By the end of her book, the reader who follows her argument has the tools necessary to engage fully with one of the most complex and challenging artists of the post-war period. Mary Jacobus takes us into the heart of Cy Twombly's practice, his reading, editing, remembering, and remaking of poetry from Homer and Virgil to Rilke and Paz. In doing so, she illuminates Twombly in new and remarkable ways.
I loved it. As she investigates how Twombly's use of quotation both complements and immensely deepens the power of his visual images, she takes us right to the heart of his doubly articulate genius. Her deep literary knowledge, fine close readings, subtle psychoanalytical insights, and sheer sensuous delight in paint and color and stroke and rhythm combine here to create a rare and beautiful work of aesthetic philosophy. Her examination of Twombly's annotated personal library has turned up revelatory details about his practices of reading, notating, and editing; the sometimes quite literal proximity of book to canvas; and more.
Jacobus has done profound work and her book is enormously enriching. Mary Jacobus's access to Cy Twombly's annotated personal library enables her to speak with unprecedented authority on the literary sources that the artist used. After losing most of his sight, his work took a personal turn. These circumstances give his work a certain softness, a dream-like quality that seems to transcend time and place. In his writings about photography, he wrote in the first-person and did the same in his novels, often spinning fiction closer to poetic memoir.
It was screened in France one month after his death. Her use of objects that have been discarded parallel the lives of marginalized individuals, which are often subject to being tossed aside. Hammond pulls this underlying tension to the front of her work by disrupting the painted surface and uncovering the materials below. She views this as a kind of survivor aesthetic, one that endures and exposes color underneath cracks and holes. She currently lives and works in New Mexico.
In an array of disciplines that includes photography, collage, installation, and performance work, Lyle Ashton Harris explores themes of self, masculinity and the black male body, and the performance of gender, among others. Much of his photographic work echoes the tradition of documentation within anthropology, but he often examines his own self. In a mix of performance and audience engagement, she often takes her art to the streets, for example, holding a protest sign with a slogan from an earlier time, reinserting history into the present.
Performance became a way of socially engaging while relating history to contemporary struggles that are unresolved and ongoing. In a style that is sometimes aggressively expressive and almost always figural, Richard Hofmann creates paintings that often earn him the label of neo-expressionist. He paints in layers of thick lines and unblended brushstrokes, overlapping his figures and meshing bold colors across the field of the canvas. The presence of his hand in his paintings preserves the bodily element of his work that is echoed in his subject matter.
They melt into each other against their backgrounds, ghost-like and sickly, but brashly opposed to disappearing. Although he follows typical neo-expressionist form in the rough way he handles his materials and the boldness of his palette, it is this distortion of figures that sets him apart from other artists in this group. He received his first retrospective in , an exhibition of over works organized by the Brooklyn Waterfront Artists Coalition.
Hujar is most known for these black and white portraits in which his minimalist approach stripped the scene of all excess. His body of work is managed by the Peter Hujar Archive. She draws stylistically from pop art, employing references to pop culture, using loud text against bold backgrounds of color, and incorporating sculptural elements like neon signs. For her, appropriation is rewriting. She has shown work at the Venice Biennale and, in , was the subject of a mid-career retrospective at the Andy Warhol Museum in Pittsburgh. By the time he started painting, he was working as a part-time accountant and had thought early on that he might become a writer.
While he did write, he also found a way to tell his stories visually. Upon moving to Berlin in , he found himself particularly influenced by the city scene there, and by the symbols with which youth covered their bodies. More recently, his work has included landscapes, gardens, and grisailles, or grayscale paintings, that include the repetition of silhouettes or lines and traces of wraith-like figures, demonstrating a continual interest in figural painting.
Kent Monkman is a visual and performance artist of Cree and Irish ancestry whose work reimagines historical narratives to include the indigenous lives they have consistently erased. With Miss Chief, Monkman shifts the perspective of the story away from those who often do the telling, giving her authority instead. Monkman pulls from the narratives of ancient and modern art history, mythology, and the Bible, and he fills the gaps in their stories with his own content, reaffirming an indigenous presence in history. This exhibit reflected on colonialism and traditional Western museum practices, highlighting their relationships with Indigenous histories in Canada.
His work takes a variety of forms, from video and sculpture to text-based blood paintings and wood engravings, all working within history to challenge normative narratives and combat the single-minded worldview that there is only one way to be. Through self-portraits and photographs of South African lesbian, gay, transgender, and intersex individuals, they create visual representation for a community that has been historically marginalized and even erased from public view. Muholi studied photography in Johannesburg, where they currently live, and received their MFA in documentary media from Ryerson University in Toronto.
She currently teaches at the International Center of Photography in Manhattan. They resemble circus flyers, wanted ads, and military propaganda, mass media ephemera that are capable of swaying people and their opinions. He lives and works in Brooklyn. Leonard Suryajaya creates photographs that are at once absurd and mundane. Suryajaya is Chinese, grew up in Indonesia, attended Christian schools, and was educated in Buddhism.
As she work outdoors with materials that are responsive to the elements, She feels a deep personal engagement with nature. This engagement is furthered by working with large canvases at the edge of oceans, rivers, and other bodies of water in an attempt to capture their ebb, flow, and sedimentation at that particular time and place. Through observation of these natural phenomena, Holsberry has gained an acute awareness of the changes in our ecosystem that require both humans and animals to adapt to new ways of navigating the world.
Bergen and Heloise both use hand cut, brightly colored artists papers and recycled materials to amass dense, layered collages that reflect their backgrounds as painters. The whimsical paint-by-number quality of their collages gives a sense of idealized, playful landscapes that upon closer inspection reveal a darker message.
Both artists are reacting to their fears of global warming and overwhelming loss of habitats and wildlife as a result of human consumption and waste. Both use fantasy, humor and metaphor around these issues to help process the tragedy of what is happening and question on their own culpability.
Many of these objects, furniture and tchotchkes, have descended to her nearest and dearest. Translation: into another storage unit. Heirloom speaks to this burden of stuff, physical and emotional, between generations of people to whom acquisition meant wealth. Claire Rau was born in Sandusky, Ohio and raised in northeast Tennessee.
She has taught printmaking and sculpture at several institutions and presently teaches sculpture at the University of Colorado, Colorado Springs. She is a founding member of The Front, an art collective in New Orleans. The Representational Art League was formed in by a group of serious, working artists to create, display and promote representational art in Humboldt County.
Styles of the artists vary from impressionism to realism, from whimsical to narrative. Paintings are in oil, watercolor, acrylic, pastel, and colored pencil. Jimmie Nord's work is influenced by his background in forestry, natural resources, and art movements like German Constructivism, Bauhaus, and The Memphis Design Movement, along with a splash of Surrealism.
He explores materiality and form, looking to express elemental qualities of specific materials. Elevated Topography is an unrealistic portrayal of how we might overcome rising sea levels.
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The concept of scaffolding and construction materials used is meant to illuminate the challenges we face moving forward and the necessity to think beyond our current solution methods. Around the Whirled is a collection of nature-based works by Chicago-based artist and educator Kaye Buchman. This grouping of large-scale pen and ink drawings, mixed-media paintings, and thematic artist books represents spaces, places, forms and concepts related to the expressive and destructive energies found in our embattled ecosystems.
These works were developed through years of sketchbook research, the study of fairytales and vintage illustration, and an ongoing dedication to the vast and unrestrained world of visual discovery. She has exhibited her work in solo and group shows nationally, received numerous awards, taught at many institutions including the School of the Art Institute of Chicago, and attended several artist residencies. She is the founder and director of KB Studio, an urban center for arts education and imaginative projects. Known for her signature layered encaustic and pigment abstractions, Goethals established her own unique and sophisticated vocabulary in the form of distinctive groups of paintings, which evolve concurrently.
From the Collection: New Acquisitions puts on view, in many instances for the first time,selections from collection newcomers. These works have deepened holdings of previously collected artists and serve to introduce new artists to us. The exhibition also serves as a reminder of the generosity of many donors who understand the value of sharing great art with our community.
Rocks appear to be inanimate and dead to us however they go through incredible transformations during their geologic lifetime. The oldest rocks on Earth are 3. The heat, shifting and uplifting that occurs in geology can all be associated with our own lives and how we also form through personal experiences of pressure, eruptions and erosion. These images of rocks are brought into a more traditional setting to encourage a fresh awareness and affection for the ground beneath our feet. Tom Patton has been actively engaged with photography since He has held full-time teaching appointments since From Tom headed the photography program at the University of Missouri-St.
Louis and was the chief architect of their successful BFA program. Patton has received fellowships from the James D. Brandice Guerra holds a B. She is currently an Assistant Professor of Art at Humboldt State University, where she coordinates the drawing area and teaches courses in drawing and illustration. Prior to arriving at Humboldt, she was the Grace V. She is represented by Zg Gallery in Chicago. I am very interested in historical interactions between science and art and in animals as symbols in art and visual culture.
My practice is largely narrative - I enjoy telling stories through imagery. Sometimes, my images are illustrations of actual non-human animal behaviors and at other times I bend the truth, using animal bodies to tell stories about human behavior. The life for the residents on the other side of the tracks unfolds daily as they wake and rouse to the challenge of the morning light. I paint the landscape and home of these residents with their permission, support, and friendship.
My art will share the great beauty of the shores of Humboldt Bay are a significant and challenged population of people. To enter the show bring your creative re-purposed art piece to the Museum on Wednesday, September 28 from p. Cash awards will be given to first, second and third place winners in each category!
These books expand on ideals of visual communication while breaking the boundaries of traditional book making.
Kay WalkingStick: An American Artist
They span from magical fantasies of illusion to personal narratives, that deal with cultural realities, understanding of beauty and gender identification. The collection will be on view for the public to see the transformation of the paper after treatment. Collecting works of art is one of the most basic undertakings of an art museum. Moreover, what the museum collects strongly determines its overall character and influence in the art community at large. As a consequence, the Humboldt Arts Council in the Morris Graves Museum of Art is founded upon the principles of ethical art collecting and stewardship.
The Museum recognizes that it holds for posterity a significant portion of our cultural wealth. The next step for caring for this collection is to have all 26 works of art framed in museum quality products that will not cause any further damage to the paper. Jave Yoshimoto is a visual artist and educator based in Omaha, Nebraska.
He believes in creating works that are sincere and true to his authentic self, and teaches his students to do the same at University of Nebraska at Omaha. This exhibition focuses on "disaster series" which was inspired by the great Japanese earthquake and tsunami of March 11, After receiving the news and observing the devastation of the country where he was initially born, he collected images and collaged a composition to pay honor and homage to those who lost their homes, livelihood and lives that day.
The end result was a 30 feet long scroll painting on paper completed in gouache, with large, flat color sections that also was inspired by the aesthetics traditional Japanese woodblock prints. He believes that tragedies such as this speaks on the narratives of humanity that we face in the wake of catastrophes, and wish to bring awareness to the history of the event and inspire to help those in need to this day.
A little over two years after the magnitude 9. The confirmation of the boat as belonging to a high school in Rikuzentakata was first the step in an amazing story that has linked two tsunami-vulnerable communities on opposite sides of the Pacific and initiated friendships between high school students in both communities. Celebrating the intrinsic beauty and insightful stories found within the collections and the people who make them, this exhibition examines how the items we collect inform notions of who we are as individuals and a community.
Outdoor is a collaboration of Ben Funke and Walter Early built over the course of 2 weeks in February. Featured in this exhibition are five large intensely colored modernist steel sculptures that will activate the garden with an electric palette. Early and Funke were studio mates during graduate school at the University of Notre Dame. The Soul Night installation is inspired by The Big Picture Humboldt , an exhibition curated by Johnson, utilizing and beautifying disused public spaces with wheat-pasted, large format black and white photographs.
Treacy Ziegler has been exhibiting her art for the past 25 years in various galleries throughout the United States and Canada.
Six years ago she began seeking a different audience and began exhibiting her work in high security prisons. As a consequence, she conducts ongoing prison art workshops in various states and develops through-the-mail art projects for a network of prisoners throughout US. Although birds are usually experienced as a metaphor for freedom, the bronze birds in this exhibition are not free but exist within the symbiotic relationship between space and being.
The paintings, devoid of specific beings, are infused with a contradictory presence suggesting something has just happened or something is about to happen. If being cannot exist without space; space cannot exist without being. Peter Burgess, and later when I became the main caretaker of the then long-neglected estate grounds.
In I was contracted by Dr. Burgess to undertake extended restoration of the 10 acres surrounding the former hunting lodge which was built in the late s. As a photographer, I also documented the land and water around the lodge on a regular basis. Brooke Holve contemplates the poetics of seeing in Cuts Make You. She is interested in how to apply process to a material and arrive to a form that refers back to its making. The work is informed by the changing role of the book as the world moves to primarily digital delivery systems.
Discarded book remnants are the dominant material of this work. Brooke lives and works in Sebastopol, CA. A visual artist for more than two decades, her art practice has taken her through explorations of calligraphy, bookbinding, printmaking, digital technology and poetry. Interested in combining mediums, she draws from each discipline to make mixed media works, installations, constructions, and artist books.
Her probing work investigates culture, memory, place, language, time and natural phenomena. She often looks for materials and objects that hold a history. The interplay of the materials and methods inform her process; and over time expose possibilities for shaping form. With lots of works to choose from, this is your chance to have first pick and build or add to your art collection. All pieces are displayed anonymously — only when you purchase a work of art will you discover who created it.
Yet the life-like acrylic paintings — capturing light as it dramatically moves across this unique environment with its utility poles, balconies, stairs, and laundry hanging out to dry — also represent that which is universal in human experience and connects people on a basic level. With meticulous detail and vibrant color strategically placed, the commonplace is celebrated and rises to the extraordinary. It gives me great pleasure to be doing a show in conjunction with the Morris Graves Museum and the Humboldt Arts Council, institutions with such strong connections to an artist whose work that, along with Mark Tobey, greatly influenced me when I was growing up in Seattle.
These artists in both their work and their lives were instrumental in my early development as an artist and in the directions I chose to investigate. In a way, this exhibition, psychologically, is a coming full circle.
He remembers when the big technicolor movies came out. Back then, a lot of Northwest painters stuck to a palette dominated by the ochres, black and white that Graves and Tobey used so effectively. At one point someone asked him what he wanted to do when he grew up. This exhibition contains a set of works on paper created especially for this exhibition and space. At the time the burgeoning field of visual studies inspired him to study photography. He soon left academia for a career in the visual arts, which has included drawing, painting, mixed media and assemblage. For over 20 years he has exhibited in galleries and municipal exhibition spaces in the Western states.
In addition he has participated in public art projects with several Bay Area cities. In Musical Chairs we are allowed to abandon civility and selfishly take the nearest seat when the music stops. We can even laugh about it since it is, after all, a game. Now consider that in the recent economic crisis many participants players lost so much as a place to sit, compliments of a gamed economy. Capricious game-playing with calamitous results.
To underscore this grim reality the viewer is presented with various compositions of decomposing chairs which are always vacant. The titles and imagery of the paintings are suggestive in this regard. The ironically titled work Circular Thinking, for example, is comprised of 3 chairs, each on a small vertical panel, which rest inside in a larger horizontal panel. The circle motif appears throughout the paintings, to reinforce the notion of circular thinking, in which participants circle around a diminishing number of chairs, knowing in advance that only one can ultimately remain.
Last Chair Standing, which represents the sole survivor of the game, is comprised of a single blackened chair against a hot red background. Using original paper ephemera and found material, each artist in the show reconfigures the human body in some way to generate new narratives that explore identity, surrealism, and the subconscious.
The title, Hybrid refers to the ways that heterogeneous images can be combined into fluid entities. The title also refers to the medium of collage, which in of itself is a hybrid—made by layering found images and their fragments to form a seamless whole.
Connection to Art through the Creation Process for Three Self-Taught Artists
All exploit and distort the use of symbols and the human body to appropriate and reassign meaning. More than 30 collages made from will be included in the exhibit. I am attempting to use as much variety as possible in their creation. Although objective in appearance regarding the figures, I try to incorporate as much abstraction as I can. The blending of objective and non-objective elements in a single painting is something that fascinates me.
As such, I try to pursue that end as far as possible and still produce a credible work. I see lots of abstract elements in everyday life. Elmer Bischoff did the same, albeit from a different perspective. I try to infuse as much color as possible and still make my work plausible.
The variety of color and texture is something I admire in the work of the Impressionists, Post-Impressionists, Fauves and especially the California Bay Area Figurative painters. I look to them for guidance I want my paintings to look like paintings, not taxidermy. One goal of the Trapeze series is to explore all of the possibilities of painting.
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The use of multiple, complex planes intrigues me and I try to work with as many planes as possible. Multiple vantage points, viewpoints, sizes and scales are many of the elementals I wish to explore…much like Thiebaud does in his Sacramento Valley landscape works. At the same time, I am trying to flatten the picture plane, much like Matisse. Besides the above mentioned, my influences for this series are de Kooning and the Abstract Expressionist painters for their immediacy and aggressive paint handling. I also reference the Cubists Picasso and Braque with their pursuit of multiple viewpoints and M.
SAQA Featured Artist: Linda Anderson – SAQA Blog
The structural components of the Bay Area Figurative paintings are something I aspire to. Bonnard is referenced for his use of color and inner radiance. Kandinsky has inadvertently snuck in with his use of a basic line developing into complex planes. On an emotional level, these works are about life. The tightrope we all walk irrespective of age, race, creed, religion, economics and everything in between. While painting these works, I experience the fun and elation of success, the bitter agony of defeat, the fear of failure and the reality of failing. Getting up and trying it all over again, accompanied by the joys and horrors of the living experience.
I hope the viewer will experience the butterflies in our stomach before that and all of the stresses…the good and bad in between. I hope the works reveal all of the experiences of humanity…that which makes us who and what we are. Mary Louise Anderson sees, appreciates and translates the environment around us through watercolor, oil and mixed media.
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