Eli Ridgway | Contemporary Art
Of a Piece | Variation: Apparent Reflectional Symmetry, Parts I & II
Eli Ridgway has commenced a new newsletter series, Of a Piece, which provides the opportunity for deeper inquiry into a single work or project. Eli and I had a great time revisiting Variation: Apparent Reflectional Symmetry, Parts I & II, my largest painting to date, and the centerpiece of my 2014 exhibition at the San Jose Institute of Contemporary Art, Iterations & Assertions. It was very interesting to discuss this work, five years on. To read this edition of Of a Piece, click here.
Commission for the Kaiser Center, Oakland, CA
I recently created this piece fro the Kaiser Center in Oakland, CA. Photos by John Janca.
Philosopher Paul Crowther’s
Geneses of Postmodern Art: Technology as Iconology
I am thrilled to be included in Paul Crowther’s latest book, Geneses of Postmodern Art: Technology as Iconology, published by Routledge. To read a longer excerpt, click here.
Artist Talk at New Mexico Museum of Art
Please join me Friday, August 24 at 5:30 PM at the New Mexico Museum of Art. I will discuss my work in relation to the work of Frederick Hammersley.
Identical/Variation (green, red, blue, black)
I am pleased to announce my recent print project, published by Magnolia Editions. I thoroughly enjoyed this collaboration with the Master Printers at Magnolia, which allowed me to explore the complex layering potential of printmaking. Identical/Variation (green, red, blue, black) is a suite of four prints, each comprising an etching in black ink, printed at Magnolia from a plate created on Magnolia’s flatbed printer; elements of vibrant acrylic color; and a relief woodcut, printed in four different colors in variable orientation. Like the Identical/Variation theme that I have revisited over the years in my paintings, Identical/Variation (green, red, blue, black) employs a variable matrix that allows for the possibility of originality within the parameters of repetition.
About Abstraction: Bay Area Women Painters
Bedford Gallery at the Lesher Center for the Arts
September 24 - December 17, 2017
Political conversations have turned a renewed spotlight on women and their power and influence on every corner of society, including the arts. In the spirit of continued discovery, About Abstraction: Bay Area Women Painters celebrates 16 Bay Area women artists, emerging and established, who have worked in abstraction for years. There is no monolithic visual definition of abstraction, and this show provides a platform for a breadth of work that features precise, powerful lines, as well as gestural patterns.
While Bay Area art history is rooted in figurative art, the past few decades show us that abstract art is flourishing. The work in About Abstraction suggests a kinship with the Abstract Expressionist movement of 1940s SoHo and San Francisco, and illustrates the enduring vitality and power of nonrepresentational art for well over a century.
Lorene Anderson, Eva Bovenzi, Donna Brookman, Heather Day, Amy Ellingson, Linda Geary, Rebekah Goldstein, Emanuela Harris-Sintamarian, Danielle Lawrence, Naomie Kremer, Michelle Mansour, Alicia McCarthy, Mel Prest, Cornelia Schulz, Michele Théberge, Canan Tolon
Unfamiliar Again: Contemporary Women Abstractionists
I am very pleased to have begun working with Robischon Gallery in Denver, Colorado. Robischon has included several of my works in the Fall 2017 exhibition, Concatenation, and we have scheduled a solo exhibition for 2018. Stay tuned!
It's Auction Season!
I am proud to support several Bay Area institutions with donations to their fundraising auctions. If you want to score a small piece for your collection, and help raise funds for a terrific institution at the same time, attend one of these super-fun events.
I am thrilled to have my work included in a wonderful exhibition, curated by Monica Ramirez-Montagut, at the Newcomb Art Museum of Tulane University. I will be in New Orleans for the opening reception on September 6.
UNFAMILIAR AGAIN: CONTEMPORARY WOMEN ABSTRACTIONISTS
Rachel Beach, Morgan Blair, Amy Ellingson, Brittany Nelson, Alyse Rosner, Barbara Takenanga, Anne Vieux
Hailing from across the United States, the artists in this exhibition explore new ways of abstraction based on experimental, process-oriented methods. Intended to defamiliarize common imagery, their works preclude figurative recognition or easy comprehension.
Their methods are nuanced, time-intensive, and often drawn from unlikely sources such as “DIY” videos on YouTube, Photoshop errors, digital distortions, smart phone apps, and manipulated or synthetic materials such as scanned iridescent paper or faux-suede finishes.
By devoting themselves to process, these established, mid-career, and emerging artists experience revelation in the deliberate progression of steps of creative expression. Such discovery remains elusive for viewers, however, as the artists encourage inquiry rather than providing immediate answers.
This exhibition is made possible through the generous support of The Andy Warhol Foundation for the Visual Arts, Jennifer Wooster (NC ’91), Don Peters (A&S ’81), Newcomb College Institute of Tulane University, Ms. Valerie A. Besthoff, and the Newcomb Art Museum advisory board.
August 24 – December 23, 2017
Public opening reception September 6 at 6:30pm
Members reception September 6 at 5:30pm
My work will be included in several group exhibitions this summer. More information coming soon!
Detritus, San Jose Institute of Contemporary Art
San, Jose, CA (June 25-September 10)
Unfamiliar Again: Contemporary Women Abstractionists, Newcomb Art Museum of
Tulane University, New Orleans, LA
(August 24-December 23)
About Abstraction: Bay Area Women Painters, Bedford Gallery at the Lesher Center for the Arts, Walnut Creek, CA (September 24-December 17)
April 2017-July 2017
Open Ended: Painting and Sculpture Since 1900 at SFMOMA
I am very pleased to announce that 50 Variations, my installation of fifty gouache works on paper, is currently on view at SFMOMA. based on a skeletal or ‘wire-frame’ version of the forms that comprise the vernacular of my paintings. Produced in groups of ten, each group is relative to the previous, yet involves an increase in the manipulation and repetition of particular elements, emphasis on certain features and the preservation of formal details. Installed in a grid, they are meant to suggest a trickle-down effect of information—degrading, mutating and rebuilding over time.
Happy New Year and Best Wishes for 2017
I am very pleased to be included in Squarecylinder's Best of 2016 list.
I am happy to start the year with two group exhibitions:
Untitled, San Francisco, January 13-15
I will have a new piece in the Artadia booth at the Untitled fair in San Francisco. This is a special opportunity for two reasons: first, Artadia was founded in San Francisco, and I was lucky to be among the very first group of Awardees in 1999. Artadia's support, so long ago, made such a difference in my life and career, and I will always be grateful for this terrific organization. Since then, Artadia has expanded to Atlanta, Boston, Houston, Los Angeles and New York, providing unrestricted financial awards and career support to visual artists.
Second, 2017 is Untitled's first year in San Francisco!
The inaugural edition of Untitled, San Francisco will take place at the historic Pier 70 in the Dogpatch neighborhood, January 13 – 15, 2017.
Palo Alto Art Center, January 21-April 9
Reception: Friday, January 27, 7-10 PM
Artist Panel: Sunday, March 5, 2 PM
Artists exhibiting in Spectral Hues: artists + color include: Ann Appleby, Leo Bersamina, Omar Chacon, Freddy Chandra, Amy Ellingson, Eden V. Evans, Kristin Farr, Anoka Faruqee, Marguerite Fletcher, Stephen Giannetti, Mike Henderson, Karrie Hovey, Henry Jackson, Mitchell Johnson, Amy Kaufman, Keira Kotler, Richard Mayhew, Ron Nagle, Ruth Pastine, Mel Prest, Ken Price, Meghann Riepenhoff, Tamra Seal, Jenny Sharaf, Lisa Solomon, Victoria Wagner, and Nancy White.
Forty-five years ago the Palo Alto Art Center opened its doors with an exhibition exploring the conceptual use of color by Bay Area artists. As a continuation of the Art Center’s year-long celebration of its still vibrant service to the Palo Alto community, Spectral Hues examines light and color in the work of today’s Bay Area artists by featuring a selection of works that explore the presence, or lack, of color along with the optical and emotional influence of color on the viewer, and the interaction of light and color. I am very pleased to be included in this exhibition, curated by Sharon Bliss, especially since I'll be in the company of so many artists that I know and admire.
Advance press for Chopping Wood on the Astral Plane
I recently had the pleasure of a studio visit with David M. Roth of Squarecylinder, just as I was finishing work on new paintings for my October exhibition with Eli Ridgway | Contemporary Art at Minnesota Street Project. Click here to read full article.
Exhibition: October 1–October 29, 2016
Opening Reception: Saturday, October 1, 6:00pm–8:00pm
Panel Discussion: Saturday, October 15, 4:00pm
(with Cathy Kimball, Charlotte Eyerman and Amy Ellingson)
Closing Reception: Saturday, October 29, 4:00pm–6:00pm
Recent Press for Untitled (Large Variation), San Francisco International Airport, Terminal 3
Please click headlines to read full articles.
I am pleased to announce the acquisition of 50 Variations by the San Francisco Museum of Modern Art!
50 Variations is a series of fifty gouache works on paper based on a skeletal or ‘wire-frame’ version of the forms that comprise the vernacular of my paintings. Produced in groups of ten, each group is relative to the previous, yet involves an increase in the manipulation and repetition of particular elements, emphasis on certain features and the preservation of formal details. Installed in a grid, they are meant to suggest a trickle-down effect of information—degrading, mutating and rebuilding over time.
I worked on this series from 2008 to 2011 in my San Francisco studio and at residencies at the Ucross Foundation and MacDowell Colony. 50 Variations was exhibited in One Thing Leads to Another: Seriality in Works on Paper at the San Jose Institute for Contemporary Art, November 12, 2011 – February 25, 2012 and in my solo exhibition Field Theories at Shoichiro/ProjeKcts by Projects, November 27, 2014 – January 7, 2015.
I am thrilled that 50 Variations will now be part of the permanent collection at SFMOMA!
I'm very pleased to participate in Resonate: Root Division's Inaugural Exhibition, the first exhibition in Root Division's new home in San Francisco.
With a curatorial focus on engagement and interaction, the value of artistic survival, and shifts in the cultural landscape, inaugural exhibition curators Dana Hemenway and Amy Cancelmo have developed a show that highlights what Root Division does best: present occasions for artists to deepen their practice by creating and exhibiting exciting new works; provide a space for the public to interact and engage with exhibited artworks; afford audiences of all ages ongoing opportunities to create and learn. The featured works in RESONATE will collectively celebrate Root Division, highlight the value and depth of the organization’s artistic community, and its continued beneficial impact on Bay Area sustainability in the arts.
Exhibition Dates: September 12- 26, 2015
2nd Sat Reception: Saturday, September 12, 2015 - 7:00pm to 11:00pm
Gallery Hours: Wednesday-Saturday, 2-6pm (or by appointment)
July 21, 2015
Mural Installation at San Francisco International Airport, Terminal 3 is Complete!
The installation of Untitled (Large Variation) is complete. Many thanks to the San Francisco Arts Commission, San Francisco International Airport and Mosaika Art & Design.
To read about the installation process, see my blog.
To read the San Francisco Arts Commission press release about my project, click here.
To read Mosaika Art & Design's installation blog, click here.
June 8, 2015
Mural Installation Commences at San Francisco International Airport, Terminal 3
San Francisco International Airport, Terminal 3
In July 2010, I was awarded a commission for a large public art project by the San Francisco Arts Commission: a 10’ x 109’ ceramic mosaic mural for Terminal 3 at the San Francisco International Airport. The mural was fabricated by Mosaika Art & Design in Montreal, Quebec. I’m honored to have the opportunity to create a piece for SFO and the City of San Francisco, and I look forward to sharing photos of the construction process. The scheduled installation date is June/July 2015, and the Grand Opening will occur in November 2015.
I will be blogging every step of the way during the installation process.
More soon on this project.
Solo Exhibition: Field Theories
Shoichiro/ProjeKcts by Projects
November 27, 2014 – January 7, 2015
Field Theories consists of a selection of recent works, including two new oil and encaustic paintings, an installation of fifty gouache drawings and a grouping of six oil on linen shaped paintings. The title of the exhibition alludes to mathematical, physical, psychological and sociological concepts. Together, the works in Field Theories address the relativity and interdependency of objects within a dynamic field.
Solo Exhibition: Iterations & Assertions
San Jose Institute of Contemporary Art
June 7 - September 13, 2014
Iterations & Assertions is a group of interrelated works in various media. Together, the works constitute a creative cosmology, with each individual work relaying the same basic informational ‘code’ with varying degrees of digital and material mediation. The exhibition includes a large diptych, Variation: Apparent Reflectional Symmetry, Parts I & II, as well as a site-specific mural, Variation: Large Delineation, and a sculptural installation, Variation: Artifacts, in addition to six smaller paintings and two works on paper. Together, the works address the multiplicity of expressive possibilities within a limited system.