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Monday, October 31, 2005

"HISTORICAL OBJECT IN WHITE" (2003) (OIL AND PENCIL ON WOOD PANEL, 15 x 12 IN) by CHRIS OLIVERIA
Location: Living Room, Galatea-First Floor

"UNTITLED (NOTEBOOK SKETCHES)" (2003) by CHRIS OLIVERIA
Location: Galatea Offsite/San Francisco Apartment

"NOTE ZINE" (2003) (1/25 LIMITED EDITION, FIRST EDITION) by CHRIS OLIVERIA
Location: Library, Pygmalion-Second Floor

"COLLABORATIVE DRAWING" (2003) (INK ON GALATEA'S GUEST BOOK) by STELLA LAI AND CHRIS OLIVERIA
Location: Library, Pygmalion-First Floor

"EVEN FOR A SECOND (A)" (2005) (30 X 36, oil on canvas) by CHRIS OLIVERIA
Location: Galatea Offsite -- San Francisco Apartment

[FIFTH 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

[SIXTH MENTION DUE TO UPDATE]

UPDATES:


Marcel Dzama and Chris Oliveria are among the artists in the following exhibition:

DRAWING NARRATIVE
The College of Wooster Art Museum
Ebert Art Center
Wooster, Ohio 44691
Oct. 28-Dec. 9, 2005

Here's gallery information and artists in the exhibit:

The title of this exhibition refers to both the first step many artists take in giving form to their ideas as well as to the narrative that can be "drawn" from their imagery. Similar to early explorers who captured the "ethnographic moment" by depicting wha tthey saw in sketch and finished painitngs, these contemporary artists explore cultural frontiers such as race, gender, and the implications of a digitally connected universe. Often rendered in great detail, the drawings, collages, prints, and paintings in Drawing Narrative focus on the rites, rituals and emotional nuances of life in the twenty-first century.

Laylah Ali
William Crow
Amy Cutler
Marcel Dzama
Jeff Gauntt
Kojo Griffin
Drew King
Craig Kucia
Elaine Lynch
Robyn O'Neil
Chris Oliveria
Shahzia Sikander
Jane South


***
Prov.: CO -- Lizabeth Oliveria Gallery, Culver City, CA; New Langton Arts Benefit; Direct from Artist; MD -- Susan Inglett Gallery, New York; Trillium Press, San Francisco; 2005 International San Francisco Art Expo

Saturday, October 29, 2005

"111TH ST. BASIN, GOWANUS CANAL" (1987) (OIL ON CANVAS, 28.1 X 54 IN) by RANDY DUDLEY
Location: Dining Room, Pygmalion-First Floor

"AUTHORITY GRAIN TERMINAL - RED HOOK" (1990) (OIL ON CANVAS, 28.5 X 54 IN) by RANDY DUDLEY
Location: Hallway In Front of Turret Stairs, Pygmalion-First Floor

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Randy Dudley is currently exhibiting at O.K. Harris, through Nov. 26, 2005.

From the gallery's statement:

"These panoramic realist paintings of the American industrial landscape portray a once vigorous environment now often abandoned as industry has moved or been discontinued. A fascinating juxtaposition of the natural and the purely utilitarian, these scenes are miracles of gritty melancholy and when reflected through their history and isolation they become unique and filled with visual vitality."

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

Friday, October 28, 2005

"PORTRAIT OF TOM & EILEEN" (2005) (BLACK & WHITE PHOTOGRAPH) by RHETT PASCUAL
Location: Master Bedroom Bathroom, Pygmalion-Second Floor

Bay Area-based Rhett Pascual counts photography among his many talents.

***
Prov.: Direct from artist

"MT-M13" (2005) (WATERCOLOR, INK AND GRAPHITE ON PAPER, 15 x 18 IN UNFRAMED) by EMILIE CLARK
Location: Library Bathroom, Pygmalion-First Floor

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Emilie Clark recently opened a new exhibit, which is up through Nov. 12, 2005:

EMILIE CLARK
HOME STUDIES IN NATURE


Michael Steinberg Fine Art
526 W. 26th Street-215
New York, N.Y. 10001

Some opening photos here show an idea of the exhibit.

Here's the gallery's press release:

For Immediate Release


Emilie Clark
Home Studies in Nature


October 14 - November 12, 2005

Home Studies in Nature, an exhibition of paintings and watercolors by Emilie Clark, will open at Michael Steinberg Fine Art on October 14th and run through November 12th. This show, which is Clark's solo debut in New York, continues her explorations of the writings of nineteenth-century women naturalists and her visualization of the written descriptions found in their texts.

The title of the show, Home Studies in Nature, is in fact the title of a book by Mary Treat, (1830-1923) an American naturalist who lived and worked in Vineland, New Jersey. Clark first encountered references to Treat while reading the correspondence of Charles Darwin. According to Clark, Treat's text, published in 1885, “is passionate, melancholy, and somewhat troubled. If one took away the names of the plants, one would think one was reading about human relationships…”

Clark has divided Mary Treat's writings into three categories, which then inform three different types of imagery. Descriptions of specific parts of particular plants are treated as portraits. Descriptions of what Treat observed through a microscope give rise to images that relate to the still-life tradition. Finally, Treat's recounting of actual events in the lives of carnivorous plants are considered in terms of classic history paintings.

In addition to the watercolors and paintings, the show will include an installation of terrariums containing the actual carnivorous plants and insects that served as Clark's subjects, and several sculptures formed from the remains of plants that did not survive. The artist notes, “To help me live fully inside the world of the plants, I have been growing in my studio all the same species that Mary Treat grew, and I've also been making studies of them under the microscope, generating drawings from these two activities.”

Born and raised in San Francisco, Emilie Clark has lived in New York City since 1998. She has had numerous solo exhibitions in California and internationally, and has been in many international group exhibitions. In 2004, her work was seen at Wave Hill in a show entitled Pondering the Marvelous; and in 2005 she had a solo show at the Nathan Larramendy Gallery in Ojai, CA. Clark received her Master of Fine Arts degree from Bard College, and holds a Bachelor of Fine Arts degree from Cornell University.


***
Prov.: Nathan Larramendy Gallery, Ojai, CA

Wednesday, October 19, 2005

"PAAR (GREEN)" (2004) (2004, C-PRINT MOUNTED ON PLEXIGLASS) by SABINE DEHNEL
Location: Galatea Offsite-SF Apartment

"SKIRT" C-PRINT MOUNTED ON PLEXIGLASS) by SABINE DEHNEL
Location: TBD

We're delighted to add Sabine Dehnel to Galatea's art works. We saw her photographs -- the most adept we've seen at melting the photograph/painting binary -- at her inaugural U.S. exhibition at Carl Berg Gallery in Santa Monica, CA. Here's the gallery press release:

Camouflage
Sabine Dehnel

October 15, 2005 - November 12, 2005

Sabine Dehnel will present several large-scale photographic works that continue her examination and oscillation between media and their various effects.

Using models as her subject matter, she paints on their bodies, accentuating their flesh and causing them to become expressionistic and somewhat grotesque versions of themselves. The model is subsequently posed in a setting that has also been altered and painted in a similar manner and then both are photographed creating a work that appears to reside equally between painting and photography. Although eschewing the tools of digital photography, she creates effects that in the current photographic climate appear to be digitally rendered, but in fact are traditionally obtained.

Sabine Dehnel lives and works in Wiesbaden, Germany. She has exhibited at Galerie Schuster, Frankfurt, Galerie Asbaik, Copenhagen, Galerie Schuster & Scheuermann, Berlin, and Rebecca Ibel Gallery, Columbus, OH,

***
Prov.: Carl Berg Gallery, Santa Monica, CA

"DER DOZEN DANTZ (THE DANCE OF DEATH)" (1991) (INK ON PAPER, 24 X 18 IN, 36 x 28 IN FRAMED) by MANUEL OCAMPO
Location: Galatea Offsite/San Francisco Apartment

"UNTITLED (Bird, Pink, Cross, Shit)" (2005) (30" X 24", oil on canvas) by Manuel Ocampo
Location: TBD

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


This weekend, we acquired an UNTITLED painting by Manuel Ocampo.

***
Prov.: Pearl Albino, New York; Lizabeth Oliveria Gallery, Culver City, CA

"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

"I SEE YOUR PROBLEM BUT I DON'T SEE YOU (Gold 8/Woman 4)" (2005) (gouache on wood panel, 5" X 5") by STELLA LAI
Location: TBD

[SIXTH MENTION DUE TO UPDATE]

UPDATE


This weekend, we acquired "I SEE YOUR PROBLEM BUT I DON'T SEE YOU " from Stella Lai's recently-opened exhibition at Lizabeth Oliveria Gallery in Culver City. Here's the gallery's press release on Stella's new exhibit which is up through December 3, 2005:

I SEE YOUR PROBLEM BUT I DON'T SEE YOU

In her first solo exhibition in Los Angeles, Chinese born artist, Stella Lai will be presenting “I See Your Problem, But I Don’t See You.” For this exhibition Lai will take a departure from her former work of semi-autobiographical characters and narratives and present a new body of work. Focusing on traditional Chinese art and painting, the work is fused together with her reaction to the pornography and prostitution industry prevalent in contemporary Chinese culture. Lai’s exhibition will include gouache paintings on panel of traditional Chinese imagery alongside a paper cut wall installation depicting female silhouettes and flowers. Each painting, rich in graphic sensibility, is lush with color and detail taken from Chinese references, such as decorative tile patterns, cherry blossom and chrysanthemum flowers and the subtle revelations of the female figure. Critical of the exotification and exploitation of Asian women, Lai incorporates the female figure as a response by someone who not only is protective and intrigued by the sexually charged imagery, but also by a woman who understands the culture from which they are a part of. Through her work, Lai questions the contradictions between traditional value and modernization specifically influenced by Western society. “I See Your Problem, But I Don’t See You” presents an idea of being lost in translation, where at once what seems obvious is blurred by cultural and societal contradictory messages.

Having recently been invited to a residency at the Chinese Art Centre in Manchester, UK,Stella Lai currently has her work on exhibit in the solo show “Let’s Stop Pretending” at the ASU Art Museum, Tempe, AZ. Lai has been included in exhibitions at the Luggage Store Gallery, San Francisco, CA; Howard House, Seattle, WA; Buena Vista Building, Miami, FL; Institute of Contemporary Art, San Jose, CA; and will be part of a two person show with artist Iona Rozeal Brown at Saltworks Gallery, Atlanta, GA in 2006. Lai received her BFA from the California College of Arts and Crafts in San Francisco. Her work has been reviewed in publications such as Flash Art and Art in America.


***
Prov.: Direct from Artist; Lizabeth Oliveria Gallery, Culver City, CA

"HISTORICAL OBJECT IN WHITE" (2003) (OIL AND PENCIL ON WOOD PANEL, 15 x 12 IN) by CHRIS OLIVERIA
Location: Living Room, Galatea-First Floor

"UNTITLED (NOTEBOOK SKETCHES)" (2003) by CHRIS OLIVERIA
Location: Galatea Offsite/San Francisco Apartment

"NOTE ZINE" (2003) (1/25 LIMITED EDITION, FIRST EDITION) by CHRIS OLIVERIA
Location: Library, Pygmalion-Second Floor

"COLLABORATIVE DRAWING" (2003) (INK ON GALATEA'S GUEST BOOK) by STELLA LAI AND CHRIS OLIVERIA
Location: Library, Pygmalion-First Floor

"EVEN FOR A SECOND (A)" (2005) (30 X 36, oil on canvas) by CHRIS OLIVERIA
Location: Galatea Offsite -- San Francisco Apartment

[FOURTH MENTION DUE TO UPDATE]

UPDATE:


This weekend, we enthusiastically acquired "EVER FOR A SECOND" by Chris Oliveria!

***
Prov.: Lizabeth Oliveria Gallery, Culver City, CA; New Langton Arts Benefit; Direct from Artist

Tuesday, October 18, 2005

"GAIL" (DETAILS TO COME) PAINTING by JAMES VALERIO
Location: Living Room, Pygmalion-First Floor

[SECOND MENTION DUE TO UPDATE]

UPDATE:


George Adams Gallery opens up its new space in Chelsea, New York with

NEW PAINTINGS AND DRAWINGS by James Valerio
Oct. 21 - Nov. 26, 2005

Here's the gallery's press release:

James Valerio: New Paintings and Drawings
Lesley Dill: The Thrill Came Slowly, Prints and Multiples 1990-2005

Oct 21 - Nov 26, 2005

In early October, after 46 years on 57th Street, the George Adams Gallery will reopen in a new space on the first floor of 525 West 26th Street. The gallery's inaugural exhibitions will be new paintings and drawings by James Valerio and a survey of prints and multiples by Lesley Dill. The Valerio exhibition will be installed in the main gallery and will feature three new paintings as well as four pencil drawings all completed within the past two years. The Dill exhibition will include works published over the past 15 years by Dieu Donne Papermill, Graphicstudio, Landfall Press, Kruty Editions and Solo Impression, Inc.

James Valerio has always painted on a very large scale, and the works in this exhibition, all measuring 8 x 7 feet, are no exception. "From the Window" 2004, depicts a view of downtown Chicago as seen from the city's west side, while "August Rose," set in a suburban backyard, portrays a woman standing in an inflatable plastic wading pool. The third canvas, as yet untitled, is a scene of two men pruning a tree viewed from below. The drawings, all densely worked portraits, include a 3/4 length self-portrait and a portrait of the artist's wife.

Valerio, who was born and raised in Chicago, lives in Evanston where he teaches at Northwestern University. This will be the artist's 10th one-man show at the gallery since 1983. Valerio has also had solo exhibitions at the Delaware Art Museum, Wilmington (1983), the University of Iowa Museum of Art, Iowa City (1994), and the Greenville County Museum of Art, South Carolina (2000). Valerio is represented in the collections of these institutions as well as the Metropolitan Museum of Art, the Art Institute of Chicago, the Arkansas Art Center, and the Pennsylvania Academy of the Fine Arts, among others.

The Dill exhibition will highlight her non-traditional approach to printmaking, notably her three-dimensional works such as "The Thrill Came Slowly," a multiple published in book format by Kruty Editions, "Head," a paper bust published by Dieu Donne, and "Copper Poem Hands" published by Graphicstudio. Other works include one of her earliest prints published in 1992 by Solo Editions, a selection of small-scale platinum prints from 1997, as well as the recently completed "Woman with Hindi Healing Dress," by Landfall Press.

***
Prov.: Louis Meisel Gallery, New York

Monday, October 17, 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: Living Room, Pygmalion-First Floor

[NINTH MENTION DUE TO UPDATE]

UPDATE:


Clare Rojas' debut paintings exhibition in the U.K., at Modern Art through Oct. 30, 2005, is an Artforum’s Critic’s Pick. Eugenia Bell’s review is up at this link, but also reprinted below:

MODERN ART
10 Vyner Street
September 09–October 30


San Francisco-based singer, filmmaker, and painter Clare E. Rojas's talents come into sharp focus in her first U.K. exhibition of paintings. Rojas's visual vocabulary draws from Pennsylvania Dutch hex signs, Hopi kachina dolls, and Russian matryoshkas, and proliferates across the walls of the gallery's vast new room in dozens of preciously small gouaches. These new paintings depict scenes from naive yet somewhat dark fables: childlike, but not for children. Mythical, matronly babouschkas commune with costumed bears; couples dance around lily plants sprouting small men; and wooden boards covered with symbolic dialect are inhabited by a cast of recurrent characters. There will be comparisons to Amy Cutler or Marcel Dzama for sheer otherworldliness, or more superficial comparisons to her "Beautiful Loser" colleagues (both Rojas and her husband, Barry McGee, who is showing in the gallery's other space, are featured in that traveling street-art extravaganza). But Rojas's miniature worlds feel less deliberately kooky than the former, more accomplished (or at least more painterly) than the latter, and more pleasantly dreamlike than either. She condenses a true sense of the materiality of the handmade into two dimensions, and one can't help but think that quilting, sign painting, and even gardening occupy key places in her miniature worlds.
—Eugenia Bell

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

DRAFTS OF WATER (2002) LIMITED EDITION ARTIST'S BOOK with text by BARRY SCHWABSKY and prints by LUISA RABBIA (EDIZIONI CANOPO, PRATO, ITALY, I of XX)
Location: Library, Pygmalion-Second Floor

[SECOND MENTION DUE TO UPDATE]

UPDATE:


Luisa Rabbia is reviewed in the October issue of Artforum. Here's an excerpt of the review by Cathryn Drake of Luisa Rabbia's multimedia exhibit "Anywhere Out of the World":

"...Rabbia sees fabric as a barrier, a border between the body and the outside world that provides both privacy and physical protection. Softening and disintegrating with age while absorbing the energy of the wearer, fabric changes with time, recording its own narrative.

"For Rabbia, drawing is likewise a record of time and emotion, a linear continuum that unfolds in the fabrication of the image and captures the moment of its making. She spent two months in a ceramic workshop making Anywhere Out of the World, a mosaic composition covering an entire wall of the gallery, forming it piece by piece and line by line as a drawing. The disembodied white head of an old man seems to float in an upside-down landscape, the bottom half a light blue sky with a dark blue body of water above. The irregular shapes and swirling formations of the titles create the sensation of tumultous movement.

"The poetic coda to the exhibition's contemplative blue ensemble was the video Passing Moods, a four minute loop (accompanied by meditative music composed by Fa Ventilato) that followed the changing seasons as seen through a frame focusing on tree branches, with the moody sky as background. Various animated elements were superimposed on the film -- like a moving collage -- appearing and then passing away: a nest, a runaway umbrella, green and red leaves, and a pouring rain that eventually blots out the screen. Like the rest of the exhibition, it was tinged with a sadness that spoke of the precariousness, isolation and fragility of human existence. Leaving the gallery, one was reminded by the sound of rain that time had continued to flow in nearly identical series of moments."

***
Prov.: B.S.

"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

[NINTH MENTION DUE TO UPDATE]

UPDATE:


Von Lintel Gallery of New York sends out this press release re Sharon Louden:

Von Lintel Gallery is pleased to announce that Sharon Louden is now represented by the Gallery.

Louden's work has been exhibited nationally and internationally, most recently in New York at Anthony Grant, Inc. A forthcoming exhibition at the Neuberger Museum of Art, Purchase College, is comprised of drawings, prints, paintings, sculpture, installation, and will premier work from a new animation series. Curated by Dede Young, curator of modern and contemporary art, it will be her largest to date. Exhibition dates are January 29 - May 21, 2006.

Louden received her BFA from the Art Institute of Chicago and her MFA from Yale University in 1991. The artist lives and works in New York.

Von Lintel Gallery represents emerging and mid-career artists working in a broad range of media. For more information or visual material about Sharon Louden or Von Lintel Gallery, please visit our website or contact John Tevis, director of the gallery, at (212) 242 0599. Our current exhibition, Joseph Stashkevetch's Plenty, continues through November 12, 2005.

***
Prov. Haines Gallery, San Francisco, CA

Wednesday, October 12, 2005

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

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


Richard Tsao's exhibition "Flood" at Chambers Fine Art in New York received a review in the October issue of Art in America. Written by Edward Leffingwell, the article includes this excerpt:

"For this show he deployed what has become a signature series of small, contemplative paintings saturated with intense color. With their relative isolation and dramatic lighting, the paintings exemplify a tradition of abstraction sufficiently meditative for a devotional reading, like Stations of the Cross."

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

"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

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


Max Gimblett is the subject of an article "The Shape of Energy" by Thomas McEvilley in the October issue of Art in America. Here are the concluding paragraphs about Gimblett's most masterfully-approached shape, the quatrefoil:

"In addition to its striking formal presence -- large and strong and yet flowerlike -- the quatrefoil has iconographic resonances that go back in time. The four-petal cosmogram involves the center-plus-quaternity that underlies much Neolithic, Chalcolithic and early Bronze Age art, and still informs the clock, the map and the compass -- indeed the whole way of simplistically conceiving the world as a space-time entity. It must be stressed that the quatrefoil is a softened and feminized form of this brutal map of control.

"Not only is it a form that no other abstractionist has fully explored, but the quatrefoil format has allowed Timblett to fully mingle the painterly and the linear in a subtle visual syntax. IN the orderly confinement of the quatrefoil shape, the energy of the mark can break free. The wild fume of the rush gesture rises through the geometry of the frame and asserts itself as fundamental energy. This energy is like nature: it is the infinite within the finite. Time and again, Gimblett shows us these two forces held in each other's embrace within the totality of a pictorial surface."

***
Prov.: Direct from Artist

Thursday, October 06, 2005

BREAD (UNTITLED)" (2003) (WOOD & STRING, 3.5 x 10.5 x 5 IN) SCULPTURE by ULRIKE PALMBACH
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:

Ulrike Palmbachhas been selected as one of 75 artists invited to participate in the Torino Triennale at the Castello di Rivoli Museo d'Arte Contemporanea. The exhibition runs from Nov. 9, 2005 to Feb. 28, 2006. Francesco Bonami, curator of the 2004 Venice Biennale and chief curator of the Museum of Contemporary Art in Chicago will collaborate with Carolyn Christov-Bakargiev, curator of PS1 in New york, to organize the Triannale.

***
Prov. (Ulrike Palmbach): Stephen Wirtz Gallery, San Francisco

"UNTITLED" (2003) (MIXED MEDIA) by KATHRYN SPENCE
Location: Library, Pygmalion-First Floor

[THIRD MENTION DUE TO UPDATE]

UPDATE:

Kathryn Spence received acclaim for her showing at the 48th Corcoran Biennial. Click here for the entire press release, which begins with:

Washington, DC – The 48th Corcoran Biennial: Closer to Home takes as its focus contemporary artists making use of traditional arts methods, favoring earnest individual expression and historically resonant aesthetic dialogue over high-tech media. While recent Corcoran Biennial exhibitions have dealt with the legacy of conceptual art and new media, Closer to Home marks a return to the exhibition’s origins and considers the familiar territories of traditional media – such as canvas, paint and wood – while giving prominence to the work of Washington, DC-based artists. The Corcoran Biennial, among the oldest continuous biennials in the world, was founded in 1907 and since its inception has retained a focus on new American work of exceptional quality. The 48th Corcoran Biennial: Closer to Home is on view at the Corcoran Gallery of Art from March 19 through June 27, 2005.

Closer to Home showcases the following artists, whose choice of materials, subjects or styles are all in some way informed by the traditional arts: Rev. Ethan Acres, Chakaia Booker, Matthew Buckingham, Colby Caldwell, George Condo, Adam Fuss, James Huckenpahler, John Lehr, Iñigo Manglano-Ovalle, Richard Rezac, Dana Schutz, Jeff Spaulding, Kathryn Spence, Austin Thomas and Monique van Genderen.

***
Prov. (Kathryn Spence): New Langton Arts 2003 Benefit Fundraiser (don. by artist and Stephen Wirtz Gallery, San Francisco)

DOUBLE CIRCLE (JANUARY, 1996) (OIL ON GRAPHITE ON CANVAS, 12 x 9 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

REGULAR II (MARCH, 1997) (OIL ON GRAPHITE ON CANVAS, 9 X 12 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

AUREOLE (JULY, 1997) (OIL ON GRAPHITE ON CANVAS, 12 IN DIAMETER) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

CONWAY (1995) (OIL, CHARCOAL, GRAPHITE ON CANVAS, 14 x 11 IN) by EVE ASCHHEIM
Location: Hallway Before Turret, Pygmalion-First Floor

[FIFTH MENTION DUE TO UPDATE]

UPDATE:


Eve Aschheim has received a fabulous mention in a NY Arts Magazine review; click on this link to read the whole wonderful thing, but here's an excerpt:

It is this admission of a little blur and grime into AAA’s often exacting aesthetics that produces the show’s hidden prize. Drawn up in what just might be correction fluid, dust, and a dull pencil, Eve Ascheim’s Aligned Light paces with restless energy. The bent parallelogram sketched at its center is a secret plan to escape from the dirty-white-pinstripe bars; Ascheim’s rub outs and scuff marks are the scars we expect such a breakout to leave. In contrast to the neatly tucked-in works that comprised most of "Optical Simulations," Aligned Light provides a welcome thrill of insubordination. While the rest of her history class takes diligent notes, Ascheim is hunched over her desk at the back of the room, defacing her homework assignment in White-Out, daring to forget Thomas Edison.
--from "Living History" by Dan Keane


***
Prov.: Stephen Stux Fine Arts, New York

Saturday, October 01, 2005

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