landscape of California cities. (The Informal Economy Vendors project originated in Baja California, but like the phenomenon it analyzes, Morales extended his study to cities in "Alta California")."

***
Prov.: Direct from Artist

# posted by EILEEN @ 7:51 AM

Monday, January 17, 2005
"R1 C3, Y-27 EXPLORER" (ROBOT SERIES) (2005) (VINTAGE PAPER, STITCHING HOLES. GRAPHITE, WATERCOLOR, INK) (4 X 4, FRAMED) by LISA SOLOMON
Location: Library, Pygmalion-First Floor

I've seen Lisa Solomon's enchanting works before, and finally couldn't resist this piece from her "Robot Series." Graystone was featuring her small works at the 2005 SF Art Fair. She also had an installation work involving pink felt tanks at Richard Levy gallery across the way....Good to have her enchantment about....

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

# posted by EILEEN @ 5:38 PM
"LOVING" by TRAVIS SOMERVILLE (GOUACHE, OIL ON PAPER)
Location: TBD

Travis Somerville is my discovery at this year's San Francisco International Art Expo -- "discovery" in that I'd not been aware previously of his work. I don't know why it took so long for me to find him, given how his work so relates to my interest in identity, on top of how he's also a talented painter. I very much look forward to following him in the years ahead.

Other interesting links about Travis Somerville:
http://www.findarticles.com/p/articles/mi_m1248/is_3_92/ai_114006998

http://www.washingtonpost.com/ac2/wp-dyn?pagename=article&contentId=A39245-2003May25Found=true

http://www.stretcher.org/archives/r6_a/2003_12_18_r6_archive.php

***
Prov.: Catherine Clark Gallery, San Francisco; 2005 San Francisco International Art Expo

# posted by EILEEN @ 5:36 PM
"TREE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"UZAMA" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"CLOUDINUS" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"EVIL UGOLINOR" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"XENOPHANER" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"SEA SNAKE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"ALBATROSS NOTE" (RECORD) by Marcel Dzama (aka Dzama Radio)
Location: Galatea Offsite/San Francisco Apartment

[SECOND MENTION DUE TO UPDATE]

UPDATE:

Marcel Dzama is also a musician, and inaugurates Trillium Press' Record Series. Just got his "Albatross Note" which is a working record with Side A presenting "Dracula in the Morning Last Winter Stole Your Parents" and Side B presenting "Are you on? Mother The New Crime Please Go."

The record seems to be in an unlimited edition, but it also is part of a ten edition mixed media installation "Dracula in the Cabin" (or some such title; can't remember) of 10-12 prints, a tiny cabin with faux beaver fur and the record. Got it this weekend at the 2005 SF Art Fair.

***
Prov.: Susan Inglett Gallery, New York; Trillium Press, San Francisco; 2005 International San Francisco Art Expo

# posted by EILEEN @ 5:10 PM


Tuesday, January 18, 2005
"WALLPAPER FOR GIRLS: YOUR MOTHER AS STRIPPER TATTOOS" (1997) (OIL ON VINYL, 30 x 30 IN) by INKA ESSENHIGH
Location: Red Bedroom, Pygmalion-Second Floor

[THIRD MENTION DUE TO UPDATE]

AND

"TREE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"UZAMA" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"CLOUDINUS" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"EVIL UGOLINOR" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"XENOPHANER" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"SEA SNAKE MAN" (2004) (EDITION OF 2,500) (INJECTION MOLDED PLASTIC, 3 IN HIGH) by MARCEL DZAMA
Location: Galatea Offsite/San Francisco Apartment

"ALBATROSS NOTE" (RECORD) by Marcel Dzama (aka Dzama Radio)
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:

Inka Essenhigh and Marcel Dzama are part of a new exhibition at Susan Inglett Gallery, New York. Here's the press release:

LANDINGS curated by Ernesto Caivano 7 January – 5 February 2005

"Landscapes are culture before they are nature; constructs of the imagination Projected . . . but it should also be acknowledged that once a certain idea of landscape, a myth, a vision, establishes itself in an actual place, it has a peculiar way of muddling categories, of making metaphors more real than their references; of becoming, in fact, part of the scenery."
--Simon Schama, from Landscape and Memory

"Landings" examines the work of a group of artists who explore the relationship between culture, nature, and representation. The artists in this exhibition lay claim to landscape as metaphor by revealing an internalized or invented subject matter. Whether referencing Flemish renaissance, folk/outsider art, modernism or Asian traditions of scenic renditions, the themes of landscapes are freely appropriated as a construct of the mind, a psychic proposition, and a reflection of obsessions. This show will focus on works that reveal a degree of intimacy, either directly with the viewer and/or as part of the process within the practice of each.

Artists in the exhibition include Russell Crotty, Henry Darger, Benjamin Degen, Kirsten Deirup, Lansing-Dreiden, Marcel Dzama, Inka Essenhigh, Hope Gangloff, William Kentridge, Blaze Lamper, Yuri Masnyj, Julie Mehretu, Paul Noble, Jockum Nordstrom, Fred Tomaselli, Luc Tuymans, Anton Vojacek, Matthew Wilson, Dustin Yellin and Yelena Yemchuk.

The exhibition will be on view at the gallery located 535 West 22 Street/6 Floor Tuesday to Saturday 10 AM to 6 PM. For additional information please contact Susan Inglett at 212/647-9111, fax 212/647-9333 or info@inglettgallery.com.

***
IE: Prov.: Stefan Stux Fine Arts
MD: Prov.: Susan Inglett Gallery, New York; Trillium Press, San Francisco; 2005 International San Francisco Art Expo

# posted by EILEEN @ 6:21 PM


Wednesday, January 26, 2005
"WALLPAPER FOR GIRLS: YOUR MOTHER AS STRIPPER TATTOOS" (1997) (OIL ON VINYL, 30 x 30 IN) by INKA ESSENHIGH
Location: Red Bedroom, Pygmalion-Second Floor

[FOURTH MENTION DUE TO UPDATE]

UPDATE:

Inka Essenhigh's latest exhibition is "Inka Essenhigh; Recent Paintings at the Museum of Contemporary Art, North Miami." The exhibition continues until February 15, 2004.

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

# posted by EILEEN @ 5:22 PM


Friday, January 28, 2005
"THE BEATLES LIKE TSUNAMI" (2005) (ROUND CARDBOARD W/IN ROUND WOODEN CIRLE) by JOHN PATRICK MCKENZIE (1)
Location: Galatea Offsite--San Francisco Apartment

"BRUCE LEE LIKES 1980 THE YEAR OF THE MONKEY" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

"THE INCREDIBLE HULK IS MAD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (3)
Location: TBD

"AARON NOBLE IS GETTING OLD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (4)
Location: TBD

"ELVIS PRESLEY, PERRY COMO" (2004) (TORN OUT X-MAS TREE SHAPE) by JOHN PATRICK MCKENZIE
Location: TBD

"DAVID CASSIDY, BARBARA STREISAND" (2004) (TORN OUT X-MAS TREE SHAPE) by JOHN PATRICK MCKENZIE
Location: TBD

"ROBERT BLAKE WAS GETTING OLD" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (5)
Location: TBD

"JOHNNY CASH LIKES" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (6)
Location: TBD

"ELVIS PRESLEY IS LIKE" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"YOKO ONO IS LIKE" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"LITTLE JACK HORNER (2ND LINE)" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"JULLIE VILLOTA IS SIXTY" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

"LIBERIA NIGERIA EGYPT" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE
Location: TBD

"OSAMA BIN LADEN JOKER PENGUIN RIDDLER" (UNDATED BUT PROB. 2004 or 2005) by JOHN PATRICK MCKENZIE (2)
Location: TBD

John Patrick McKenzie is one of the artists at Creativity Explored, a nonprofit visual arts center for adults with developmental disabilities. McKenzie is autistic, which may (I say "may" since I'm speculating, not having any information on McKenzie's specific diagnosis) help explain the nature of repetition in his work.

Though McKenzie lives in San Francisco, one of my home base, I actually discovered him last week while visiting New York -- I saw him in a group exhibition, "Autism/Aspergers/Art" at Ricco/Maresca Gallery. McKenzie (along with Xylor Jane) were two artists who made drawings for which sighting meant falling in love. Though I'd ensured I'd see the show as autism is one of the issues I'm currently exploring through a poetic project relating to identity(ies), I didn't need to know or care that McKenzie was autistic. His drawings spoke for themselves: McKenzie had created his own language or "voice," something that many artists (whether with disabilities or not) struggle to achieve...and fail to achieve.

After returning to the Bay Area from New York, I stopped by Creativity Explored. I hadn't intended to walk out -- as I did -- with 14 works of art. It's no wonder that in his official bio, it's noted that McKenzie "has large number of local 'fanatic devotees' and has exhibited nationally and internally.

I also should say that the gist of his very effective drawings is that he is a visual poet -- his material is words but he transcends meaning through his visual art approach to text, i.e. with his unique font that allows for a repetition/patterning of certain shapes. I've found him so inspiring that I'll be writing an article on him for OurOwnVoice, which explains why I'll be including some footnotes in this entry -- notes for that article as I gotta park 'em somewhere!

Footnotes:
1) is it just tsunami effect of words/ note aptness of roundness for the vortext tsunami effect
2) effectiveness of patterned revealed in part by how, when he must have turned drawing upside down in mid-process to continue writing his text ...and it all works
3) very effective contrast of red ink against gold foil paper
4) effective white ink against black velvet surface
5) text-drawings on both side
6) round white paper
N.B. All of works' "titles" are simply first lines featured...

***
Prov.: Creativity Explored Art Gallery, San Francisco

# posted by EILEEN @ 10:01 PM


Monday, January 31, 2005
"SPIRIT RISING FROM WITHIN (CONTEMPLATION)" (KWEKWE SERPENTINE) by PETER MANDALA
Location: Library, Pygmalion-Second Floor

I'm very happy to have this sculpture at home. It's one of the inspirations to my new poem series, "The Masvikiru Quatrains," as discussed in a Feb. 1, 2005 post on my primary blog The Chatelaine's Poetics (with an example on my Gasping Poem blog).

***
Prov.: Spirits in Stone, St. Helena, CA

# posted by EILEEN @ 7:02 PM

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