Marcia Wood Gallery Blog

kate javens

2008-03-13T14:33:00.000-07:00

Solo Exhibition: March 6 - April 12, 2008

Kate Javens' paintings in oil on wood, linen, and muslin, are stunning both for the breathtaking beauty of her brushstroke as well as for their passionate moral intensity. In a painting style that synthesizes an Old Masters clarity of light with a basis in American naturalism and realism, Javens connects with the viewer by an empathy to her subjects - paintings of animals which are named for, and in fact stand as metaphorical portraits of, figures in American history; persons who represent, to Javens, an altogether admirable altruism and social activism that deserve to be commemorated.

Father Ram, 2006, oil on theater muslin, 66 x 106 inches

Javens' exquisite paintings of animals are about much more than what is immediately apparent to the eye. As the scholar Alan Burdick writes in his essay for the catalog of Javens exhibition at the Blanden Art Museum, "It is tempting to view her paintings as depictions of animals. In fact, and far more remarkably, what she exposes are the brief moments of time through which the creatures are passing."

Kate Javens was born in Missouri and spent her childhood in Japan, Mexico, and the bicoastal United States. She attended Pennsylvania State University and the Pennsylvania Academy of the Fine Arts. Javens is a Pennsylvania Council on the Arts Painting Fellow, A per Fellowship in the Arts Disciplinary Winner in Painting, and a three-time MacDowell fellow. Her works are held in private and public collections, including the Philadelphia Museum of Art, the Pennsylvania State University, the Telfair Muesum of Art and The Blanden Museum of Art. She lives and works in New York City.

Kate Javens

American Beasts

Blanden Art Museum

This beautifully produced hard-bound publication from the Blanden Art Museum has a foil embossed linen cover and a full color dust jacket. It includes images from Javens' recent works, as well as earlier series and her rarely seen studio photography. Kate Javens' Named For... series is a collection of creatures -- moths, horses, birds, fish -- that are named for historical Americans. About Andrew Furuseth, a seaman from the early 1900s who was threatened with a jail sentence for labor injunction, Javens has written, "When I saw a Dorothea Lange portrait of this beautiful man, I was struck by the crow-ness of his visage. A year-and-a-half after, I found a dead crow on the ground, still warm. I bent over him and said, "Hello Andrew."

Jan Von Holleben

2008-03-11T11:31:00.000-07:00

The Tarzan and Jan, 2006, c-print, 15.7 x 23.6 inches or 27.5 x 41.3 inches, edition of 5

We are thrilled to announce that Jan has received two awards:

* The Bronze Photography Award of The Florence Biennale

* and a special recognition for his offsite-installation

Other recent news

Sep 08 It'll happen here - Solo Exhibition at Marcia Wood Gallery / Atlanta

May 08 I am the strongest - Solo Exhibition at UNO Artspace/ Stuttgart

Apr 08 Darmstädter Tage der Fotografie - Groupexhibition -- Represented in Main- Exhibition

Jan 08 Jan von Holleben - moves from London to Berlin (the London studio in Shoreditch will remain as UK base)

Dec 07 Winner of Photography Award at Biennale Internazionale Dell’Arte Contemporanea / Florence

Dreams of Flying -artist edition book is SOLD OUT - Hoffmann&Campe will republish a book in collaboration with 'Buechner'- awarded Writer Arnold Stadler in 2008

84,864 visitors at 'Dreams of Flying' Exhibition at V&A Museum of Childhood

Biennale Internazionale Dell’Arte Contemporanea / Florence -- Representing Germany

Nov 07 ‘Wir werden immer grösser’ Soloshow, Galerie Robinson / Paris

Kongress des Kultusministeriums 'Kinderleicht lernen' Lecture/ Soloshow, Liederhalle / Stuttgart

‘Family Business’ Booklaunch , Internationale Buchmesse/ Frankfurt

The Terrace, 2006, c-print, 15.7 x 23.6 inches or 27.5 x 41.3 inches, edition of 5

Don Pollack

2008-03-11T10:48:00.000-07:00

We are thrilled to announce that Don Pollock will open his solo show, "The Lincoln Project" at the "Abraham Lincoln Presidential Library and Museum" in Springfield Illinois. The show opens on Lincoln's 200th anniversary birthday on Feb. 12, 2009, and will run for three months, coinciding with the national celebration of the Lincoln Bicentennial Commission. The museum is by the state capital and just down the street from Lincoln's home. Don received a grant to prepare (and extend) the exhibition. The Museum director is planning other additional venues for the year to be announced, possibly Gettysburg, Washington, and NY.

The "Abraham Lincoln Presidential Library and Museum" also wants to do a book and poster. The "Lincoln after Stuart" portrait will also be part of the Museum's permanent collection after the show finishes at the end of 2009.

Don will also be in a group exhibition, "Curator's Choice" at the Contemporary Art Institute of detroit, opening on April 5, 2008.

other 07 updates

SOLO EXHIBITIONS

2007 Newzones Gallery, the sheltering sky, Calgary, Alberta, Canada

Merwin and Wakeley Galleries, Illinois Wesleyan University, American inheritance,

[retrospective], Bloomington, Illinois

Marcia Wood Gallery, night, Atlanta, Georgia

2006 Margaret Thatcher Projects, American gothic, past imperfect, New York, New York

Perimeter Gallery, improvisation, Chicago, Illinois

SELECTED GROUP EXHIBITIONS

2007 artwork 5, Gallery 2, Art Institute of Chicago, Chicago, Illinois

out of the garden, Rena Sternberg Gallery, Glencoe, Illinois

art chicago, The Merchandise Mart, Perimeter Gallery, Chicago, Illinois

2006 states of seige, Fine Arts Center Galleries, University of Rhode Island, Kingston, RI

landscape x10, Newzones Gallery, Calgary,Alberta, Canada

pulse, Margaret Thatcher Projects, New York, New York

RECENT LECTURES

Cross Cultural Perspective of Visual Communication, University of Wisconsin-Eau Claire, presentation topic: “native america: truth and imagery”, April 20-21, 2007

The conference hosted national and international researchers, faculty, and students presenting scholarly research, historical studies, creative experiences, and pedagogies that addressed cross-cultural perspectives of visual communication.

His presentation –“Native America: Truth and Imagery”, was a presentation of a project I did with students focusing on popular cultural and how current and historical Native Americans are perceived as well as addressing the needs of Native American design clients. Researched topics included films, photography, package design, fashion, logotypes, and food products, lectures by Native Americans, and attending the 51st Annual Chicago American Indian Center Powwow.

A critical analysis of these items preceded package design proposals for “Smoke Signals”, (a Native American written and directed film), a cover and double page spread for the Chicago Tribune Magazine (highlighting the Chicago American Indian Center Powwow),and a music CD package design for the Mark Cleveland Band (Eastern Cherokee) where two student’s proposals were printed by the client.

SELECTED BIBLIOGRAPHY

Bill Rodriguez, “being there”, The Providence Phoenix, February 24, 2006

Bill Van Siclan, “art scene”, The Providence Journal, February 23, 2006

Doug Norris, “for some artists, historical re-enactment is a way of life”, South County Independant, RI February 9, 2006

Local Scene, “states of seige at uri focuses on the current contemporary condition”, The Standard Times, RI February 9, 2006

Jason Mojica, “don pollack: improvisation”, Time Out Chicago, February 2-9, 2006

Arts and Living, “kingston”, The South County Independant, January 26, 2006

Timothy McDowell

2008-03-08T13:34:00.001-08:00

Eastern Codex, 2007, 72 x 144 inches, beeswax, pigment and hide glue on panel

Solo Exhibitions 2007

Newzones Gallery of Contemporary Art, Calgary, Alberta, Canada

Anne Reed Gallery, Ketchum, Idaho

Marcia Wood Gallery, Atlanta, GA

Lisa Sette Gallery, Scottsdale, AZ

Group Exhibitions 2007

Luxe, Calme et Volupte, Group Exhibition, Marcia Wood Gallery, Atlanta, GA

Waxing Eloquent, Group Exhibition, The Rooms Provincial Art Gallery, St. John's Newfoundland

The Eclectic Eye, the Dan Leach Collection, The Tucson Museum of Art, Tucson, AZ

The Divas and Iron Chefs of Encaustics, Traveling Group Exhibition, UTSA Art Gallery, University of Texas San Antonio, San Antonio, TX

Group Exhibitions 2008 (opens Feb. 1, 2008)

It’s My Nature, Group Exhibition with Gabe Brown, Sandy Litchfield, Jackie Tileston and Laura Sharp Wilson. Curated by Lisa Hatchadoorian, Nicolaysen Art Museum, Casper, WY

Museum Collections

The Tucson Museum of Art, Tucson, AZ

The New Mexico Museum of Art, Santa Fe, NM

The University of Iowa Museum of Art, Iowa City, IA

Public Installation and Commissions

Conrad Hotel, Hong Kong

The Muse Hotel, New York, NY

Mandarin Oriental Hotel, San Francisco, CA

Benziger Family Winery, Imagery Winery Collection, Glen Ellen, CA

Publications

Imagery Art for Wine by Bob Nugent with Donald Kusbit, 280 pgs, 2006 Wine Appreciation Guild Publishers, San Francisco, CA.

Speaking Engagements

Panelist for “Encaustic: State of the Art," along with: Joanne Mattera, Conference Director, Barbara O'Brien, critic for Art New England, Katherine French, chief curator of the Danforth Museum, Hope Turner, owner of the Arden Gallery, Boston, and Richard Frumess, paintmaker, R&F Paints, Kingston, NY

The panel talk took place at the National Conference of Encaustic Painting at Montserrat College of Art, Beverly, MA

Island Planet, 2007, 72 x 96 inches, besswax, pigment and hide glue on panel

Chris Verene

2008-03-01T12:37:00.001-08:00

"The Pregnancy Test", 2002, Type-C Archival print, ed. of 6, with handwritten caption in oil by the artist, 30 x 36 inches

Verene 2007 Data

Announced Representation in New York City with Deitch Projects.

Official Entry Selection in the Deitch "Art Parade" in which we pulled our baby, Nicolas, in a specially-made wagon and raised money for Children with Rare Diseases.

Promised Gift to the SF MoMA collection.
Accquired by the Thomas H. Lee and Ann Tenenbaum Collection, Trustees of the Museum of Modern Art

Editorial Advisory Board, Art Papers Magazine

Guest Lecturer, Yale University Masters Program
Major Exhibition Review, ArtForum Magazine
Cover Story: "Men and Depression," Newsweek Magazine, March 2007

Selected Solo and Group Exhibitions from 2007:"Shoot the Family," traveling Museum Exhibition, Massachusetts College of Art, Curated by Ralph Rugoff director of The Hayward Gallery, London (with catalog).
“June Bride,” Yossi Milo Gallery, New York
“Gallery Artists,” Daniel Reich Gallery, New York
“Galesburg, Yes,” Marcia Wood Gallery, Atlanta

“Self-Esteem,” Marcia Wood Gallery, Atlanta
"Galesburg," Gescheidle, Chicago
“Self-Esteem,” Quality Pictures, Portland, Oregon
“Galesburg,” ADA Gallery, Richmond

Chris has also been included in various regional group Exhibitions and national and international Art Fair Exhibitions.

"Lexus", 2005, Type-C Archival print, ed. of 6, with handwritten caption in oil by the artist, 30 x 36 inches

Chris Scarborough

2008-03-01T11:22:00.001-08:00

Untitled (Smoke), 2007, Digital C-Print, Edition of 5, 32 x 48 inches

Solo and two person shows

This Is Us: Chris Scarborough and Marcus Kenney, TAG Gallery , Nashville, TN

Ideal Species, ArtSpace, Raliegh, NC

Living on Cloud Nine, Rhodes College, Memphis TN

Group shows

Three Part Harmony: Definition, Delicacy, and Detail in Drawing, Curator’s Office, Washington, DC

Art Fairs

Aqua Wynwood Art Fair, Miami, Showing with Foley Gallery, New York, NY

Aqua Art Fair, Miami, Showing with Curator’s Office, Washington D.C.

Scope Hamptons, Wainscott, NY, Showing with Curator’s Office, Washington D.C.

Awards and Recognition

Recipient of the Individual Artist Fellowship for the State of Tennessee

Collections

Tennessee State Museum

Untitled (Subterfuge), 2007, Graphite on Paper, 18 x 22 inches

Publications

Alarm Magazine, Sept Issue 2007

NY Arts, May/June Issue 2007

Cover, Dart International, Spring Issue 2007

NY Arts, Jan/Feb. Issue 2007

Frances Barth

2008-03-01T09:33:00.001-08:00

oragem, 2006, acrylic on panel, 18 x 96 inches

Frances was awarded the grant: ANONYMOUS WAS A WOMAN

From Art in America, Jan 2007:

The Anonymous Was a Woman Foundation has announced the recipients of its annual $25,000 grants, given to women artists over age 35.

The Anonymous Was a Woman Foundation has announced the recipients of its annual $25,000 grants, given to women artists over age 35. The winners, who are nominated and selected by anonymous jurors, are Xenobia Bailey, Frances Barth, Judy Bernstein, Ellen Bruno, Terry Evans, Mary Heilmann, An-My Le, Howardena Pindell, Martha Rosier and Marie Watt.

Nuuanu, 2002, acrylic on canvas, 10" x 10'

2007 Shows

“Colors,” Sundaram Tagore Gallery, New York

“Luxe, calme and volupte,” Marcia Wood Gallery, Atlanta (curated by Joanne Mattera)

“Land Force,” Sabina Lee Gallery, Los Angeles, (curated by John L.Moore.)

“Agents of Change: Women, Art, and Intellect,” Ceres Gallery, New York, (curated by Dr. Leslie King-Hammond.)

pedestal, 2005, acrylic on panel, 14 x 15 inches

Amanda Hughen

2008-02-26T14:46:00.000-08:00

Here is what happened with Amanda Hughen in 2007:

She had solo shows at Galerie Immanence, in Paris, France; Johansson Projects in Oakland, CA; and at the Marcia Wood Gallery. A collaborative project with Jennifer Starkweather and commissioned by the San Francisco Arts Commission was featured in 24 large kiosk posters throughout downtown San Francisco for 4 months in 2007. Electric Works, in San Francisco, created limited edition prints of the collaborative works and exhibited them in July.

Amanda was in group shows at the Triton Museum of Art, ("Drawing: Visions, Surfaces and Beyond") in Santa Clara, CA; at the Oakland Museum of California at the Oakland Airport, ("Convergence") in Oakland, CA; and Electric Works ("Civil Twilight") in San Francisco.

Her work was featured in a catalogue published by the San Francisco Arts Commission: "Between above and below: Amanda Hughen and Jennifer Starkweather".

Amanda's work was reviewed in Art & Antiques, the Atlanta Journal Constitution, Ruby Mag (Buenos Aires), the San Francisco Bay Guardian, and was on the cover of Artweek.

She was a guest lecturer at California College of the Arts.

Amanda's work has been acquired by individuals and corporate collections, including Genentech, Charles Schwab, and Barclays Global Investors.

Philip Carpenter

2008-02-26T14:14:00.000-08:00

After Durer, 2007, Colored Pencils on Paper, 24 x 20

Joanne Mattera

2008-02-26T13:41:00.000-08:00

Uttar 291, 2006, encaustic on panel, 48 x50 inches, in three panels

Joanne Mattera 2007 News

Curated Luxe, Calme et Volupte: A Meditation on Visual Pleasure, at 14-artist exhibit for the gallery, which focused on beauty in contemporary art.

. You can see the catalog online at http://www.marciawoodgallery.com/luxe_calme/index.html

. Read Joanne’s essay at http://www.marciawoodgallery.com/luxe_calme/essay.html

. Review: Debra Wolf in The Atlanta Journal Constitution, July 2007: "Order and beauty form the organizing principle in an engaging new exhibition at Marcia Wood Gallery....Using Baudelaire and Matisse as a springboard for contemporary expression, Mattera's premise is both clever and effective. Fastidious process (order) is essential to aesthetic outcome (beauty). Mattera's selections are smart and pleasing in a show that combines control and creativity, visual and tactile harmony, and individual refrains of luxe, calme et volupte....Verdict: Intelligent and pleasurable."

Uttar 290, 2005 encaustic on panel, 35 x 35 inches

20^th Career solo at OK Harris Gallery, New York, in April

. Review: Maureen Mullarkey, The New York Sun, May 3, 2007: “If Jasper Johns put encaustic back on the map in the 1950’s and ‘60s, Joanne Mattera has been a prime mover in making the technique accessible to a new generation of painters. . .The medium itself is very much the subject of Silk Road, Ms. Mattera’s series of small encaustic panels. Each panel is a simple expanse of what appears, at quick glance, to be a single color. But owing to the opalescent properties of pigmented beeswax applied in layers, these radiant fields are irreducible to monochrome. . .resonance from within lends depth to understated surface patterns. Viewed in ensemble, there is nothing minimal about them.”

. Review: Joseph Walentiny, Abstract Art Online, May 15, 2007: “Mattera combines conceptual order, as embodied in the structure of the grid, with beauty.”

Work appears in Geoform, an online curatorial project focused on geometric form and structure in contemporary abstract art. A 2005 interview with Joanne by the editor Julie Karabenick was expanded in 2007. You can read the revised interview at http://www.geoform.net/features/features_mattera.html

Joanne Mattera Art Blog covers artists, exhibitions and art events around the country, including the recent fairs in Miami. You can read more at www.joannemattera.blogspot.com

Founded the National Conference of Encaustic Painting at Montserrat College of Art, Beverly, Mass. The first and only event of its kind, this conference attracted participants from throughout North America, for three days of panels, lectures and demonstrations. Joanne continues for 2008 as conference director.

Jason Fulford

2008-02-26T13:32:00.000-08:00

"Finding Form", Group exhibition curated by Stuart Horodner, Atlanta contemporary Art Center, October 2007

News New on JASON FULFORD finishing out 2007
LECTURES / IN PUBLIC
Nov 6, 2007 AIGA, New York (American Institute of Graphic Arts)
with Tamara Shopsin in the series “Small Talks”
October 2007 ACP, Atlanta – reviewer
Sept 25, 2007 LACMA (Los Angeles County Museum of Art) with curator Charlotte Cotton in the series “Conversations with Artists”
Spring 2007 Photolucida, Portland, OR - reviewer
April 24, 2007 Mass Art, Boston - guest lecturer

EXHIBITIONS
Oct 1-31, 2007 ACP, Atlanta – curator of public art project “Paper Placemats (ATL)”
October, 2007 Atlanta Contemporary Art Center, Atlanta – “Finding Form” group exhibition curated by Stuart Horodner
Summer 2007 Blancpain Art Contemporain, Genève – “What We Do Is Secret” group exhibition curated by Amy O’Neill
Spring 2007 Quality Pictures, Portland, OR – solo exhibition
Spring 2007 Salvation Gallery, NYC – “You Can Have It All” – group exhibition
Winter 2007 Marcia Wood Gallery, Atlanta, GA – solo exhibition

WORK PUBLISHED
November 2007 Harper’s Magazine – 8 page photo essay on Dubai
Summer 2007 Blind Spot – cover plus 10 pages inside (co-editor of issue)
Aug 7, 2007 The New York Times – Op-Ed
June 24, 2007 The New York Times – Book Review
March 11, 2007 The New York Times – Book Review
May 2007 Harper’s Magazine – 8 page photo essay about the Prelinger Library

EDITING / CURATING / DESIGN
New J&L titles

Stuff I Gotta Remember Not To Forget by Darin Mickey
Golden Palms by Ed Panar
72 Girls and Some Boys Who Could Be Models by Anne Daems
J&L Video (dvd of short films by various artists)

Robert Sagerman

2008-02-23T13:38:00.000-08:00

(detail of painting)

Current Solo Exhibition

January 24 - March 1, 2008

Robert Sagerman is based in New York; he exhibits regularly in New York, San Francisco, German and Atlanta, and has shown in gallery and museum exhibitions in Tokyo, Shanghai, Singapore, Chicago and Cleveland. Sagerman holds three master's degrees - in painting, art history, and religious studies - and is currently working toward his doctorate degree in Hebrew and Judaic studies at New York University.

The titles of Sagerman's paintings derive from the number of applied daubs of paint that make up each work. His rigorous process involves the application of thousands of 'marks' of oil paint using dozens of colors he mixes and applies in thick, textural layers often resembling dense, three-dimensional materials like astroturf, mounds of confetti, candles, ribbon, textiles and so on. Sagerman laboriously builds the paintings mark by mark with a painstaking precision, resulting in a completely balanced array of colors to create a perfectly unified color-field. The final achievement is an energetic and fascinating work that radiates an imposing physical, spiritual and intellectual presence.

"My understanding of my own work has continued to develop over time," Sagerman describes in a recent statement, "and it is that shift in perception that has led to the changes that gradually make their way into the work itself. I have come to sense three distinct ways in which my work functions, all of which hand in a kind of balance reinforcing one another. First, there are the evocations that give the work its emotional weight, whether these involve landscape associations or naturalistic ones, relating to textures or to processes of growth. Second, there is that aspect that points not to the outside world but inwards, towards my own self. My fixation upon process - both in terms of my laborious method (apparent in the physical work itself) and my practice of numerical documentation - has helped me to concentrate on this meditative phase of the work, and has also served to highlight it for others. Lastly, there is an aspect of my work that points neither to the outside world nor to my own inner one but, as it seems to me, beyond either. It is with this final aspect that I time and again find the solutions to the conundrums that, for me at least, my work raises: There is a sense in which each painted work resonates as its own self, as a kind of being that partakes - paradoxically, given the sheer weight of each work's material substance - of a transcendent immateriality. So it is that painting for me is neither simply a reformulated and abstracted mode of landscape painting nor an exercise in tautological self-absorption. I return often to the feeling that my work for me is a calling into being of independent entities which partake of their own meaningful existence."

4,103 (copper), 2008, silicone, pigment on canvas, 26 x 25 inches