LandEscape Art Review (cover and interview)

LandEscape Art Review, Special Anniversary edition 2015, (cover image) and personal interview by curators Dario Rutugliano and Josh Ryder.

A big thanks to Dario Rutugliano and Josh Ryder, and to all others at LandEscape Art Review!
 

SCOPE: The Southern Landscape at Visual Arts Exchange, Raleigh, NC, June 5th-25th

I installed, Runoff Verdure,  a jacquard woven photo tapestry and fiber-based drawing installation, at the VAE in Raleigh, NC.  

First Friday Reception: June 5, 6-10pm

First Friday Reception: June 5, 6-10

The Exhibit: 
The South is emerging as hub for creativity. Recently Raleigh adopted a vision to become the Southern Capital for Arts and Culture. To showcase the best artwork from the region here in Raleigh, SCOPE features variations on the southern landscape; looking at the region through the eyes of its artists. Works feature visual interpretations of metropolitan, coastal and rural areas of the southern states.

Artists/Artworks in exhibition

Sleeping Through the Dream, Exhibiting at Hyde Galleries, Memphis College of Art, May 20 – July 31

I was recently asked to look at the work of 166 talented artists and pick 40 for a show. The results? 126 disgruntled artists muttering “What does he know?” And they’re right! What do I know? Please keep that attitude, my fellow artists. You have many victories ahead. As for the rest of you, please savor. This is a wonderful show. Inspire each other, secretly know you’re the best one and keep trudging out to that studio every day. I’m very happy to see such a perfect storm of creativity roaring across the South.   – JUROR, Wayne White

Number: Presents Art of the South  2015 

Opening Reception, May 29 Trolley NightMay 20 – July 31
Memphis College of Art, Hyde Galleries, 477 South Main, M–F, Noon–5pm, Sat, Noon–7pm

35th Bradley Biennial - International Print and Drawing Exhibition

Two of my works were juried into this international print and drawing exhibition (Clouds One through Eight of Nine, Punched and Don't Go There.)

35th Bradley International Print and Drawing Exhibition
March 7th – April 17th.

Heuser Art Center, Prairie Center of the ArtsThe Contemporary Art Center of PeoriaThe Peoria Art Guild

Reception: March 7th
5-7pm – Heuser Art Center
5:30-7:30pm – Prairie Center of the Arts
6-8pm – Peoria Art Guild
6:30-8:30 Contemporary Art Center

Lecture: Beth Grabowski, 35th BI Juror
March 5th, 5:00pm – Horowitz Auditorium, Global Communications Center

The Bradley International Print and Drawing Exhibition is the second-longest running juried print and drawing competition in the country. Every two years it features the best contemporary graphic artwork from around the globe. All accepted artwork is featured on the exhibition website.

The 35th Bradley International features the work of 108 artists from across the globe. This years juror is Beth Grabowski, Professor and Assistant Department Chair at the University of North Carolina at Chapel Hill.

COLOR - in Brooklyn July 26 - August 17

My drawing series, Glacial Collapse, is included in this national juried exhibition at the Brooklyn Waterfront Artists Coalition.

Pablo Picasso: I want to know one thing. What is color? National Juried Art Show   Come see for yourself how artists from all around the country have responded to the challenge "What is color?" - in large scale installations, works on canvas, assemblage, photography, mixed media, fabric art and sculpture. 100 pieces were selected out of the 1740 submissions received, by esteemed juror, Solomon R. Guggenheim Museum Assistant Curator, Lauren Hinkson.  Says Hinkson of her experience jurying the show: The submissions for Color span a wide range of media and subject matter with some artists embracing a bold and vibrant color palette while others took the title of the exhibition as a point of departure to explore the notion of color conceptually. Many of the paintings manifest strong links to historical styles such as gestural abstraction or photorealist painting. The installations and sculptures reflect an expressive use of materials that sometimes reveal humorous or poetic underpinnings. The final exhibition highlights the high quality displayed in all of the submissions while representing the diversity of these sophisticated and intelligent works.  The exhibit takes place 2-6PM weekends July 26-August 17th on the Ground Floor of BWAC's iconic gallery, located in a Civil War-era warehouse in the Red Hook section of Brooklyn.   Visit BWAC:  http://bwac.org/visit.html

Pablo Picasso: I want to know one thing. What is color?
National Juried Art Show 

Come see for yourself how artists from all around the country have responded to the challenge "What is color?" - in large scale installations, works on canvas, assemblage, photography, mixed media, fabric art and sculpture. 100 pieces were selected out of the 1740 submissions received, by esteemed juror, Solomon R. Guggenheim Museum Assistant Curator, Lauren Hinkson.

Says Hinkson of her experience jurying the show:
The submissions for Color span a wide range of media and subject matter with some artists embracing a bold and vibrant color palette while others took the title of the exhibition as a point of departure to explore the notion of color conceptually. Many of the paintings manifest strong links to historical styles such as gestural abstraction or photorealist painting. The installations and sculptures reflect an expressive use of materials that sometimes reveal humorous or poetic underpinnings. The final exhibition highlights the high quality displayed in all of the submissions while representing the diversity of these sophisticated and intelligent works.

The exhibit takes place 2-6PM weekends July 26-August 17th on the Ground Floor of BWAC's iconic gallery, located in a Civil War-era warehouse in the Red Hook section of Brooklyn. 

Visit BWAC: http://bwac.org/visit.html

B14 - Wiregrass Museum of Art

Two of my works, Doing Fine on Cloud Nine and Clouds One through Eight of Nine are included in the 2014 Wiregrass Biennial July 17 - early October.

Review of my work, "Emissions and Remissions" by Tom Hall - artswfl.com

http://www.artswfl.com/galleries/museums-art-centers/bob-rauchenburg-gallery/eleven-the-john-erickson-museum-of-art-retrospective/eleven-the-john-erickson-museum-of-art-retrospective

Like pollution, JEMA’s ‘Emissions & Remissions’ cannot be contained, confined or controlled (05-17-14

detail from Emissions and Remissions Installation at the Bob Rauschenberg Gallery.

detail from Emissions and Remissions Installation at the Bob Rauschenberg Gallery.

On view now through July 25 at the Bob Rauschenberg Gallery is ELEVEN: The John Erickson Museum of Art (JEMA) 10-Year Retrospective. Most of JEMA’s galleries are housed in a series of sturdy but stylish 16″x12″x9″ aluminum carrying cases. However, there are several innovative “project spaces” that have escaped their crates. One, in fact, is in attempting to escape the Bob Rauschenberg Gallery as well.

That’s because Bethany Taylor’s Emissions & Remissions cannot be contained. “In Tacoma, the installation went outside and into the streets,” Bethany reports. But in so doing, Taylor is not just enjoining viewers to reconsider their long-held beliefs about the traditional space and mechanisms exhibited by art museums.

She is creating a compelling metaphor about the byproducts of human activities, which similarly cannot be contained, confined or controlled.

“Throughout the 20th-21st century, there is increasing evidence of humans altering the earth’s climate and environment through changing agricultural and industrial practices,” Bethany says in her Artist Statement. “Climate changes do occur naturally.However, prior to the Industrial Revolution, very few gases were released into the atmosphere due to human activities. The growth in population, the incessant burning of fossil fuels, the production and transport of coal, natural gas and oil, the decomposition of organic wastes in landfills, along with deforestation, and the raising of livestock are seriously increasing the mixture of gases which absorb and trap heat in the atmosphere. As the earth’s temperature increases, contributing greenhouse gas emissions are predicted to have a long-lasting, negative impact on the environment, drastically changing life on earth.”

So Emissions & Remissions may not be Marco Rubio’s cup of tea, but it is a conversation starter, which is, after all, the mission of all good art. “The idea becomes more important than the execution,” Bethany postulates. But admittedly, Bethany could not simply emit water vapor, carbon dioxide, methane, nitrous oxide, ozone, HFCs, PFCs and SF6 in and around her JEMA box. Nor would she want to, being the environmentally responsible artist that she is. So instead, she releases fleeting images of gradual effect and change. And by using thread and pins, she creates entangled, interconnected, unraveling ephemera that embody the devastating irreversible effect that these greenhouse gases are having on the ecology and the life that it supports.

“I like the idea of ephemeral, of things that change, of making visible that which cannot be seen,” Bethany explained prior to ELEVEN’s opening on May 9. This she does by using thread and string to portray the electromagnetic rays emanating from power lines, a cloud of carbon monoxide trailing a sports car and the carbon imprint engulfing an airliner. Each of these images is connected by string to the living, endangered and dead bio-organisms that are impacted, and the depictions climb the wall, turn the corner and meander down the hall toward the door leading outside into the garden that abuts the gallery and the adjacent Barbara B. Mann Performing Arts Hall.

“I like working with material that falls apart. It allows me to change my mind and permits me to adapt to whatever space I’m given within a museum or gallery,” Bethany adds. “My recent installation work inherently represents things in flux and incorporates string or thread as a material that is expressive, changeable, and adaptable. I think of each work as a fragment of a never finished representation. Ongoing struggles, partial experiences, hybrids, fragmentations and juxtapositions are conditions I find most reflective of my experience.”

[ Depicted above is curator Sean Miller discussing with his Chief of Security the impending escape of Bethany Taylor's iconography through the gallery entry and exterior door .]

[Depicted above is curator Sean Miller discussing with his Chief of Security the impending escape of Bethany Taylor's iconography through the gallery entry and exterior door.]

Taylor has exhibited her work both nationally and internationally. She lives in Gainesville, where she lectures at the University of Florida and teaches the Workshop for Art Research and Practice. Recent exhibitions include the aptly titled She’s Come Undone, a 2006 solo exhibition in the Hardman Hall Gallery at Mercer University in Macon, Georgia and the 2005 SOIL 10 Year Anniversary Exhibition at the SOIL gallery in Seattle, Washington. Taylor is a founder of SOIL and the recipient of both Seattle Arts Commission and King County Arts Commission awards and her writing, art and curatorial activities were recently featured in SOIL Artist-Run Gallery 1995-2005.


Emissions + Remissions included in JEMA ELEVEN retrospective

Opening: May 9, 2014 (and running through July 25th)
Pre-Opening lecture by JEMA founder, curator and artist Sean Miller (and discussion with Gregory Green, Jack Massing of The Art Guys, Bethany Taylor and other JEMA artists) 6pm, Rush Library Auditorium, J-Building.  Reception to follow: 7-9pm, Bob Rauschenberg Gallery

ELEVEN: The John Erickson Museum of Art (JEMA) 10-Year Retrospective at the Bob Rauschenberg Gallery will present more than twenty “archived” JEMA galleries – including those by Gregory Green, Arnold Mesches, Yoko Ono, Bethany Taylor, Sergio Vega and others, it will also premiere new works (or some not previously shown in the United States) by Jim Drain, Oliver Herring, Chip Lord, Tea Mäkipää, Andrea Robbins & Max Becher, Fluxus pioneer Ben Patterson and The Art Guys from Houston. This first-ever survey of artworks commissioned by the John Erickson Museum of Art, ELEVEN will represent the largest gathering to date of artist/curator Sean Miller’s “location variable” JEMA galleries and be accompanied by his Next Chapter Spaces, JEMA Annex, JEMA Video Lounge, the Art Museum Dust Collection and new works from the JEMA Artist Dream Registry.

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