|
Exhibitions
White & Texture & Paper & Fiber
I am thrilled to be participating in two show on opposite coasts which aim to share artworks that center on some of my specific interest in artmaking.
“White & Texture” at the Cultural Center of Cape Cod:
“Subtitled Monochrome Unity, we invited artists to explore the profound subtleties and striking complexities of using white as the driving color and how texture within the white and informs the execution and the narrative of an artwork. We wanted them to explore the effect of this limitation – without a “conventional” color palette.”
“White Zip”
“Paper & Fiber: Fourth Annual Show” at 1202 Contemporary in Gilroy, California:
“1202 Contemporary proudly presents its 4th annual Paper + Fiber show, celebrating two mediums that women artists have traditionally used for centuries, but have always been considered “craft,” or less than fine art. Uplifting and supporting artists who have worked in textile, fiber, and/or paper mediums, this exhibition centers and hones in on the theme of figure.”
“Into The Bush”
“Profusion”
Art Centers and the Like: The HeART of Art
Art and Cultural Centers are amazing places.
They are CENTERS. Centers of art and culture to be sure, but also centers of learning, personal and collective growth, education, care, community, cooperation and love.
Amazing to show in, but especially amazing in the services they provide, the opportunities they offer and the roles they play for their near and far communities.
I am going to explore these worthy and precious resources and entities in the next few posts, but firstly, I need to get my arms around them in a big, collective heARTfelt hug!
I will add to, or write further interactions of this post over time. I would also like to write about Libraries, College and University Art Galleries and smaller galleries as exhibition spaces and hubs of community and world culture.
These are the art and cultural centers I have shown in over the last few years, essentially since 2018:
(I included some very special organizations such as Blue Roof Studios, Shoebox Arts and ArtShare LA in Los Angeles, CA, “We Are The Arts”/The Arts Council of Fayetteville|Cumberland County in Fayetteville, NC, the Hera Educational Foundation and Gallery in Wakefield RI, and the Springfield Art Association, in Springfield, IL, even though they don’t have the word “CENTER” in their monikers, as I believe they serve many of the same heART-FULL functions as those that do.)
18th Street Arts Center, Santa Monica, CA
O’Hanlon Center for the Arts, Mill Valley, CA
Webster Arts, Webster Groves, MO
Intersect Arts Center, Saint Louis, MO
The Dairy Barn Arts Center O’Bleness Gallery, Athens, OH
Umpqua Valley Arts, Roseville, OR
The Cultural Center of Cape Cod, South Yarmouth, MA
Springfield Art Association, Springfield, IL
The Korean Culture Center, Los Angeles, CA
“We Are The Arts”/The Arts Council of Fayetteville|Cumberland County, Fayetteville, NC
Artworks Center for Contemporary Art, Loveland, CO
ArtShare LA, Los Angeles, CA
Shoebox Arts, Los Angeles, CA
Kelso Art Center, University of Incarnate Word, San Antonio, TX
Tubac Center for the Arts, Tubac, AZ
Sebastopol Center for the Arts, Sebastopol, CA
The Irvine Fine Arts Center, Irvine, CA
The Louise Hopkins Underwood Center for the Arts, Lubbock, TX
Hera Educational Foundation and Gallery in Wakefield RI
Blue Roof Studios, Los Angeles, CA
San Francisco Center for the Book, San Francisco, CA
The Center for Contemporary Art, Bedminister, NJ
Yeiser Art Center, Paducah, KY
Brand Library and Art Center, Glendale, CA
The Minnesota Center for Book Arts, Minneapolis, MN;
Foothills Art Center, Golden, CO
Joy in Evidence at Intersect Art Center
“EVIDENCE OF JOY” is a group exhibition at Intersect Arts Center curated by April Parviz, who says:
“Today I went to the doctor. On the sign-in station there sat a small snowman made from an old salt and pepper shaker. His head was a little styrofoam ball. His hat was the lid of the shaker, and inside his little bottle tummy were a bunch of what looked to be miniature cotton-balls. As I waited to be checked in, I observed the fact that someone had made it. She didn’t have to. But she was perhaps feeling the joy of winter, and she wanted to share her joy. The snowman wasn’t sitting in her home, it was sitting here, for me to enjoy. And I did enjoy it. The reflection that she had experienced joy in making it, and the fact that she had done it selflessly, with no expectation of thanks, brought me joy.
After my reflection on the sweet little snowman, I began to see evidence of someone else’s joy, intentionally being shared with strangers, everywhere I went. The person in the house five doors from mine, has a little jar of complimentary dog treats out on a bird feeder hanger in their yard, right by the sidewalk. People have lovely seasonal wreaths hanging on the outside of their front doors, not on the inside. Painted rocks are mysteriously left in people’s gardens by strangers. I’m sure that now I’m aware of this, I’ll be seeing evidence of joy everywhere. And strangers will discover footprints of my own joy, making their footprints joyful too.
When I look at the current world of art, I feel like I see a lot of evidence of many inspiring things, but not always so much joy. I know in my own art practice, I am often fueled by loud palpable emotions like pain and confusion. Perhaps if I begin practicing using joy as fuel, I will begin to do it more habitually. Perhaps if we practice seeing joy more we can become habitual joy detectives.
Show me all the joy! I want to see and share artwork made in joy, artwork made upon discovering evidence of joy, and work that is just pure joy to look at! “
The show puts together visual works and text which come together to create and offer Joy.
such as this poem by the inimitable
Mary Oliver, 2017
“If you suddenly and unexpectedly feel joy,
don’t hesitate. Give in to it. There are plenty
of lives and whole towns destroyed or about
to be. We are not wise, and not very often
kind. And much can never be redeemed.
Still, life has some possibility left. Perhaps this
is its way of fighting back, that sometimes
something happens better than all the riches
or power in the world. It could be anything,
but very likely you notice it in the instant
when love begins. Anyway, that’s often thecase. Anyway, whatever it is, don’t be afraid
of its plenty. Joy is not made to be a crumb.” — Mary Oliver, 2017
VIEW THE CATALOGUE to see and read more
SEE THE SHOW PAGE!
SEE THE SHOW VIDEO!
I am thrilled to have two pieces in the show:
Narrow Bridge, 5.5 x 16 x 3.5″, board, paper, fabric, linen thread
and
BedTime Story, 12 x 28 x 8.5″, book board, textiles, cloth, clay, beads, hemp cord, watercolor paper
SEE THE SHOW PAGE!
SEE THE SHOW VIDEO!
VIEW THE CATALOGUE!
WOMEN : Defining Our Representation and Making Our Mark
Every Year is the Year of the Woman!
Here are two inspiring Artist Roundtables from two inspiring shows I am proud to be a part of:
Women. Defining Our Representation
Presented by Black House Artist
See and listen to the ARTIST ROUNDTABLE!
My roundtable presentation in good company!
and
Women Artists Making Their Mark
Presented by The O’Hanlon Center for the Arts
See and listen to the ARTIST ROUNDTABLE!
INTERPLAY of Texture, Color, Form and Materials
INTERPLAY, the Surface Design Association exhibition at the The Dairy Barn Arts Center’s O’Bleness Gallery
I am thrilled to participate in INTERPLAY, organized by the SDA!
(The awesome Surface Design Association!)
Presented at the The Dairy Barn Arts Center’s O’Bleness Gallery
8000 Dairy Lane
Athens, OH 45701
June 28 – September 5, 2024
Opening Reception:
June 28, 6 – 8PM
I am showing:
“Rent Wound Tear, Mend Heal Repair”
64 x 68 x .5″, (variable), canvas, paint, hemp cord, string, lace
SEE THE SHOW HERE!
Interplay presents works that explore parallels, synergies, or tensions between two or more ideas. Artworks may examine connections between seemingly unrelated concepts, map relationships between maker and materials, or reflect interactions between maker and tools. Works employ traditional, interdisciplinary, or collaborative methodologies.
Honoring the diverse range of approaches within fiber art and highlighting the rich tapestry of multicultural links, Interplay looks toward a future informed by the past, bringing together ideas for fresh reflection, reinterpretation, and deeper understanding.
Juror:
Due to her inimitable curiosity, Annet Couwenberg has pursued the ongoing conversations between traditional textile production and digital technologies throughout her art and teaching career. Couwenberg’s art, informed by her early work in the fashion industry, is diverse and includes sculptural forms and jacquard weavings as well as work with fish fossils and skeletons inspired by her study with a fish scientist as a Smithsonian Artist Research Fellow at the National Museum of Natural History. Couwenberg’s interdisciplinary work has demonstrated her capacity to create new realms. As a researcher of both traditional textiles and emerging techniques, she embraces a multi-directional knowledge exchange between new and established, creating art that visualizes methodologies to protect and preserve traditional practices while also expanding upon them. Born in The Netherlands, Couwenberg moved to the United States to receive MFA degrees at Syracuse University and Cranbrook Academy of Art. She has worked internationally, including in Korea, Turkey, Germany, Italy, Portugal, Poland, and The Netherlands.
Mark your calendars for Wednesday, July 31, 2PM ET for the Interplay Textile Talk and be on the lookout for our online gallery – links coming soon!
SEE THE SHOW
LISTEN TO AND VEIW THE Interplay: Limitless Connection TEXTILE TALK
|
|||||||||
|
