Paul Wackers’‘Slow Wave’ Reviewed in art ltd.
↧
↧
Paul Wackers’‘Slow Wave’ Reviewed in art ltd.
Paul Wackers’ ‘Slow Wave’ art ltd. July/August 2016 review PDF
SAN FRANCISCO
Paul Wackers: “Slow Wave” at Eleanor Harwood Gallery
“Travel should be an art through which our restlessness finds expression,” wrote Ilan Stavans and Joshua Ellison in a New York Times article, “Reclaiming Travel” in 2012. For artist Paul Wackers, recent years of travel have provided a way for him to revisit his art practice with fresh eyes and begin to incorporate new subjects into his already complex still-life paintings. After spending several years in the SF Bay Area where he received his MFA at the San Francisco Art Institute, Wackers recently relocated to Brooklyn and for the last few years he has been attending residencies in Brussels and Norway and personal travel stints to Morocco. His current solo exhibition occupies two large gallery spaces at Minnesota Street Project in San Francisco, hosted by Eleanor Harwood Gallery. The impressive installation included several large-scale paintings alongside sculptural shelves and stands that showcase dozens of ceramic sculpture. Featuring recent and new works, the viewer is clued into his progression from paintings of predominantly interior scenes, to more open tableaux that incorporate landscape and exterior views.
For example, Moroccan Wall (Ourika Valley) (2016) features thick impasto sections of tonal grey that simulates cascading rocks, while a thorny cactus and palmy fronds mimic the arid landscape’s greenery, over which Wackers has inserted a minimal abstract structure and expressionistic spray-painted gestures. In general, Wackers’ paintings offer a definitive nod toward European modernist forebears, particularly Matisse, for his unapologetic use of color and romantic attention to plants and fabrics. There are also references to early cubist still lives and techniques, such as Picasso’s flattening of the picture plain, quirky distortion of shapes, distinct line work, and ceramics. In 2013, Wackers began working in ceramics, crafting pieces which he views as three-dimensional representations of the objects commonly found in his paintings. Each sculpture has its own personality, incorporating a variety of shapes ranging from extruded thick strands in piles to rough-hewn planks squeezed together, off-kilter amphora vases or mushy hand-size forms that simulate rocks or geodes. His dedication to texture pervades the compositions and the sculpture; his signature surface is a smear of expressionistic paint using hard-edge techniques of masking areas to build thick reliefs into geometric shapes, or recognizable referents such as leaves, pots, boulders or textiles. Wackers successfully solidifies the notion that an artist need not be defined by his or her medium, but rather by a shared expression of experiences.
—LEORA LUTZ
↧
Dana Hemenway – Selected Press and Publications
Dana Hemenway, All That Glows Sees, September 10th – October 29th, 2016
About the Artist
Selected Press & Publications
2016
Danica Willard Sachs, SFAQ, Dana Hemenway: All That Glows Sees, October 21, 2016
New San Francisco Art Studio the Savior of the City’s Arts Scene, September 14, 2016
Jeffrey Edalatpour, SF Weekly, Fall Arts 2016: Weird, August 31, 2016
Sarah Hotchkiss, KQED, Artful Dodger: September Swells With Visual Art Happenings, September 1, 2016
Lauren Murrow, San Francisco Magazine, Inside the New Art Studios at Minnesota Street Project, August 2016
Monica Westin and Danica Sachs, Artsy, The Bay Area Artist-Run (and Artist-Centered) Galleries You Need to Know, August 10, 2016
New San Francisco Art Studio the Savior of the City’s Arts Scene, September 14, 2016
Jeffrey Edalatpour, SF Weekly, Fall Arts 2016: Weird, August 31, 2016
Sarah Hotchkiss, KQED, Artful Dodger: September Swells With Visual Art Happenings, September 1, 2016
Lauren Murrow, San Francisco Magazine, Inside the New Art Studios at Minnesota Street Project, August 2016
Monica Westin and Danica Sachs, Artsy, The Bay Area Artist-Run (and Artist-Centered) Galleries You Need to Know, August 10, 2016
2015
Anton Stuebner, Art Practical, Gesture/Fragment/Trace, September 17, 2015
Hannah Leow, ÆQAI, Post Fabrication at Wave Pool Gallery, April 24, 2015
The 2015 Dorothy Saxe Invitational: Tzedakah Box, Exhibition Catalog, Contemporary Jewish Museum, Introduction by Claire Frost
2014
Lauren Murrow, San Francisco Magazine, Twisted Beauty: Dana Hemenway Electrifies the Art of Macramé, August 2014
Kenneth Baker, San Francisco Chronicle, ‘Bay Area Now 7′ review, July 18, 2014
Sarah Hotchkiss, KQED.org, Visual Arts, Wish You Were Here: A Postcard from the LA Art Book Fair, February 5, 2014
2013
Kenneth Baker, San Francisco Chronicle, The other ‘Cats’, August 17, 2013
Heidi De Vries, Engineer’s Daughter, Schrödinger’s Cats, August 19, 2013
Monique Delaunay, SF Art Enthusiast, San Francisco Arts Commission Galleries Passport 2013, October 15, 2013
Jackie Im and Aaron Harbour, 9th Floor Radio, Questionnaire 3 – Dana Hemenway, January 30, 2013
10-Year Anniversary Publication & Alumni Exhibition, Exhibition Catalog, Root Division, San Francisco, CA
2011 Christy Khoshaba, Misson Local, New High-End Valencia Business Scene, October 13, 2011
Liz Glass, ARTslanT, Call-and-Response, August 15, 2011
Emma Spertus and Post Brothers, Artcards Review, SF Artweek: Preview Night, May 21, 2011
Synchronized Chaos Web Journal, Artwork Feature, February 6, 2011
2010
JD Beltran, City Brights, SFGate.com, State of the Artists, May 12, 2010
Between You and Me: Mills College MFA Exhibition 2010, Exhibition Catalog, Mills Art Museum, Essay by Stephanie Hanor
2009
Unreal, Exhibition Catalog, 31 Rausch St Gallery
I.O.U., Exhibition Catalog, Mission 17, essay by Mary Ann Kluth
2007
Erin Garcia, Afterimage, What Are You Afraid of?, Jan/Feb 2007, Issue 34.4
↧
Dana Hemenway’s Studio Featured on NBC News
Dana Hemenway’s studio is featured in the first segment of the NBC news piece on the new Artist Studios at the Minnesota Street Project. Artists moved into studios in July 2016.
Dana Hemenway is the first artist from the MSP Artist studios to also have a solo show at the MSP galleries. Her solo show, “All That Glows Sees” is on view September 10th – October 29th, 2016 at Eleanor Harwood Gallery.
See NBC News clip featuring Dana Hemenway
↧
Alexis Anne Mackenzie – Selected Press and Publications
PRESS
SFWeekly, Creating New Realities with Hand-Cut Collages, November 22, 2016
Visual Art Source, Editor’s Pick, March 2015.
We Heart, Double Life, March 19, 2015.
Kolaj Magazine (Issue 9), Alexis Anne Mackenzie, July 2014.
Rooms Magazine, Alexis Anne Mackenzie, September 20, 2013.
In The Make, Studio Visit & Interview, August 2012.
Fecal Face, “Alexis Mackenzie & Michelle Blade: A Conversation, June 12, 2012.
Contributor Magazine, “The Artist Within”, May 7, 2012.
Little Thing Magazine (Issue 23), Interview/Special Feature, April 2012.
Yen Magazine (Issue 56), Interview/Guest Illustrator, April-May 2012.
Always Sometimes Anytime, Interview, April 19, 2012.
Clark Magazine (Issue 48), Interview, “Les Fleurs du Mal”, May-June 2011.
Doingbird Magazine, Issue 15, February 2011.
Fecal Face, “Bloom & Gloom” Opening Night Photos, January 31, 2011.
Juxtapoz, Studio visit, January 17, 2011.
The Flopbox, Studio visit, January 17, 2011.
Hi-Fructose, The Collages of Alexis Anne Mackenzie, January 14, 2011.
Newcity Art, Art Break: Game Night, October 4, 2010.
ArtSlant, La Lotería, October 4, 2010.
Chicago Tribune, Collage and Cutting Edge Go To College, July 16, 2010.
Tufts Magazine, Afterimage: Short Night of the Glass Dolls, Summer 2010 Issue.
Examiner, A review of On Wonderland & Waste, July, 2010.
Los Angeles Times, Art review: Alexis Mackenzie at POVevolving, April 2, 2010.
KQED, Gallery Crawl: Paper!Awesome!, March 2010.
ArtSlant, Overlap: “Control C, Control V”, July 2009.
Chicago Art Review, “Control C, Control V” at ebersb9, July 2009.
ArtBusiness, “Never Be Sad” Reviews & Opening Night Photos, June 2009.
San Francisco Chronicle, “Don’t Miss: ‘Never Be Sad'”, June 2009.
Fecal Face, Studio Visit and “Never Be Sad” Opening Night Photos, June 2009.
San Francisco Chronicle, Fecal Founder Picks Top 5 Artists, May 2008.
Fecal Face, Interview, April 2008.
San Francisco Chronicle, Studio Visit, March 2008. (original link)
PUBLICATIONS
WIRED, 22.11. In print and online animation. November 22, 2014.
Garden Variety, Ed. Varie. September 2013.
New York Times Sunday Review, Look Carefully At Those Seeds, March 2, 2013.
Little Paper Planes, Chronicle Books, 2012.
Juxtapoz Illustration II, Gingko Press, 2012.
Zeit Magazin, 99 Fragen (print edition), March 31, 2011.
New York Times Magazine, On Language: Pigskin Parlance, January 28, 2011.
Gratuitous Type, Issue 1, Winter 2011.
On Wonderland & Waste, Sidebrow, 2010.
Phoebe, George Mason University, cover artist & poster insert, Spring 2010.
Art for Obama, Abrams Books, October 2009.
The Rest Is Up To You, Chronicle Books, August 2009.
Western Humanities Review, cover artist, Summer 2009.
King Brown Magazine, Issue 5, May 2009.
Instant City, Issue 6: Disappeared, 2008.
Faesthetic, Issues 5 & 6, 2005-6.
Curvy III, Paper Tiger Media Group, 2006.
Chaos Happens: This Is A Magazine, Compendium 3, 2004.
Neomu, Issues 6 & 7, 2003-4.
↧
↧
Dana Hemenway’s ‘All That Glows Sees’ reviewed in SFAQ
↧
Alexis Anne Mackenzie’s ‘Never Odd or Even’ reviewed in SFWeekly
Matthew Harrison Tedford reviewed Alexis Anne Mackenzie’s Never Odd or Even for SFWeekly.
↧
James Chronister Interview with Maggie Haas for Little Paper Planes
San Francisco painter James Chronister laboriously renders minutely-detailed canvases to depict photo-based scenes. Chronister serves as a kind of conduit for these images, translating them with dreamy matter-of-factness, leaving the viewer to search for what in the image is important, or whether the image is the important part of the painting, whether in fact it’s something else.
Read his latest Interview by Maggie Haas for Little Paper Airplanes here:
http://blog.littlepaperplanes.com/now-featuring-james-chronister/?utm_source=rss&utm_medium=rss
↧
Dana Hemenway ‘Researching extension cords & power supply as part of an artistic process’
San Francisco artist Dana Hemenway repurposes utilitarian objects and materials to step outside of their usual function and oscillate between their prescribed use and their new role as art. This stems from an ongoing exploration into their relationship between an item’s value and the environment in which it is presented.
Read her latest interview by Brion Nuda Rosch for 1240 Minnesota Street to learn more about her research process:
https://1240minnesotastreet.com/researching-extension-cords-power-supply-as-part-of-an-artistic-process-1c3b1f5a43e0?utm_source=rss&utm_medium=rss
↧
↧
Tiffanie Turner ‘Paper Flowers: The Global, Ancient Roots of a Contemporary Maker Fixation’ in Architectural Digest
Tiffanie Turner is a botanical sculpture who depicts the appearance of different plants, mostly flowers, to some degree of accuracy, in paper, using both realism and preternaturally large, sometimes metastasized forms.
Read about how Tiffanie has contributed to the rich history of paper flowers in this article by Architectural Digest:
https://www.architecturaldigest.com/story/paper-flowers-the-global-ancient-roots-of-a-contemporary-maker-fixation?utm_source=rss&utm_medium=rss
↧
Jenny Sharaf: Occupy Paint by George Lawson
Jenny Sharaf: Occupy Paint
I met Jenny Sharaf while putting together a painting group show for the gallery, co-curated with Donna Napper of the San Jose Institute of Contemporary Art. The emphasis of the grouping was generational, with the broad intent (to use the phrase that came out in our exploratory conversations) to showcase people simply doing interesting things with paint. With this in mind, Napper suggested I pay Sharaf a visit. I ended up picking a few pieces for the context of the show, while coming away with the impression of a body of work far too complex to adequately represent with two or three paintings.
As an artist, Jenny Sharaf has a practice that is by no means limited to making paintings though she has been painting quite a bit lately. She has left a trail of bread crumbs, a kind of conceptual backdrop for her current immersion, with a series of narrative forays in other media—video, collage, installation, fashion, social activism—all organized around feminist principles. Collectively, these early works form a critique of inherited images of the self, the trappings of glamour and gender stereotypes. In context, her high sheen enamels would seem to constitute a reduction sauce of the nail polish, lip gloss, patent leather and prep that go into the dubious art of man-appeasing.
It is not so much that Sharaf has set out to make formal paintings per se, but rather to utilize paint, with its malleability, seduction, and penchant for anthropomorphism, as a stand-in for the same qualities operative in any emerging sense of identity, but particularly in a woman’s development of her social projection, her image. Men are easy targets and the debunking of media-driven and institutionalized standards might be low hanging fruit, but the idea of bringing paint to such a contentious battle, like bringing a knife to a gun fight, strikes me as pretty gutsy, and in Sharaf’s case, rather effective.
Broadening her arena beyond the voluntary constraints of the canvas, Sharaf’s approach to her medium reminds me of the accomplishments of precursory artists, proto-feminists such as Judy Chicago with her elevation of ceramics and Lynda Benglis with the territorial imperative of her floor pours. Sharaf has explored an array of unconventional supports for her paint, from printed fabrics to mirrored vanity cabinets, and worked with fully dimensional installations in gallery and near-gallery venues, but perhaps nowhere as effectively, in terms of social engagement, as with her public murals. In public, her high-keyed chroma and reflective surfaces come across like interventions, and carry all the disruptive punch one would expect from an artist who intends to occupy the issue.
The issue at hand (or content), in the forum defined by the formalisms of art practice, gets rolled out both as motif and as the means of making. Succinctly put, if the issue of feminism is inequality, the motif is compensation, and the means is compensatory power. The surprise is how much power there is in Sharaf’s color, in the lava-like flow of her viscous paint, and in the broad-based applicability of her surfaces. Like graffiti tags, they won’t lie down and behave. They publish themselves. Significantly, though, they do so without the usual vulnerabilities of short shelf life and over specific reference that plague most identity politics in the arts, or the conventions, whether canonized or hackneyed, of most street art. The trajectory of Sharaf’s expression seems to arc toward a common denominator, but with a highly individuated moral compass. Perhaps this is the goal of all ethical practice.
To gauge the success of her endeavor, it might seem we must then use a two-fold measure, one for social activism and her advancement of the cause, and one for art history and her pushing of the envelope, but in fact, by adapting an abstract language to carry narrative content, Sharaf has integrated the two pursuits to the point that all we need do is mark the growth of a promising career.
George Lawson
San Francisco, August 2015
↧
Tiffanie Turner ‘These Incredibly Realistic Flowers Are Actually Made of Paper’
Tiffanie Turner’s blooms are no ordinary crepe paper flowers, the ones you’d find in craft stores. They’re often large-scale and extremely detailed; one piece can take her anywhere from 250 to 400 hours to complete.
Read more about Tiffanie’s process of paper flower making in this article by Creators for Vice:
https://creators.vice.com/en_us/article/wj5e8n/incredibly-realistic-flowers-paper?utm_source=rss&utm_medium=rss
↧
Alexis Anne Mackenzie ‘In The Make’
Alexis Anne Mackenzie’s collages are a meditation on the world and the duality of nature. The unifying theme in her work is the natural life cycle of things, ranging from plants and animals to objects, emotions, and relationships. She also addresses the duality of things: beauty and grotesque, lightness and darkness, etc. All of these things rely on one another to exist.
Read about her process and get a sneak peak into her studio in this interview by ‘In The Make’: http://inthemake.com/alexis-mackenzie/?utm_source=rss&utm_medium=rss
↧
↧
Erik Parra ‘Liquitex Research Residency Studio Visit: Review As Dialogue” by Leora Lutz
Glossary recently met with San Francisco based artist Erik Parra at his Minnesota Street Project (MSP) studio. Parra is one of four artists recently awarded a residency at MSP, sponsored by Liquitex, as part of their Research Residency Program. The program coincides with the July 2017 release of their Cadmium-free heavy body paints. The award included a studio space for three months and hundreds of dollars’ worth of Liquitex product for the artists to use
Read more about his process and more about his studio in the full interview by Leora Lutz here: https://www.glossarymagazine.com/art-reviews/erik-parra-liquitex-research-residency-studio-visit-review-as-dialogue?utm_source=rss&utm_medium=rss
↧
Dana Hemenway ‘My Art Collection As My Children | Larry’s List’
Christina H. Kang, a collector of Dana Hemenway’s work, has shared with Larry’s List how her art education and multicultural background has influenced her perception in art, as well as how she would feel bad to keep her “children” in storage.
Read the full article here: http://www.larryslist.com/artmarket/the-talks/my-art-collection-as-my-children/?utm_source=rss&utm_medium=rss
↧
Dana Hemenway ‘The Hustle: An Artist With Four Jobs and a 380-Mile Commute’
How artist Dana Hemenway makes ends meet living and working in the Bay Area.
“We’re trained as artists — and perhaps even more so depending on your class, or gender or race background — to not ask for things,” Hemenway says. “Always ask.”
Read and listen here: https://www.kqed.org/arts/13826589?utm_source=rss&utm_medium=rss
↧
Tiffanie Turner ‘A Botanical Sculptor Seizing Floral Moments’
Dynasty Infight Magazine of China Airlines recently reviewed Tiffanie Turner and her practice.
“Paper is the preferred medium for American artist Tiffanie Turner, with these, she sculpts her vision of paradise, adding small pieces of paper over and over to form large and small blossoms. In doing so, she creates her personal floral vocabulary.”
Read the full article here Tiffanie Turner for Dynasty Magazine
↧
↧
Kirk Maxson – In the Garden, Shelburne Museum
Kirk Maxson’s remarkable work with foliage and flowers is apart of Shelburne Museum’s exhibition ‘In the Garden’. His piece, Gwen, is an homage to the late LGBTQ Gwen Amber Rose Araujo who was killed for being transgender.
“Eighty percent of Earth’s plants produce eye-catching, fragrant flowers to attract insects, which in turn act as pollinators. Over the course of millennia, these symbiotic relationships have resulted in the evolution of an endless array of colors and shapes of both flowers and insects. Featuring fine art, textiles, jewelry, and the bodies of actual insects, this exhibition explores the various ways flowers and bugs have captivated artists’ imaginations over the last five centuries.”
Read more about the exhibition and how to visit here: https://shelburnemuseum.org/exhibition/in-the-garden/?utm_source=rss&utm_medium=rss
↧
Erik Parra – History by Choice at Eleanor Harwood Gallery
In this Shotgun Review, Charmaine Koh reviews Erik Parra: History by Choice at Eleanor Harwood Gallery in San Francisco.
Read the entire article online here
Erik Parra: History by Choice at Eleanor Harwood Gallery | Art Practical
↧
Kirk Maxson – Playing Wingman for Victoria’s Secret
Kirk Maxson was recently interviewed by Fashion Magazine about his work with Victoria Secret. For the 2017 Victoria’s Secret show in Shanghai, there were 55 models from 20 different countries participating in the biggest catwalk the lingerie company has produced in its 22-year show history. There were 88 looks and 38 sets of wings, including... Read more »
↧
More Pages to Explore .....
