28 April 2016

chroma doilies - redeux

so remember chroma? and a small doily installation i made for that show?
well, walter maciel gallery has a booth at artmarket [FRIDAY + THIS WEEKEND - are you going?] and there was room for me to install it in their booth. of course i decided it had to be in a different configuration this time. red row on top to white/black row on bottom [instead of left to right]


being silly, just about to install

first row up ! so... they use plywood walls at these fairs. because they are temporary and durable. pins into plywood = not so fun. but i was ready. bandaids and wrist band....

a little over 5 hours later...


voila. [the air was on and kept moving the strings. leaning strings]


the whole booth flows pretty nicely. 






if i didn't show you the shadows you would think there was something wrong with me right?


if you have a moment - go. there will be a lot of art. from a lot of places. i'm in good thread company in walter's booth with robb putnam and nike schroeder, but there are other GREAT pieces too. 

happy almost weekend



19 April 2016

kelly inouye at in*ter*face gallery


i had the pleasure of viewing kelly inouye's recent show at in•ter•face gallery last week. 

kelly's recent watercolor work is all about the television sitcoms she grew up watching as a kid. if you are of a certain age [and i am], many of her depictions immediately cause a swell of nostalgia... afternoons, evenings, after school slots filled with plot lines, characters that became surrogate friends, or enemies, or objects of desire or admiration.


as anyone who has used watercolor knows. it's a fickle medium. capable of producing effects like no other, but with a HIGH potential mess up threshold. in fact when talking to kelly she mentioned that sometimes she needs 5 hours straight to complete a work [or at least get it to a place where she can leave it], because anything less will generate a failure.  


kelly always divulges that she uses a light box to paint on top of screen/image stills from the shows. i find this part of her process intriguing. it allows her to be very free with the medium, and as "accurate" as she chooses. it solves logistical problems - no pencil to erase, no struggling with proportions. i'm always amazed at how she is able to both create a likeness an distort it. 

part of what haunts me about her work is that it hovers in this space of almost realism. just as the characters and plot lines of the shows hover in my memory. the materiality and the fact that she removes the characters from any background forces me into an even more sentimental space. 


i love, too, that kelly often chooses scenes or characters that speak to personal issues that are meaningful to her and thus meaningful to an audience - feminism, family love/dynamics, loneliness, social constraints, motherhood all come to mind. the fact that some of these shows can be both so behind and so ahead of their times is an interesting socio political point to contemplate. 


for this exhibition kelly chose to hang her palette pieces. these are created simultaneously to the figurative work, and clearly evoke and contain the same colorways at the "final" pieces. abstract in nature they often record her attempts to get a color "just right", or a practice run of generating a pool of paint to operate "just so". since i'm a closet wanna be abstract expressionist, they appeal to that sensibility in spades.

she remarks that she loves the freedom and immediacy in them. i concur. they are beautiful as color stories. they are so much freer and open than the figurative work. when they hang side by side a completely other narrative develops. the figurative work can not be made with out them, yet they can clearly exist separately. i'm intrigued by this notion of "pre-work", not the "real" work becoming a thing in and of itself. i also love how they inform one another. 


isn't the light and the brick wall in in•ter•face so lovely??? 

i was so excited to see the hanging system that was developed for these. they are mounted on foam core and "floating" on the wall. this creates the idea of a frame without having to place the work behind a frame. of course watercolors are more fugitive and fragile than other mediums and these would need to be framed for long term viewing - but i was so happy to be able to see the work up close. to sense the tactility of the paper; to view up close the means by which water alters the density and path of the pigment. 


in a new twist kelly actually put some of her palette markings ON this good times piece. this was definitely one of my favorites in the show. first because of the scale. watercolors taken out of their plein air, tight, small tradition always make me giddy. the way kelly rendered the clothing in this one makes my heart swoon. [that plaid ! OMG. i actually saw other versions of this piece in her studio and every time i had the deepest desire to steal it.]. the tenderness in this scene is also just so genuine. there is nothing sticky sweet or over the top about it. and the addition of the abstract marks - the joining of two practices that had to this point mostly been kept separate is very exciting. she mentioned that it was partially an aesthetic choice - the piece just needed more... but i also think it's a development that could serve her well in her next body of work. 

sadly last weekend was your last chance to see the show, so i can't encourage you to go get some artisnal donuts or ice cream in the temescal alley an check it out. but you can for sure look at kelly's website. or if you are headed to the sunset you can support irving street projects [yes ! where i completed the keepsake project] and go to an amazing event - kelly's studio is also there. 

05 April 2016

the morning i ran through the broad


the other weekend i was down in LA to celebrate the TEN YEAR anniversary of my dear friend and gallerist Walter Maciel. it was a very fun evening, great art, great food, funny toasts. i was only there for one night and had a few hours to kill before my flight sunday morning. all the paid tickets to The Broad were gone, but i heard you had a good chance to get in if you stood in line. so at 9am i got there. at 10am the opened at 10:15 they let the first 70 of us in. hurrah.

i wasn't able to get into kusama's infinity room - wait time 2 hours - 2 hours i didn't have. but luckily i experienced that in NY at the whitney years ago, so i didn't feel too bad.

it's amazing to think that this is ONE couple's collection. talk about grand. but the museum is FREE. and the inaugural exhibition is quite literally an art's greatest hits. there are no duds. no nobody's on display. and the building itself spectacularly showcases the work. 

here were some of my favorites:


chris burden







ed ruscha. [an imagine my happiness to see this NORMS piece in particular]



robert therrien - this is actually a GIANT table. you walk under it. i couldn't help but think about how when i was a kid i graffitti'd under our coffee table [my parents didn't know]. this sculpture could have used some gum or writing under it to give it that final touch.


oh jeff koons - there was a kid that made a beeline for this. totally cracked me up. 


an amazing selection of joseph beuys work. paired with anslem kiefer - an obvious choice, but none the less made a pretty engaging room.





the surprise for me was how much i really loved the john baldessari's - somehow i always forget about him. 




christopher wool [that drip did it for me. i forget how much he reminds me of lichtenstein. the whole i've done this by hand, but it doesn't look like it, but in case you don't believe me, here's a slip up thing]. 
glen ligon [these are really moving in person]


keith harring - paired with 


basquiat - another obvious, but still good pairing. 



kara walker



the big bad boys damien hirst and andreas gursky seemed so very right together too. 





i will never tire of julie mehretu - her work is a mass of a million small perfect moments that become a mass of a perfect giant moment. 





 el anatsui

a panorama of when you enter the top floor. it's so massive. 



exiting through the gift shop i couldn't help but wonder what keith would have thought of perfumed candles decorated with his imagery. if they were ironic i think he might have been OK with them? but there was NO IRONY to be found. 



and then this moment. caught right before the ensuing tantrum, i was blessed with the sighting of one small princess, gingerly assisted by her father down the stairs. 

it feels like both the LA and san francisco art scenes are being infused with new energy. it's exciting. go west coast. [come on people throw up the hand sign with me]. 

20 March 2016

bus benches in North Oakland

UPDATE : bench warming cancelled today due to rain rain rain. will let you know when it's rescheduled. 


so the entirely fabulous ellen lake started a bench project art piece last year... replacing those ugly place your AD here benches with pieces of artwork. and she got funding from the city of oakland to keep it going this year. 

she asked me to contribute and so i immediately thought what better than some granny squares? i made some and then i painted and embroidered them. i thought it'd be funny to make what is normally seen as sort of an uncomfortable waiting station into something homey and inviting.



these are on the corner of standford and market - they'll be up for months. i can't wait to see people interacting with them. i saw someone sleeping on another artist's bench. it looked great. 


there's a little reception today [although with the rain we might be postponing?] at 4pm on MLK and Arlington. here's the facebook event


more info on the benches and the other artists involved [there are some really beautiful ones!] is here
and a map to all of them is here

if you have reason to sit on my benches and snap a pic i'd LOVE to see them ....



here's jodan bickett's take

08 March 2016

senjukannon at Atelier // truckee


i spent the last part of last week and most of the weekend in truckee. i had never been there. man it's pretty. snow is so nice to look at. [luckily i did not have to drive it in]. 


i didn't have too much time to explore. but there were some really great signs.  



right?
if you find yourself there - go to dark horse for some good coffee


i was there because the very kind folks at Atelier [they also run Bespoke - both of which are BEAUTIFUL stores] invited myself and courtney cerruti to put on an exhibition, teach a class, and to host the kick of for their #socialsketch #sketchevent


i've never been known to turn down free reign on a 25 foot wall. i have been wanting to do an installation with buddha hands. i was given a sizzix big shot and a custom die. so i created a die with 4 sizes of the buddha hands. then i found 5 different gold papers and cut out over 1000 hands to work with. the sizzix makes for pretty quick cutting - even 1000 hands didn't really take that long. 


using wheat paste i placed the pairs of hands on the wall.


i was thinking a lot about traditional japanese screens [hence the gold] and the way that clouds/waves were often laid out on the screens. 


i had 2 days to install if i needed to, but decided i'd just go for it and did it all in one day. one very long 17 hour day. [don't think i'll be doing that again soon]. 


one of my favorite parts is the corner... i love activating and utilizing that space. 


i'm really happy with how it turned out. the way the different golds and sizes work together. the way it flows from floor to ceiling. 


the kindergarten aged son of the store owners came in and asked me why i was doing it. good question. he also thought they looked like llamas. which i loved. he also thought that i was doing an insulation instead of an installation. "mama - why is she doing that insulation". best quote ever. 


atelier has a need macrame wall that divides the store from the gallery space. 



it was basically impossible to get a whole shot of the whole piece... so warped panorama it is. 


courtney came and installed sweet watercolor paintings of hands. 


friday night was social sketch. can you spy pup charlie?
 

 i did a sketch of him for warm up.


saturday we taught a class - image transfers + embroidery. that was really fun !


and people made GREAT stuff. 


this abstract piece was by kelly - who coordinates the workshops and gallery at atelier. 

it was an exhausting trip, but i always feel so so so lucky that my work takes me to interesting places and that i get to meet such wonderful inspiring people too. 




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