The Tarfest 2020 Launch LA TRANSITION exhibition was such a great experience to participate in, and one of the joys was to meet, view and celebrate many wonderful artists.
This post is my tribute to some of my favorites.
Artist
By Debra Disman
The Tarfest 2020 Launch LA TRANSITION exhibition was such a great experience to participate in, and one of the joys was to meet, view and celebrate many wonderful artists.
This post is my tribute to some of my favorites.
By Debra Disman
I am honored to show two pieces in The Book As Art v.8: Infinity
exhibition happening:
August 28 through October 17 | virtual tour only
The Periodicals Gallery of the Decatur Library
215 Sycamore St., Decatur, Ga. 30030
The Book As Art v.8: Infinity is installed at the Decatur Branch of the DeKalb County Public Library, and virtual tours, artist talks, and more will be provided throughout its run. Check out the catalog, and remember, these works are available for purchase!
I am showing: “PRAIRIE“and “MAXIMUM SECURITY” below.
“Held in the hand, a book can be a source of stability in unsettled times. Tactile and olfactory, the black and white pages conjure emotions and images that endure longer than flickering light on small screens. From tablet to folio, papyrus to scroll, song to psalm—all are created as a concept that becomes thought, becomes word, becomes book, becomes sculpture. These objects, in an increasingly digital world, stubbornly survive. The objects in this exhibition will interpret the concept of the book and invite the viewer to look beyond the printed page to where ideas, words, and symbols are transformed and are transfigurative.
They are expressive, expansive and iconic. They have become form, and are infinite.
The Book as Art v.8: Infinity is the eighth edition of this critically acclaimed artists book exhibition established by the Decatur Arts Alliance in 2013. Entries hail from across the United States and around the world, and from emerging artists as well as recognized masters in the genre. The Book as Art is pleased to present these examples from the finest in the field.”
Oct. 7: Artist Talk with Valerie Aranda and Clemente Orozco Farías
Oct. 14: Artist Talk with Stephanie Russ and Isabelle Fleurelien
Oct. 21: Artist Interview: Peggy Johnston
Oct. 28: Artist Showcase and Discussion: Nicole Polonsky, Christian Feneck, Chris Revelle, Debra Disman
By Debra Disman
I am thrilled to be part of the exhibition “TRANSITION“, presented by Tarfest 2020, produced by Launch LA, and juried by the wonderful Holly Jerger, curator for Craft Contemporary.
I am showing:
“Torrent and Tangle: Keep Your House In Order”
Location:
Merry Karnowsky Gallery
170 S. La Brea Ave
Los Angeles, CA 90036 United States + Google Map
https://www.facebook.com/LaunchLA/videos/2350520525255774/?comment_id=2351347821839711¬if_id=1598253654604511¬if_t=feedback_reaction_generic&ref=notif
By Debra Disman
It has been a joy to participate in a number of exhibitions and artist talks over the past several months.
Partially due to the current pandemic, shows, panels, artist talks and more are being put online, and made accessible to the public at no cost to the viewer/listener.
We hope that these offerings support energy, spirit, imagination and creativity, as well as health and resilience, during this unprecedented era.
By Debra Disman
The exhibition, “Drawing Connections” February 10, 2020 – August 7, 2020 at the 18th Street Arts Center (Airport Campus has drawn (pun intended) to a close. But it lives on in documentation, the video of the show below, the works of the artists who participated, and the words of those who organized and responded to it.
Thank you curator Frida Cano, and the incomparable 18th Street Arts Center!
“Drawing Connections aims to trace the invisible networks between a selection of current artists in residence at 18th Street Arts Center, both from our 18th Street campus and our Airport hangar. The show highlights how artists from different backgrounds and whose practices range from traditional to experimental art can dialogue through one of the earliest and most fundamental tools for human expression, drawing. This process of mark-making reveals the initial creative impulse that may later take the form of a video, a performance, a piece of music, an art installation, a painting, or a drawing itself. This curatorial exercise intends to delve into the essence of the multivalent creative practices of the artistic community of 18th Street Arts Center.”
Art historian Susan Power writes:
“Defined in art historical terms by its materials— works on paper in pencil, charcoal, chalk, ink, watercolor, and so on—drawing encompasses a broad spectrum of human activity across time and culture. Ubiquitous and perennial, drawing crosses the boundaries delimiting disciplines and geographies. Drawing connects us over the ages to our earliest human ancestors and our childhood selves. Even the etymology of the word, related to the verb “to draw” and deriving from Old English “to pull,” can have a plethora of meanings—drawing arms and drawing blood are two, which tragically jump to mind during these incredibly challenging times. Within the context of our current crises, the very premise of the 18th Street Art Center exhibition “Drawing Connections” takes on unanticipated significance, as do so many other activities often take for granted in our daily lives.
The first open-call cross-campus exhibition since 18th Street Art Center expanded its residency program to the Santa Monica Airport locale in 2019, “Drawing Connections” sought (seeks?) not only to showcase the fertile dialogues between work by all their artists in residence, whose practices cover a myriad of approaches, but also to encourage encounters and conversations among the artists and outside communities. Occupying the two wide corridors running the length of the former airplane hangar, the exhibition space invites circulation and exchange, luring artists out of their adjacent studios to mingle with fellow artists, art world professionals and enthusiasts, friends, neighbors and visitors from afar. But the ways we now connect have also undergone a radical shift with the existential threat of the pandemic. The participatory, experiential dimension of “Drawing Connections” was thus short-lived due to the sheltering-at-home orders in effect since mid-March.
The practice of drawing involves making connections—between the physical and the mental, hand or body and mind, concept and form, observation and imagination, perception and thought, interior and exterior. Reflecting on the conceptual underpinnings of the show, the exhibiting artists contributed work that engages with the medium in all its diversity, representing an astounding array of concerns. Together, the multi-generational group of twenty-five artists offers a remarkable cross-section of approaches running the gamut from traditional to experimental, from intimate and personal to interactive and collective. Together, the artworks converse across materials and techniques, complicating any notion of media-specificity, exploding any sense of unity inherent to drawing, and opening it up to endless possibility.”
Featured artists: Deborah Lynn Irmas, Dan S. Wang, Luciana Abait, Debra Disman, Judith Gandel-Golden, Gwen Samuels, Luigia Gio Martelloni, Julia Michelle Dawson, Lola del Fresno, Loren H. Harris-Heller, Joan Wulf, Doni Silver Simons, Pamela Simon-Jensen, Crystal Michaelson, Daniela Schweitzer, M Susan Broussard, Yvette Gellis, Encounter, Rebecca Youssef, Alexandra Dillon, Melinda Smith Altshuler, Nellie King Solomon, Rebecca Setareh, Ameeta Nanji, and Claudia Concha.
By Debra Disman
“How does materiality represent who we are? Does the material you use dictate who you are as a maker? How does medium speak to who you are as an individual?”
I am honored to participate in the show “Material Identity”
In the exhibition Material Identity, 27 artists and makers from 3 countries and 16 states explore the substance of material, paying special attention to their place in the world, either from a focus inward, or how they identify in society at large. This international exhibition was juried by Jiseon Lee Isbara, Otis College of Art and Design, and Jessica Kooiman Parker, Boulder Dairy Art Center.