A B O U T T H E A R T I S T S
MICHELLE COOKE
A R T I S T S T A T E M E N T
The recurring themes in my work are fragility, transparency, balance, weightlessness, and gravity.
My work with glass slides offers insight into these themes and my approach to them. The glass installations convey a disarming directness and an immediate visual reference to the structural properties of light. At first transparent and virtually self-effacing, the wall-mounted glass squares create lyrical and tactile light effects of enormous evocative power, while at the same time the grid’s enigmatic formal structure subdues the aggressive echelons of projecting glass. This work with glass focuses on the inherent tension between its transparency as a light medium and its aggressiveness as a projecting grid.
I am keenly sensitive to the formal structure and physical integrity of my materials whether they be egg shells, parchment, steel wool, or glass. Each work yields its meaning through the handling of the material; fragile materials used in unconventional ways.
Michelle Cooke holds an M.F.A. from Claremont Graduate University. Her current work involves drawing, installation, and steel-mixed media sculpture. She lives and works in New Rochelle, NY and Taos, NM.
E D U C A T I O N
Master of Fine Arts, Claremont Graduate University, Claremont, California
Bachelor of Fine Arts, Laguna College of Art and Design, Laguna, California
University of California, Berkeley; University of California, Los Angeles
To Visit the Artists' Website
A R T I S T S T A T E M E N T
The recurring themes in my work are fragility, transparency, balance, weightlessness, and gravity.
My work with glass slides offers insight into these themes and my approach to them. The glass installations convey a disarming directness and an immediate visual reference to the structural properties of light. At first transparent and virtually self-effacing, the wall-mounted glass squares create lyrical and tactile light effects of enormous evocative power, while at the same time the grid’s enigmatic formal structure subdues the aggressive echelons of projecting glass. This work with glass focuses on the inherent tension between its transparency as a light medium and its aggressiveness as a projecting grid.
I am keenly sensitive to the formal structure and physical integrity of my materials whether they be egg shells, parchment, steel wool, or glass. Each work yields its meaning through the handling of the material; fragile materials used in unconventional ways.
Michelle Cooke holds an M.F.A. from Claremont Graduate University. Her current work involves drawing, installation, and steel-mixed media sculpture. She lives and works in New Rochelle, NY and Taos, NM.
E D U C A T I O N
Master of Fine Arts, Claremont Graduate University, Claremont, California
Bachelor of Fine Arts, Laguna College of Art and Design, Laguna, California
University of California, Berkeley; University of California, Los Angeles
To Visit the Artists' Website
JOHN GARRETT
A R T I S T S T A T E M E N T
My first formal art training came in a weaving class my junior year of college. While working with fine linen and cotton threads I realized that the construction methods would accommodate a wide and diverse range of materials. For me the interlacing of materials served as a metaphor for the connectedness of people and things. By the end of the semester I also realized I had found what I wanted to do for life. My work has been about exploring materials and textile/fiber processes that let me speak about my experience in and of the world.
I have been intrigued with using ordinary, cast-off, found and salvaged materials in my art for a long time. Living in a culture of excess and planned obsolescence provides a myriad of materials. The fun has been finding or inventing ways to use the most unlikely materials in a fiber construction. In a sense I follow the example of the basket maker who make his products from an oak tree: where there’s a will, there’s a way. My old materials may have a history and a patina new materials lack. Likewise, new, bright and shiny plastics and metals can serve as a mirror to contemporary life.
While weaving remains the theoretical foundation of my work, I have explored and used many other construction methods to connect materials. Much of my work uses a welded wire grid (hardware cloth) as the basic structure. This square grid is also a conceptual connection to woven structures. Into this a variety of materials can be interlaced or stitched or lashed and tied to the surface. Work can remain flat and be wall mounted. It can also be rolled or folded into three-dimensional forms that are basket like or sculptures.
Quilts, nets and baskets have inspired much of my work for the past twenty years. As in traditional quilts, I make components from saved materials (but much more than just fabric) that get tied together. My quilts are about certain places, people and events with both narrative and poetic elements. Rusty metal evokes memories of New Mexico landscapes and painted aluminum can evoke the granite rock beaches of Maine. A square of collagéd papers can take one back to high school geometry class. The Trinket Nets are also largely mnemonic, using small objects (beads, dominoes, chess pieces, hardware, etc.) that are connected with wire loops. More lately, structures using videotapes allow me to comment not only on bad movies but more importantly on issues of surveillance and privacy. Baskets have been used not only for utilitarian functions (gathering, storing, serving)but for decorative and ceremonial uses for millennia. Contemporary basket makers have enlivened the tradition with new materials and ideas. Living in Los Angeles, I choose to use industrial and synthetic materials (metal and plastics) to make many of my baskets, thus reflecting my time and place.
While I continue to explore new ideas and materials, I am also reinvestigating previous ideas and ways of working to see what my years of experience might bring to my youthful endeavors.
R É S U M É
Born 1950, El Paso, TX
Resides in Las Cruces, NM
1976 M.A. University of California, Los Angeles
1972 B.A. Claremont McKenna College, Claremont, CA
Mr. Garrett has been working with the application of textile technologies and imagery to various materials for the past forty years. Currently a full time studio artist, he taught for many years at colleges and universities in California, including Scripps College and UCLA. The National Endowment for the Arts awarded Mr. Garrett fellowships in 1983 and 1995. In 2010 he was elected to the American Craft Council College of Fellows in recognition of his outstanding artistic achievement and leadership in the field.
SELECTED MUSEUM COLLECTIONS
Albuquerque Museum, Albuquerque, NM
Arkansas Art Center, Little Rock, AR
Carnegie Museum of Art, Pittsburgh, PA
Detroit Institute of Art, Detroit, MI
Mint Museum of Craft and Design, Charlotte, NC
Museum of New Mexico, Santa Fe, NM
Philbrook Museum, Tulsa, OK
Racine Art Museum, Racine, WI
Renwick Gallery of the Smithsonian American Art Museum, Washington, DC
SELECTED EXHIBITIONS
1981 Made in LA: Contemporary Crafts ’81, Craft and Folk Art Museum, Los Angeles, CA
1982 Art and/or Craft: USA and Japan, Kanazawa, Japan
1986 Fiber R/Evolution, Milwaukee Art Museum, WI
1987 The Eloquent Object, Philbrook Museum, Tulsa, OK
1988 Frontiers in Fiber, North Dakota Museum of Art, Grand Forks, ND
1989 Craft Today USA, Musee des Arts Decoratifs, Paris, France
1990 Explorations: The Aesthetic of Excess, American Craft Museum, NYC, NY
1993 Subversive Crafts, MIT List Visual Arts Center, Cambridge, MA
1993 USA-Today, Netherlands Textile Museum, Tilburg, The Netherlands
1997 Trashformations: Recycled Materials in American Art and Design, Whatcom Museum, Bellingham, WA
1998 Ninth International Triennial of Tapestry, Central Museum of Textiles, Lodz, Poland
2002 John Garrett Retrospective, Oceanside Museum of Art, Oceanside, CA
2006 The Windows Project, Racine Art Museum, Racine, WI
2007 The Baroque Line, Bemis Art Center, Omaha, NE
2010 Caravan: An Installation, Fuller Craft Museum, Brockton, MA
2014 Urban Weavings, Belconnen Arts Centre, Canberra, Australia
To Visit the Artists' Website
A R T I S T S T A T E M E N T
My first formal art training came in a weaving class my junior year of college. While working with fine linen and cotton threads I realized that the construction methods would accommodate a wide and diverse range of materials. For me the interlacing of materials served as a metaphor for the connectedness of people and things. By the end of the semester I also realized I had found what I wanted to do for life. My work has been about exploring materials and textile/fiber processes that let me speak about my experience in and of the world.
I have been intrigued with using ordinary, cast-off, found and salvaged materials in my art for a long time. Living in a culture of excess and planned obsolescence provides a myriad of materials. The fun has been finding or inventing ways to use the most unlikely materials in a fiber construction. In a sense I follow the example of the basket maker who make his products from an oak tree: where there’s a will, there’s a way. My old materials may have a history and a patina new materials lack. Likewise, new, bright and shiny plastics and metals can serve as a mirror to contemporary life.
While weaving remains the theoretical foundation of my work, I have explored and used many other construction methods to connect materials. Much of my work uses a welded wire grid (hardware cloth) as the basic structure. This square grid is also a conceptual connection to woven structures. Into this a variety of materials can be interlaced or stitched or lashed and tied to the surface. Work can remain flat and be wall mounted. It can also be rolled or folded into three-dimensional forms that are basket like or sculptures.
Quilts, nets and baskets have inspired much of my work for the past twenty years. As in traditional quilts, I make components from saved materials (but much more than just fabric) that get tied together. My quilts are about certain places, people and events with both narrative and poetic elements. Rusty metal evokes memories of New Mexico landscapes and painted aluminum can evoke the granite rock beaches of Maine. A square of collagéd papers can take one back to high school geometry class. The Trinket Nets are also largely mnemonic, using small objects (beads, dominoes, chess pieces, hardware, etc.) that are connected with wire loops. More lately, structures using videotapes allow me to comment not only on bad movies but more importantly on issues of surveillance and privacy. Baskets have been used not only for utilitarian functions (gathering, storing, serving)but for decorative and ceremonial uses for millennia. Contemporary basket makers have enlivened the tradition with new materials and ideas. Living in Los Angeles, I choose to use industrial and synthetic materials (metal and plastics) to make many of my baskets, thus reflecting my time and place.
While I continue to explore new ideas and materials, I am also reinvestigating previous ideas and ways of working to see what my years of experience might bring to my youthful endeavors.
R É S U M É
Born 1950, El Paso, TX
Resides in Las Cruces, NM
1976 M.A. University of California, Los Angeles
1972 B.A. Claremont McKenna College, Claremont, CA
Mr. Garrett has been working with the application of textile technologies and imagery to various materials for the past forty years. Currently a full time studio artist, he taught for many years at colleges and universities in California, including Scripps College and UCLA. The National Endowment for the Arts awarded Mr. Garrett fellowships in 1983 and 1995. In 2010 he was elected to the American Craft Council College of Fellows in recognition of his outstanding artistic achievement and leadership in the field.
SELECTED MUSEUM COLLECTIONS
Albuquerque Museum, Albuquerque, NM
Arkansas Art Center, Little Rock, AR
Carnegie Museum of Art, Pittsburgh, PA
Detroit Institute of Art, Detroit, MI
Mint Museum of Craft and Design, Charlotte, NC
Museum of New Mexico, Santa Fe, NM
Philbrook Museum, Tulsa, OK
Racine Art Museum, Racine, WI
Renwick Gallery of the Smithsonian American Art Museum, Washington, DC
SELECTED EXHIBITIONS
1981 Made in LA: Contemporary Crafts ’81, Craft and Folk Art Museum, Los Angeles, CA
1982 Art and/or Craft: USA and Japan, Kanazawa, Japan
1986 Fiber R/Evolution, Milwaukee Art Museum, WI
1987 The Eloquent Object, Philbrook Museum, Tulsa, OK
1988 Frontiers in Fiber, North Dakota Museum of Art, Grand Forks, ND
1989 Craft Today USA, Musee des Arts Decoratifs, Paris, France
1990 Explorations: The Aesthetic of Excess, American Craft Museum, NYC, NY
1993 Subversive Crafts, MIT List Visual Arts Center, Cambridge, MA
1993 USA-Today, Netherlands Textile Museum, Tilburg, The Netherlands
1997 Trashformations: Recycled Materials in American Art and Design, Whatcom Museum, Bellingham, WA
1998 Ninth International Triennial of Tapestry, Central Museum of Textiles, Lodz, Poland
2002 John Garrett Retrospective, Oceanside Museum of Art, Oceanside, CA
2006 The Windows Project, Racine Art Museum, Racine, WI
2007 The Baroque Line, Bemis Art Center, Omaha, NE
2010 Caravan: An Installation, Fuller Craft Museum, Brockton, MA
2014 Urban Weavings, Belconnen Arts Centre, Canberra, Australia
To Visit the Artists' Website
TIM HARDING
A R T I S T S T A T E M E N T
My fiber work, early on, picked up on a deconstructivist approach which I pursued through breaking down the imposed woven
grid of textiles, breaking the continuity of warp and weft to create a new integration of structure and surface. In my work since 2004, I've refocused on the human figure. Addressing the theme: the unity of body and soul, I'm extending my deconstructive/constructive process from my materials to the image of the figure.
My "Shroud Series" pieces, two sided, translucent panels, are self portraits, traced outlines of my body done with growing recognition of my own mortality. I grew up Roman Catholic, and as a student of surface design, I have been especially fascinated
with the "Shroud of Turin", to which my Shrouds pay homage. They were also inspired by the tragic events of 9/11, especially the powerful, horrific photos which still stick in my mind of the victims jumping from the uppermost floors of the World Trade Center.
The still, frozen images of those figures had an ethereal, floating quality, an almost peaceful acceptance of fate. They came to mind for me often as I developed these pieces.
B I O G R A P H Y
While studying art at the university level, Harding focused on painting and photography but discovered an interest in and attraction to textiles. Harding became intrigued with the intimacy of fiber and textiles - their textural, tactile richness, the inherent grid of the weave, the pliable plane. His pieces, comprised of cut, layered and stitched bits of silk, have a pixel-like quality reminiscent of pointillism. He uses "simultaneous contrast" - multiple solid colors in tight proximity to create the kind of vibrant richness associated with the Impressionists.
The layering process is a crucial aspect of Harding's work. He uses it to obscure and reveal images beneath the surface. Aiming to capture a visual feel of light, movement, depth distortions of light in the form of reflections and refractions that allude to space above and below the surface.
R É S U M É
EDUCATION
Tim Harding received his BA, majoring in studio arts, in 1973 from Hamline University in St. Paul, MN.
Additional coursework was done at The University of Minnesota and The Minneapolis College of Art and Design, but in fiber arts.
Harding is primarily self-taught.
S E L E C T E D E X H I B I T I O N S
CRAFT IN AMERICA, touring exhibition, 8 U.S. art museums, 2007 - 2009.
TIM HARDING &JON ERIC RIIS, Bellevue Arts Museum, Seattle, 2006.
NEW ART/NEW YORK: Post 9/11 Reflections on the Human Condition, Trierenberg Art, Traun, Austria, 2006.
FASHION & ANTI-FASHION, San Francisco Museum of Fine Art, Legion of Honor, 2005.
KIMONO VARIATIONS, Museum of Arts and Design, New York, 2005.
HIGH FIBER, Smithsonian Museum of American Art, Renwick Gallery, Washington DC, 2005.
CONTEMPORARY ART QUILTS, Textiel Museum, Tilberg, Netherlands, 2001.
CRAFT TODAY: USA, 12 city European tour, U.S. Information Agency, 1989.
Color, Light, Surface, Cooper-Hewitt Museum, New York ● Tim Harding / Gail Kendall, Minneapolis Institute of Arts ● Poetry of the Physical, American Craft Museum, New York ● The Kimono Inspiration, The Textile Museum, Washington DC ● Kwangju International Biennial, Kwangju Museum of Art, Korea--1998 & 2000 ● Tim Harding: Landscape Kimonos, Center for Tapestry Arts, New York ● Quilt National Biennial, Athens OH--1997, 1999, 2001 ● 50 Years of American Craft, Minnesota Museum of Art, Saint Paul MN ● Noeuds et Filets: Liens Spirituels, African Touring Exhibit, U.S. Information Agency/State.
V I D E O
Minnesota Original
http://www.mnoriginal.org/episode/603-katherine-turczan-tim-harding-emily-stover-timotha- lanae/tim-harding/
S E L E C T E D M U S E U M C O L L E C T I O N S
Racine Art Museum, Racine, WI
Museum of art & Design, NYC
Cooper Hewitt Museum of Design, NYC
Smithsonian Museum of American Art, Renwick Gallery, Washington, DC
Kwangju Museum, South Korea
Minneapolis Institue of Art, MN
Boston Museum of Fine Arts
Minnesota Museum of American Art, St. Paul
Museum of International Folk & Craft Art, Santa FE NM
Museum of Contemporary Craft, Portland, OR
The Fine Arts Museums of San Francisco - M. H. de Young Memorial Museum
To Visit the Artists' Website
A R T I S T S T A T E M E N T
My fiber work, early on, picked up on a deconstructivist approach which I pursued through breaking down the imposed woven
grid of textiles, breaking the continuity of warp and weft to create a new integration of structure and surface. In my work since 2004, I've refocused on the human figure. Addressing the theme: the unity of body and soul, I'm extending my deconstructive/constructive process from my materials to the image of the figure.
My "Shroud Series" pieces, two sided, translucent panels, are self portraits, traced outlines of my body done with growing recognition of my own mortality. I grew up Roman Catholic, and as a student of surface design, I have been especially fascinated
with the "Shroud of Turin", to which my Shrouds pay homage. They were also inspired by the tragic events of 9/11, especially the powerful, horrific photos which still stick in my mind of the victims jumping from the uppermost floors of the World Trade Center.
The still, frozen images of those figures had an ethereal, floating quality, an almost peaceful acceptance of fate. They came to mind for me often as I developed these pieces.
B I O G R A P H Y
While studying art at the university level, Harding focused on painting and photography but discovered an interest in and attraction to textiles. Harding became intrigued with the intimacy of fiber and textiles - their textural, tactile richness, the inherent grid of the weave, the pliable plane. His pieces, comprised of cut, layered and stitched bits of silk, have a pixel-like quality reminiscent of pointillism. He uses "simultaneous contrast" - multiple solid colors in tight proximity to create the kind of vibrant richness associated with the Impressionists.
The layering process is a crucial aspect of Harding's work. He uses it to obscure and reveal images beneath the surface. Aiming to capture a visual feel of light, movement, depth distortions of light in the form of reflections and refractions that allude to space above and below the surface.
R É S U M É
EDUCATION
Tim Harding received his BA, majoring in studio arts, in 1973 from Hamline University in St. Paul, MN.
Additional coursework was done at The University of Minnesota and The Minneapolis College of Art and Design, but in fiber arts.
Harding is primarily self-taught.
S E L E C T E D E X H I B I T I O N S
CRAFT IN AMERICA, touring exhibition, 8 U.S. art museums, 2007 - 2009.
TIM HARDING &JON ERIC RIIS, Bellevue Arts Museum, Seattle, 2006.
NEW ART/NEW YORK: Post 9/11 Reflections on the Human Condition, Trierenberg Art, Traun, Austria, 2006.
FASHION & ANTI-FASHION, San Francisco Museum of Fine Art, Legion of Honor, 2005.
KIMONO VARIATIONS, Museum of Arts and Design, New York, 2005.
HIGH FIBER, Smithsonian Museum of American Art, Renwick Gallery, Washington DC, 2005.
CONTEMPORARY ART QUILTS, Textiel Museum, Tilberg, Netherlands, 2001.
CRAFT TODAY: USA, 12 city European tour, U.S. Information Agency, 1989.
Color, Light, Surface, Cooper-Hewitt Museum, New York ● Tim Harding / Gail Kendall, Minneapolis Institute of Arts ● Poetry of the Physical, American Craft Museum, New York ● The Kimono Inspiration, The Textile Museum, Washington DC ● Kwangju International Biennial, Kwangju Museum of Art, Korea--1998 & 2000 ● Tim Harding: Landscape Kimonos, Center for Tapestry Arts, New York ● Quilt National Biennial, Athens OH--1997, 1999, 2001 ● 50 Years of American Craft, Minnesota Museum of Art, Saint Paul MN ● Noeuds et Filets: Liens Spirituels, African Touring Exhibit, U.S. Information Agency/State.
V I D E O
Minnesota Original
http://www.mnoriginal.org/episode/603-katherine-turczan-tim-harding-emily-stover-timotha- lanae/tim-harding/
S E L E C T E D M U S E U M C O L L E C T I O N S
Racine Art Museum, Racine, WI
Museum of art & Design, NYC
Cooper Hewitt Museum of Design, NYC
Smithsonian Museum of American Art, Renwick Gallery, Washington, DC
Kwangju Museum, South Korea
Minneapolis Institue of Art, MN
Boston Museum of Fine Arts
Minnesota Museum of American Art, St. Paul
Museum of International Folk & Craft Art, Santa FE NM
Museum of Contemporary Craft, Portland, OR
The Fine Arts Museums of San Francisco - M. H. de Young Memorial Museum
To Visit the Artists' Website
KATHARINE KREISHER
A R T I S T S T A T E M E N T
Hekate’s Dream is the title for my colorful crocheted and knit installation built from funnel-like shapes referencing desert plant forms and blooms. It is as if the archaic domestic goddess Hekate dreamed of a desert landscape where distorted plants give way to surprising blooms, funnels deliver water and disrupting whirlwinds come and go.
This new project is part of my on-going series of “Dream” installations, journeys into unconscious narratives, reworking of memories and myths. At first I made them just to make photographs within the installations, and then they became the art itself, something to display and experience. Other installations have been called Dream Mother, Dream Umbrella, Dream River, Dream Cloak, Dream Spiral and Dream of Emptiness.
Working with the yarn and thread and cloth to “find” the imagery, I imagined myself at all ages in half-remembered rooms with my mother and grandmothers. We talked and talked while we knit sweaters and darned socks, while we patched and crocheted, while we made hooked rugs from old wool suits and quilts from old cotton dresses. Sometimes elegant designs resulted, but at other times we were making repairs and “making do,” transforming the scraps of yesterday into something new and useful and beautiful.
In a similar way I am working with a group of students at Hartwick College on the Hekate’s Dream project. Mostly art majors, two have been official artist assistants for me, and one who started the Knit and Crochet Club now teaches classes at the local arts council. We sit together in coffee shops and talk, and we work on “funnels’ to contribute to my installation. Sometimes it really feels like the times I had with my female relatives who praised my childhood interest in making things from yarn and cloth and thread.
B I O G R A P H Y
Katharine Kreisher is a printmaker, photographer and installation artist. She divides her time between the Upstate New York hamlet of Schenevus and the city of Truth or Consequences, New Mexico. Katharine received her undergraduate degree from Skidmore College in Saratoga Springs NY in 1971, and she earned an MA in 1981 and an MFA in 1986, both in printmaking and photo-related processes from the University at Albany, State University of New York where she studied with photographer Phyllis Galembo. Since 1982 Kreisher has been a professor of art at Hartwick College in Oneonta NY. Her work is in permanent collections in New York State at the Albany Institute of History and Art, the University Museum at Albany and the Center for Photography at Woodstock. In 2013 her pinhole photographs were added to the Pinhole Resource Center collection, now housed in the Governor’s Palace at Santa Fe. Recent exhibition venues include Rayko Photo Center in San Francisco CA, Northlight Gallery at Arizona State University in Tempe AZ, the Quay School of Art in Wanganui New Zealand, Arkell Museum in Canajoharie NY, Union College in Schenectady NY, Munson-Williams-Proctor Art Institute in Utica NY and The Inkshop in Ithaca NY. In 2011 and 2014, using fabric and knitting, Kreisher produced two room-sized installations for RioBravoFineArt in T or C NM: Dream Desert and Hekate, both about traditional female ritual spaces. Dream Desert was part of Katharine’s solo show curated by Eduardo Alicea. Artist-curator Susan Christie invited Katharine to develop Hekate for a group exhibition entitled Fiberart 2014.
R É S U M É
Professor of Art
Department of Art & Art History, Hartwick College, Oneonta, NY
E D U C A T I O N
- University at Albany, State University of NY, M.A. 1981. M.F.A. 1986. Printmaking and photo-related processes. Studied with
Phyllis Galembo,
Thom O’Connor, Robert Cartmell.
- Skidmore College, Saratoga Springs NY, B.S. 1971. Studio Art. Studied with Robert Reed, Jeffrey Elgin,
Richard Upton, David Ahlsted.
T E A C H I N G
Hartwick College. (1982-present) photography and printmaking, department chair (‘92-‘99). named Arkell Hall Foundation Endowed Chair in the Arts, Professor of Art (2008-11)
E X H I B I T I O N S
Selected Solo and 2-3 Person
- CANO (Community Arts Network of Oneonta), Oneonta NY, “Pinholes, Pixels and Paint: Vernon Burnett, Annie Gohde, Katharine
Kreisher,” 2016.*
- Word and Image Gallery, Bright Hill Literary Center Treadwell NY, “Messages: Katharine Kreisher” 2015.
- Dietel Gallery, Emma Willard School, Troy NY “Katharine Kreisher: So Far, So Good,” 2012. *
- RioBravoFineArt ,Truth or Consequences, NM, “Katharine Kreisher: Dream Desert,” 2011.*
- Lycoming College, Williamsport, PA, “Katharine Kreisher: Meeting My Selves,” 2011. *
- The Arkell Museum, Canajoharie, NY, “Katharine Kreisher: Sense of Self,” 2009 .*
- The Arts Center of the Capital Region, Troy, NY, “Katharine Kreisher: Everything In Its Place,” 2009. *
- Cooperstown Art Association, Cooperstown, NY, “Katharine Kreisher: Circles of Confusion,” 2008. *
- Rayko Photo Center, San Francisco, CA, “Katharine Kreisher and Rebecca Rome,” 2008.
- Gallery 53, Cooperstown, NY, "Observation/Introspection: Sylvia de Swaan and Katharine Kreisher," 1989.
- Rensselaer County Council for the Arts, Troy, NY, "Partial Disclosures," with Katharine Kreisher, Gay Malin, Corinna Ripps, 1986.
- Inskirts Gallery, Women's Studio Workshop, Rosendale, NY, "Books and Photographs: Barbara Row and Katharine Kreisher,"
1986.
S E L E C T E D G R O U P
- Las Cruces Museum of Art, Las Cruces NM, “Transforming Space: A Contemporary Fiber Invitational,” curator
Susan Christie, 2016–17. *
- The Smithy Center for the Arts, Cooperstown NY, "Almost Lost Landscapes," A Tribute to Henry S.F. Cooper, curated by
Otsego 2000 and Sydney Waller, 2016. *
- The Smithy Center for the Arts, Cooperstown NY, “Personal Perspectives: Sense of Place,” curated by Megan A. Irving with
Sydney L. Waller in conjunction with 3rd annual Glimmerglass Film Days: “Sacred Spaces” film festival, 2015.
- RioBravoFineArt, Truth or Consequences, NM, “Fiberart 2014: A Mixed Bag,” curator Susan Christie, 2014.*
- PhotoPlace Gallery, Middlebury, NY, “Looking Back: The Art of Nostalgia,” juror: MaryAnn Lynch, 2013 (catalog).
- Munson-Williams-Proctor Arts Institute, Utica, NY:
“Central New York Artists: 62nd Exhibition,” juror Susan Stoops, 2010. (catalogue)
“Central New York Artists: 61st Exhibition,” jurors Thomas Piche, Jr and Marion Wilson, 2008. (catalogue)
"Photography: 53rd Annual Artists of Central New York State", juror Andrea Modica, 1990. (catalogue)
"Photographers of Upstate New York,” juror Nathan Lyons, 1979.
- Northlight Gallery, Herberger College of the Arts, Arizona State University, Tempe, AZ, “Diverse Views: The Women’s Caucus of
the Society for Photographic Education,” curated by Liz Allen and Betsy Fahlman, 2008.
- Mandeville Gallery, Nott Memorial, Union College, Schenectady, NY, “SNAP!” (contemporary photography by Sally Apfelbaum,
Nora Herting, Katharine Kreisher, Melinda McDaniel and Lynn Saville), curator Rachel Seligman, 2008 (catalog).
- Samuel Dorsky Museum of Art, State University of New York at New Paltz, NY, "The Material Image: Surface and Substance in
Photography," (curated by Beth E. Wilson from the permanent collection), 2005.
- Center for Photography at Woodstock, NY:
“Once Upon A Time: When The Fairy Tale Ends,” curator Colleen Kenyon, 2003 (article in Center Quarterly).
“1989 Photographers' Fund Recipients: Will Faller, Debra Goldman, Katharine Kreisher," 1989.
- pARTS, Minneapolis, MN, “Roger Mertin, December 1943 – 7 May 2001: A Collective Tribute Vision,” curators George Slade and
JoAnn Verburg, 2002.
- John Michael Kohler Arts Center, Sheboygan, WI, "Hair,"curator Alison Ferris,1992-93 (artist residency during exhibition)
(catalog).
- International Traveling Exhibition, “Diamonds Are Forever: Artists and Writers on Baseball”, curator Peter Gordon of New York State Museum in Albany with Sydney Waller and Paul Weinman for Smithsonian Institute, Washington, D.C., 1987-92.
- University Art Museum, Albany, NY,
"The Transfiguration," curator Andrew Boardman, 1994.
"Artists of the Mohawk Hudson Region," juror Linda Shearer, (two purchase prizes) 1991.
- Albany Institute of History and Art and Rice Gallery
“Small and Seductive: Contemporary Art from the Institute’s Collection,” curated by Museum Director Tammiis Groft, 2014.
"Introspection" curator Janis Dorgan /"Facing Portraits" curator Tammis Groft, (concurrent exhibitions),1994.
"Interplay," jurors Karen Dorsky and Stephen Frankel (award winner), 1990.
"Place, Process, Product," curator Janice Dorgan, 1988.
- 92nd St Y, NY, NY, "Altered Photographs" with Katharine Kreisher, Judith Mohns and Ann Marie Rousseau, 1989.
- Louis K. Meisel Gallery, NY, NY, “New Developments: Contemporary American Photography,” selected by Larry
Fink and Marilyn Bridges
for Center for Photography at Woodstock, 1986.
- Picker Art Gallery, Colgate University, Hamilton, NY and Gallery 53, Cooperstown, NY, “Gender and Gesture”
(nine women artists),
curator Sydney Waller, 1985-6. (panelist at Colgate University Symposium on Women in the Arts), (catalogue).
- The Woman's Building, Los Angeles, CA, "Women Photographers in America," 1984 (Artweek review).
- University of Colorado at Denver, "Arboretum," curator Sandy Hume, 1983.
S E L E C T E D P R O J E C T S/P U B L I C A T I O N S
- Photo Review competition web portfolio, “Exteriors” 2014
http://www.photoreview.org/competition/portfolioFull.php/52/1/3
- Society for Photographic Education national conferences:
“Conferring Significance: Celebrating Photography’s Continuum,” moderator for panel “The Feedback Loop of
Contemporary Feminisms: Teaching, Learning, and Making” with Ann Kaplan, Patricia Lois Nuss, Laurie
Schorr, and Marcia Vaitsman, Chicago, IL 2013.
“Facing Diversity: Leveling the Playing Field in the Photographic Arts,” panel “Self as Object: Perspectives of
Identity” with Tulu Bayar, Amber Johnston, Suzanne Szucs and M. Laine Wyatt, Philadelphia PA, 2010.
“Photography and Place,” panel, “Home and Away: Roger Mertin’s Journeys” with Jeffrey Hoone and George
Slade, Newport RI, 2004.
- Focal Press textbook, “Elements of Photography” by Angela Faris Belt, 2008 and 2011.
- NYSCA Grants (New York State Council on the Arts) through Upper Catskill Community Council for the Arts,
Oneonta: Decentralization
grants (1988 and 1990) and SOS grants (2001, 2003, 2007, 2009).
- Lake George Arts Project Collectors Club, print commission (intaglio edition of 100, “Ticking,” printed at
Round House Press,
Hartwick College), curator Julie Courtney, 1992-3.
- BOMB Magazine, NY, NY, printed 1989. (on-line archives 2013)
- Millay Colony for the Arts, Austerlitz, NY, Residencies, January 1988 and 2013.
C O L L E C T I O N S
Center for Photography at Woodstock (housed at Samuel Dorsky Museum, SUNY New Paltz)
Albany Institute of History and Art
University Museum, SUNY Albany _
Quay School of Art (UCOL), Wanganui, New Zealand
Hartwick College Fine Arts Collection, Yager Museum
Pinhole Resource Center, San Lorenzo NM (housed at New Mexico History Museum, Palace of Governors, Santa Fe, NM) http://econtent.unm.edu/cdm/search/collection/pinhole/searchterm/katharine%20kreisher/order/title
L I N K S
Fllickr account: - https://www.flickr.com/search/?q=katharine%20kreisher
* exhibition includes 1 or more installations
To Visit the Artists' Website
News From Hartwick College
www.hartwick.edu/news/hartwicks-kreisher-to-exhibit-work-in-new-mexico/
A R T I S T S T A T E M E N T
Hekate’s Dream is the title for my colorful crocheted and knit installation built from funnel-like shapes referencing desert plant forms and blooms. It is as if the archaic domestic goddess Hekate dreamed of a desert landscape where distorted plants give way to surprising blooms, funnels deliver water and disrupting whirlwinds come and go.
This new project is part of my on-going series of “Dream” installations, journeys into unconscious narratives, reworking of memories and myths. At first I made them just to make photographs within the installations, and then they became the art itself, something to display and experience. Other installations have been called Dream Mother, Dream Umbrella, Dream River, Dream Cloak, Dream Spiral and Dream of Emptiness.
Working with the yarn and thread and cloth to “find” the imagery, I imagined myself at all ages in half-remembered rooms with my mother and grandmothers. We talked and talked while we knit sweaters and darned socks, while we patched and crocheted, while we made hooked rugs from old wool suits and quilts from old cotton dresses. Sometimes elegant designs resulted, but at other times we were making repairs and “making do,” transforming the scraps of yesterday into something new and useful and beautiful.
In a similar way I am working with a group of students at Hartwick College on the Hekate’s Dream project. Mostly art majors, two have been official artist assistants for me, and one who started the Knit and Crochet Club now teaches classes at the local arts council. We sit together in coffee shops and talk, and we work on “funnels’ to contribute to my installation. Sometimes it really feels like the times I had with my female relatives who praised my childhood interest in making things from yarn and cloth and thread.
B I O G R A P H Y
Katharine Kreisher is a printmaker, photographer and installation artist. She divides her time between the Upstate New York hamlet of Schenevus and the city of Truth or Consequences, New Mexico. Katharine received her undergraduate degree from Skidmore College in Saratoga Springs NY in 1971, and she earned an MA in 1981 and an MFA in 1986, both in printmaking and photo-related processes from the University at Albany, State University of New York where she studied with photographer Phyllis Galembo. Since 1982 Kreisher has been a professor of art at Hartwick College in Oneonta NY. Her work is in permanent collections in New York State at the Albany Institute of History and Art, the University Museum at Albany and the Center for Photography at Woodstock. In 2013 her pinhole photographs were added to the Pinhole Resource Center collection, now housed in the Governor’s Palace at Santa Fe. Recent exhibition venues include Rayko Photo Center in San Francisco CA, Northlight Gallery at Arizona State University in Tempe AZ, the Quay School of Art in Wanganui New Zealand, Arkell Museum in Canajoharie NY, Union College in Schenectady NY, Munson-Williams-Proctor Art Institute in Utica NY and The Inkshop in Ithaca NY. In 2011 and 2014, using fabric and knitting, Kreisher produced two room-sized installations for RioBravoFineArt in T or C NM: Dream Desert and Hekate, both about traditional female ritual spaces. Dream Desert was part of Katharine’s solo show curated by Eduardo Alicea. Artist-curator Susan Christie invited Katharine to develop Hekate for a group exhibition entitled Fiberart 2014.
R É S U M É
Professor of Art
Department of Art & Art History, Hartwick College, Oneonta, NY
E D U C A T I O N
- University at Albany, State University of NY, M.A. 1981. M.F.A. 1986. Printmaking and photo-related processes. Studied with
Phyllis Galembo,
Thom O’Connor, Robert Cartmell.
- Skidmore College, Saratoga Springs NY, B.S. 1971. Studio Art. Studied with Robert Reed, Jeffrey Elgin,
Richard Upton, David Ahlsted.
T E A C H I N G
Hartwick College. (1982-present) photography and printmaking, department chair (‘92-‘99). named Arkell Hall Foundation Endowed Chair in the Arts, Professor of Art (2008-11)
E X H I B I T I O N S
Selected Solo and 2-3 Person
- CANO (Community Arts Network of Oneonta), Oneonta NY, “Pinholes, Pixels and Paint: Vernon Burnett, Annie Gohde, Katharine
Kreisher,” 2016.*
- Word and Image Gallery, Bright Hill Literary Center Treadwell NY, “Messages: Katharine Kreisher” 2015.
- Dietel Gallery, Emma Willard School, Troy NY “Katharine Kreisher: So Far, So Good,” 2012. *
- RioBravoFineArt ,Truth or Consequences, NM, “Katharine Kreisher: Dream Desert,” 2011.*
- Lycoming College, Williamsport, PA, “Katharine Kreisher: Meeting My Selves,” 2011. *
- The Arkell Museum, Canajoharie, NY, “Katharine Kreisher: Sense of Self,” 2009 .*
- The Arts Center of the Capital Region, Troy, NY, “Katharine Kreisher: Everything In Its Place,” 2009. *
- Cooperstown Art Association, Cooperstown, NY, “Katharine Kreisher: Circles of Confusion,” 2008. *
- Rayko Photo Center, San Francisco, CA, “Katharine Kreisher and Rebecca Rome,” 2008.
- Gallery 53, Cooperstown, NY, "Observation/Introspection: Sylvia de Swaan and Katharine Kreisher," 1989.
- Rensselaer County Council for the Arts, Troy, NY, "Partial Disclosures," with Katharine Kreisher, Gay Malin, Corinna Ripps, 1986.
- Inskirts Gallery, Women's Studio Workshop, Rosendale, NY, "Books and Photographs: Barbara Row and Katharine Kreisher,"
1986.
S E L E C T E D G R O U P
- Las Cruces Museum of Art, Las Cruces NM, “Transforming Space: A Contemporary Fiber Invitational,” curator
Susan Christie, 2016–17. *
- The Smithy Center for the Arts, Cooperstown NY, "Almost Lost Landscapes," A Tribute to Henry S.F. Cooper, curated by
Otsego 2000 and Sydney Waller, 2016. *
- The Smithy Center for the Arts, Cooperstown NY, “Personal Perspectives: Sense of Place,” curated by Megan A. Irving with
Sydney L. Waller in conjunction with 3rd annual Glimmerglass Film Days: “Sacred Spaces” film festival, 2015.
- RioBravoFineArt, Truth or Consequences, NM, “Fiberart 2014: A Mixed Bag,” curator Susan Christie, 2014.*
- PhotoPlace Gallery, Middlebury, NY, “Looking Back: The Art of Nostalgia,” juror: MaryAnn Lynch, 2013 (catalog).
- Munson-Williams-Proctor Arts Institute, Utica, NY:
“Central New York Artists: 62nd Exhibition,” juror Susan Stoops, 2010. (catalogue)
“Central New York Artists: 61st Exhibition,” jurors Thomas Piche, Jr and Marion Wilson, 2008. (catalogue)
"Photography: 53rd Annual Artists of Central New York State", juror Andrea Modica, 1990. (catalogue)
"Photographers of Upstate New York,” juror Nathan Lyons, 1979.
- Northlight Gallery, Herberger College of the Arts, Arizona State University, Tempe, AZ, “Diverse Views: The Women’s Caucus of
the Society for Photographic Education,” curated by Liz Allen and Betsy Fahlman, 2008.
- Mandeville Gallery, Nott Memorial, Union College, Schenectady, NY, “SNAP!” (contemporary photography by Sally Apfelbaum,
Nora Herting, Katharine Kreisher, Melinda McDaniel and Lynn Saville), curator Rachel Seligman, 2008 (catalog).
- Samuel Dorsky Museum of Art, State University of New York at New Paltz, NY, "The Material Image: Surface and Substance in
Photography," (curated by Beth E. Wilson from the permanent collection), 2005.
- Center for Photography at Woodstock, NY:
“Once Upon A Time: When The Fairy Tale Ends,” curator Colleen Kenyon, 2003 (article in Center Quarterly).
“1989 Photographers' Fund Recipients: Will Faller, Debra Goldman, Katharine Kreisher," 1989.
- pARTS, Minneapolis, MN, “Roger Mertin, December 1943 – 7 May 2001: A Collective Tribute Vision,” curators George Slade and
JoAnn Verburg, 2002.
- John Michael Kohler Arts Center, Sheboygan, WI, "Hair,"curator Alison Ferris,1992-93 (artist residency during exhibition)
(catalog).
- International Traveling Exhibition, “Diamonds Are Forever: Artists and Writers on Baseball”, curator Peter Gordon of New York State Museum in Albany with Sydney Waller and Paul Weinman for Smithsonian Institute, Washington, D.C., 1987-92.
- University Art Museum, Albany, NY,
"The Transfiguration," curator Andrew Boardman, 1994.
"Artists of the Mohawk Hudson Region," juror Linda Shearer, (two purchase prizes) 1991.
- Albany Institute of History and Art and Rice Gallery
“Small and Seductive: Contemporary Art from the Institute’s Collection,” curated by Museum Director Tammiis Groft, 2014.
"Introspection" curator Janis Dorgan /"Facing Portraits" curator Tammis Groft, (concurrent exhibitions),1994.
"Interplay," jurors Karen Dorsky and Stephen Frankel (award winner), 1990.
"Place, Process, Product," curator Janice Dorgan, 1988.
- 92nd St Y, NY, NY, "Altered Photographs" with Katharine Kreisher, Judith Mohns and Ann Marie Rousseau, 1989.
- Louis K. Meisel Gallery, NY, NY, “New Developments: Contemporary American Photography,” selected by Larry
Fink and Marilyn Bridges
for Center for Photography at Woodstock, 1986.
- Picker Art Gallery, Colgate University, Hamilton, NY and Gallery 53, Cooperstown, NY, “Gender and Gesture”
(nine women artists),
curator Sydney Waller, 1985-6. (panelist at Colgate University Symposium on Women in the Arts), (catalogue).
- The Woman's Building, Los Angeles, CA, "Women Photographers in America," 1984 (Artweek review).
- University of Colorado at Denver, "Arboretum," curator Sandy Hume, 1983.
S E L E C T E D P R O J E C T S/P U B L I C A T I O N S
- Photo Review competition web portfolio, “Exteriors” 2014
http://www.photoreview.org/competition/portfolioFull.php/52/1/3
- Society for Photographic Education national conferences:
“Conferring Significance: Celebrating Photography’s Continuum,” moderator for panel “The Feedback Loop of
Contemporary Feminisms: Teaching, Learning, and Making” with Ann Kaplan, Patricia Lois Nuss, Laurie
Schorr, and Marcia Vaitsman, Chicago, IL 2013.
“Facing Diversity: Leveling the Playing Field in the Photographic Arts,” panel “Self as Object: Perspectives of
Identity” with Tulu Bayar, Amber Johnston, Suzanne Szucs and M. Laine Wyatt, Philadelphia PA, 2010.
“Photography and Place,” panel, “Home and Away: Roger Mertin’s Journeys” with Jeffrey Hoone and George
Slade, Newport RI, 2004.
- Focal Press textbook, “Elements of Photography” by Angela Faris Belt, 2008 and 2011.
- NYSCA Grants (New York State Council on the Arts) through Upper Catskill Community Council for the Arts,
Oneonta: Decentralization
grants (1988 and 1990) and SOS grants (2001, 2003, 2007, 2009).
- Lake George Arts Project Collectors Club, print commission (intaglio edition of 100, “Ticking,” printed at
Round House Press,
Hartwick College), curator Julie Courtney, 1992-3.
- BOMB Magazine, NY, NY, printed 1989. (on-line archives 2013)
- Millay Colony for the Arts, Austerlitz, NY, Residencies, January 1988 and 2013.
C O L L E C T I O N S
Center for Photography at Woodstock (housed at Samuel Dorsky Museum, SUNY New Paltz)
Albany Institute of History and Art
University Museum, SUNY Albany _
Quay School of Art (UCOL), Wanganui, New Zealand
Hartwick College Fine Arts Collection, Yager Museum
Pinhole Resource Center, San Lorenzo NM (housed at New Mexico History Museum, Palace of Governors, Santa Fe, NM) http://econtent.unm.edu/cdm/search/collection/pinhole/searchterm/katharine%20kreisher/order/title
L I N K S
Fllickr account: - https://www.flickr.com/search/?q=katharine%20kreisher
* exhibition includes 1 or more installations
To Visit the Artists' Website
News From Hartwick College
www.hartwick.edu/news/hartwicks-kreisher-to-exhibit-work-in-new-mexico/
MAYUMI NISHIDA
A R T I S T S T A T E M E N T
INVERSE PYRAMID
I chose to work with silk because it represents the first industrial practice in Japan. The slave-like conditions of the almost entirely female workforce was what made possible my country’s very first foray into capitalization. Silk also has a long history connecting east and west through commerce, and due to it’s inherent strength and translucent beauty has been a mainstay luxury item for “those at the top of the pyramid” over many millennium.
I’m using the pyramidal structure to represent the ascendancy of human hierarchy during the agricultural revolution. Comparing Neolithic archeological sites like Gobleki Tepe, with it’s multiple, earth based centers, to the Great Pyramids of Giza, which stood, as tombs for single kings, is instructive. I’ve chosen the pyramidal structure to draw parallels between the numerous Ponzi schemes, and pseudo-supremacies at work in increasingly hierarchized human social and economic structures worldwide.
In Deleuzian terms I’m transforming the pyramid from an arborescent structure of caste, into a rhizomatic one of equitable multiplicity. It is meant to evoke a world emptied of the oppression inevitably pursued by overarching hierarchies, and to suggest the beauty of a world where power is reposited multi-centrally, and where depth of meaning is valued over social ascendancy.
B I O G R A P H Y
Mayumi Nishida’s art explores conscious and unconscious, human perceptions through light and sculptural installation. Her work has been exhibited in contemporary art venues internationally, including Art Space in New Haven, CT, The Albuquerque Museum and 516 Arts in Albuquerque, NM, and Galerie Zone in Osaka, Japan. She has traveled extensively, visiting 18 countries worldwide, including China during the Tiananmen Massacre, and Thailand during the coup d’etat of 1991. Her awareness of her relationship to both natural and cultural environments is informed by these experiences.
She was graduated Magna Cum Laude with a BFA in sculpture from the University of Colorado at Denver, and received her MFA with distinction from the University of New Mexico. She received the International Sculpture Center (ISC) Outstanding Student Achievement in Contemporary Sculpture Award in 2000, and the Juror’s Choice Award at the Albuquerque Contemporary Exhibition in 2004. Mayumi Nishida was born and grew up in in Shimonoseiki, Japan. She currently lives off the grid and works in Lamy, NM with her husband, and their 13 year old son.
R É S U M É
EDUCATION
2004 Master of Fine Art – Sculpture (Installation, Mixed media, Time based Art)
University of New Mexico, Albuquerque, NM; Graduated with distinction
2000 Bachelor of Fine Art - Sculpture
University of Colorado at Denver, Denver, CO; Magna Cum Laude
1998 Metropolitan State College of Denver, Denver, CO;
The President's Honor Roll, Spring 1996 and Spring 1998
SELECTED SOLO/TWO PERSON EXHIBITION
2013 Gallery Zone, “Plenum”, Osaka, Japan, October
2011 Shelby Street Gallery, “Luminous”, Santa Fe, NM, March
2005 McLanahan Gallery, Pennsylvania State University, Altoona PA, November
SELECTED GROUP EXHIBITION
2016 Las Cruces Museum, “Transforming Space,” Las Cruces, NM, November/January
2015 Peters Project, “Axle Indoors”, Santa Fe, NM , February/March,
2014 Leonora Curtin Wetland Preserve, “Wilderness Acts”, curated by Axle Contemporary, La Cienega, NM,
October/November
2014 Spectrum Gallery, “Seeds”, Osaka, Japan, February
2013 Cloud 5 Project, “Coherent Light”, Santa Fe, June-August
2013 Gallery Zone, “PRISM 2013”, Osaka, Japan, March
2011 Artspace, “Marie Celeste”, New Haven, CT, May - September, curated by Liza Statton
2010 Santa Fe Art Institute “Flash Flood”, Santa Fe, NM, November/December
2009 SCA gallery, “Constructed Analogy to Landscape”, Albuquerque, NM, September
2009 516 ARTS,”Equation”, Albuquerque NM, July
2008 SCA galley “Engendered Space”, Albuquerque, NM, September
2006 Plus Gallery, Denver, CO, July/August
2006 Salon Mar Graff "Respond," Santa Fe, NM, July
2005 Bridge Center for Contemporary Art - "RimScape," El Paso, TX, October
2005 New Mexico State University Art Gallery, "Regional Invitational" Las Cruces, NM, June-July
2004 The Albuquerque Museum - "Albuquerque Contemporary 2004" Juried exhibition, Albuquerque, NM, July, Juried by Gronk
2004 SCA Gallery "Pleasurework," Pomona, CA, April
2002 The Harwood Art Center - Juried show "le fin d'annee scholaire," Albuquerque, NM, March
2001 Emmanuel Gallery "Creme de L'Auraria," Denver, CO, July
2000 Ground For Sculpture, "Fall/Winter 2000/2001 Exhibition," Hamilton, NJ, July
AWARDS
2012 Creative Capital Workshops, January
2008 Land Art Project, 516 Arts, December
2005 Jentel Artist Residency Fellowship, Banner, WY, February - March
2004 Juror's Choice Award - Albuquerque Contemporary 2004, Albuquerque, NM, July
2000 International Sculpture Center 2000 Outstanding Student Achievement in Contemporary Sculpture Award,
Hamilton, NJ, July
CATALOG
2010 “LAND/ART New Mexico”, Santa Fe: Radius Books
2004 THE LAND/an art site, "Death in two parts" 5th Annual Invitational Exhibition, October
2004 15th Annual Regional Juried Exhibition, Albuquerque Contemporary 2004, July
2000 Fall/Winter 2000/2001 Grounds for Sculpture, October
To Visit the Artists' Website
A R T I S T S T A T E M E N T
INVERSE PYRAMID
I chose to work with silk because it represents the first industrial practice in Japan. The slave-like conditions of the almost entirely female workforce was what made possible my country’s very first foray into capitalization. Silk also has a long history connecting east and west through commerce, and due to it’s inherent strength and translucent beauty has been a mainstay luxury item for “those at the top of the pyramid” over many millennium.
I’m using the pyramidal structure to represent the ascendancy of human hierarchy during the agricultural revolution. Comparing Neolithic archeological sites like Gobleki Tepe, with it’s multiple, earth based centers, to the Great Pyramids of Giza, which stood, as tombs for single kings, is instructive. I’ve chosen the pyramidal structure to draw parallels between the numerous Ponzi schemes, and pseudo-supremacies at work in increasingly hierarchized human social and economic structures worldwide.
In Deleuzian terms I’m transforming the pyramid from an arborescent structure of caste, into a rhizomatic one of equitable multiplicity. It is meant to evoke a world emptied of the oppression inevitably pursued by overarching hierarchies, and to suggest the beauty of a world where power is reposited multi-centrally, and where depth of meaning is valued over social ascendancy.
B I O G R A P H Y
Mayumi Nishida’s art explores conscious and unconscious, human perceptions through light and sculptural installation. Her work has been exhibited in contemporary art venues internationally, including Art Space in New Haven, CT, The Albuquerque Museum and 516 Arts in Albuquerque, NM, and Galerie Zone in Osaka, Japan. She has traveled extensively, visiting 18 countries worldwide, including China during the Tiananmen Massacre, and Thailand during the coup d’etat of 1991. Her awareness of her relationship to both natural and cultural environments is informed by these experiences.
She was graduated Magna Cum Laude with a BFA in sculpture from the University of Colorado at Denver, and received her MFA with distinction from the University of New Mexico. She received the International Sculpture Center (ISC) Outstanding Student Achievement in Contemporary Sculpture Award in 2000, and the Juror’s Choice Award at the Albuquerque Contemporary Exhibition in 2004. Mayumi Nishida was born and grew up in in Shimonoseiki, Japan. She currently lives off the grid and works in Lamy, NM with her husband, and their 13 year old son.
R É S U M É
EDUCATION
2004 Master of Fine Art – Sculpture (Installation, Mixed media, Time based Art)
University of New Mexico, Albuquerque, NM; Graduated with distinction
2000 Bachelor of Fine Art - Sculpture
University of Colorado at Denver, Denver, CO; Magna Cum Laude
1998 Metropolitan State College of Denver, Denver, CO;
The President's Honor Roll, Spring 1996 and Spring 1998
SELECTED SOLO/TWO PERSON EXHIBITION
2013 Gallery Zone, “Plenum”, Osaka, Japan, October
2011 Shelby Street Gallery, “Luminous”, Santa Fe, NM, March
2005 McLanahan Gallery, Pennsylvania State University, Altoona PA, November
SELECTED GROUP EXHIBITION
2016 Las Cruces Museum, “Transforming Space,” Las Cruces, NM, November/January
2015 Peters Project, “Axle Indoors”, Santa Fe, NM , February/March,
2014 Leonora Curtin Wetland Preserve, “Wilderness Acts”, curated by Axle Contemporary, La Cienega, NM,
October/November
2014 Spectrum Gallery, “Seeds”, Osaka, Japan, February
2013 Cloud 5 Project, “Coherent Light”, Santa Fe, June-August
2013 Gallery Zone, “PRISM 2013”, Osaka, Japan, March
2011 Artspace, “Marie Celeste”, New Haven, CT, May - September, curated by Liza Statton
2010 Santa Fe Art Institute “Flash Flood”, Santa Fe, NM, November/December
2009 SCA gallery, “Constructed Analogy to Landscape”, Albuquerque, NM, September
2009 516 ARTS,”Equation”, Albuquerque NM, July
2008 SCA galley “Engendered Space”, Albuquerque, NM, September
2006 Plus Gallery, Denver, CO, July/August
2006 Salon Mar Graff "Respond," Santa Fe, NM, July
2005 Bridge Center for Contemporary Art - "RimScape," El Paso, TX, October
2005 New Mexico State University Art Gallery, "Regional Invitational" Las Cruces, NM, June-July
2004 The Albuquerque Museum - "Albuquerque Contemporary 2004" Juried exhibition, Albuquerque, NM, July, Juried by Gronk
2004 SCA Gallery "Pleasurework," Pomona, CA, April
2002 The Harwood Art Center - Juried show "le fin d'annee scholaire," Albuquerque, NM, March
2001 Emmanuel Gallery "Creme de L'Auraria," Denver, CO, July
2000 Ground For Sculpture, "Fall/Winter 2000/2001 Exhibition," Hamilton, NJ, July
AWARDS
2012 Creative Capital Workshops, January
2008 Land Art Project, 516 Arts, December
2005 Jentel Artist Residency Fellowship, Banner, WY, February - March
2004 Juror's Choice Award - Albuquerque Contemporary 2004, Albuquerque, NM, July
2000 International Sculpture Center 2000 Outstanding Student Achievement in Contemporary Sculpture Award,
Hamilton, NJ, July
CATALOG
2010 “LAND/ART New Mexico”, Santa Fe: Radius Books
2004 THE LAND/an art site, "Death in two parts" 5th Annual Invitational Exhibition, October
2004 15th Annual Regional Juried Exhibition, Albuquerque Contemporary 2004, July
2000 Fall/Winter 2000/2001 Grounds for Sculpture, October
To Visit the Artists' Website
GAIL RIEKE
B I O G R A P H Y
Gail Rieke is an internationally recognized collage/ assemblage/ installation artist and teacher who lives and works in Santa Fe, New Mexico with her husband, painter Zachariah Rieke. She shows her work at her home/ studio/ gallery by appointment as well as at museums, galleries, and art centers. Gail received her B.F.A. and M.F.A. from University of Florida at Gainesville. Her artwork is represented in the permanent collections of museums and institutions and is placed in many private collections as well. In the year 2000, Gail and Zachariah produced a retrospective exhibition at the New Mexico Museum of Art in Santa Fe.
Gail has taught at the University of Florida in Gainesville, Florida; the University of Alberta Edmonton in Alberta, Canada; and the Santa Fe University of Art and Design in Santa Fe, New Mexico. In the US, she has presented workshops and lectures at various venues including the San Francisco Center for the Book in California, Penland School in North Carolina, and Haystack School in Maine.
Internationally, in 2014, she taught Artist as Traveler at Museo Carrillo Gil in Mexico City. In 2010, 2012, and 2014 she taught at Maison Conti, Montmirail, France. She also taught in Kyoto, Japan in 2010 and in Alamos, Mexico 2008. She was a guest lecturer at the Cheongju International Biennale in Korea in October 2007 where she was invited to display two of her travel journals. She has received a Western States Arts Federation Grant and a one month residency in Venice from the Emily Harvey Foundation in 2015.
S E L E C T E D R É S U M É
Born 1944 Mount Vernon, New York
EDUCATION
1966-1968 M.F.A. University of Florida Gainesville, Florida
1962-1966 B.F.A. University of Florida Gainesville, FL
TEACHING
2000-2016
The Artist As Traveler, Journal of Possibilities, Mapping, and Design Workshops at various venues including: San Francisco Center for the Book; Convergence; Split Rock Arts Center, MN; Penland School, NC; Alamos, Mexico; Haystack, ME; Siegal Studio, Montreal, Canada; Maison Conti, Monrtrail France, Mexico City
2003-2012
Journal Journey Workshops in Thailand, Laos, Japan & Mexico
TRAVEL
Venice 2015; Rural France 2010, 2013, 2015; Mexico City & Oaxaca 2014; Rural Central Honshu, Japan 2008, 2010, 2014; Laos & Cambodia 2013, Alamos, Mexico 2008, Kyoto, Japan 1995, 2001, 2005, 2007, 2008; Kyoto, Shigaraki and Tokyo 2012, Cheongju, South Korea 2007; Chaing Mai, Thailand and Luang Prabang, Laos, 2006; Shikoku and Western Honshu, Japan 2003; Tohoku Area, Japan 1997; Central Italy 1995
ARTIST RESIDENCY
Emily Harvey Foundation, Venice, Italy 2015
SELECTED AWARDS
Acclaimed Artist Series Purchase Award New Mexico Arts Commission 2006
Western States Arts Federation Grant 1977
SELECTED COLLECTIONS
The Dobkin Family Foundation, NYC; The Albuquerque Museum, Albuquerque, NM; New Mexico; Museum of Fine Arts, Santa Fe, NM; Lael & Eugenie Johnson, Chicago, IL; Mr. and Mrs. Frederick Mayer, Denver, CO; Luisa Sarofim, Houston, TX; Santa Fe Institute, Santa Fe; University of New Mexico, Albuquerque, NM; Capital 1 Bank
SELECTED TOURS VISITING RIEKE STUDIOS
Museum of Arts & Design, NY; Mint Museum of Craft + Design, NC; International Women’s Forum; New Mexico Museum of Fine Arts, NM; National Museum
of Women in the Arts Washington, DC; Renwick Museum, Washington, DC; Oakland Museum, CA; Intuit, Chicago, IL
SELECTED EXHIBITIONS
2015 Cascais International Book Art Cascais, Portugal
Collector of Memory Solo Show Rieke Studio Gallery, Santa Fe, NM
2014 Patina Gallery Solo Show Santa Fe, NM
2013 Recent Acquisitions, New Mexico Museum of Art, Santa Fe, NM
Shadowcatcher Solo Show Rieke Studio Gallery, Santa Fe, NM
2012 Smink Gallery, Dallas, Texas
2011 Muse Solo Show Rieke Studio Gallery, Santa Fe, NM
Traces – Mapping a Journey in Textiles, Greg museum of Art and Design, Raleigh, NC
2009 Calendar Solo Show, Rieke Studio Gallery, Santa Fe, NM
2007 Present, Solo Show, Rieke Studio Gallery, Santa Fe, NM
Crafts, A Mode of Life, Cheongju Craft Biennale 2007 Cheongju, South Korea
Gail Rieke, Clarke & Clarke Gallery, Scottsdale, AZ (also 2006)
2006 Gail Rieke, Sandy Carson Gallery, Denver, Colorado
2005 Time Windows, Solo Show, Rieke Studio Gallery, SantaFe,
Mapping the Moment, New Mexico State Capitol Rotunda Gallery NM 2004
Beyond Words: Artists and the Book, New Mexico Museum of Fine Arts, Santa Fe, NM
Cahoots , Gail & Zachariah Rieke, The Art Center, St. Petersburg, FL
2003 Cumulus, Solo Show, Rieke Studio Gallery, Santa Fe,
Summer Contemporary Show, Museum of Fine Arts, St. Petersburg, FL
XOXOX San Francisco Center for the Book, San Francisco
2002 From Realism to Abstraction: Art in New Mexico, 1917-2002, New Mexico Museum of Fine Arts, Santa Fe, NM
Art of the Book in the Southwest, Millicent Rogers Museum, Taos, 2001
Theatre of Memory, Solo Show, Rieke Studio Gallery, Santa Fe, NM
2000 SOFA, Sculptural Objects & Functional Art, Navy Pier, Chicago, IL (also 1999)
1999 Gail and Zachariah Rieke: Found Objects in an Open World, New Mexico Museum of Fine Arts, Santa Fe, NM
Gail & Zachariah Rieke, Rieke Studio Gallery, Santa Fe, NM
To Visit the Artists' Website
B I O G R A P H Y
Gail Rieke is an internationally recognized collage/ assemblage/ installation artist and teacher who lives and works in Santa Fe, New Mexico with her husband, painter Zachariah Rieke. She shows her work at her home/ studio/ gallery by appointment as well as at museums, galleries, and art centers. Gail received her B.F.A. and M.F.A. from University of Florida at Gainesville. Her artwork is represented in the permanent collections of museums and institutions and is placed in many private collections as well. In the year 2000, Gail and Zachariah produced a retrospective exhibition at the New Mexico Museum of Art in Santa Fe.
Gail has taught at the University of Florida in Gainesville, Florida; the University of Alberta Edmonton in Alberta, Canada; and the Santa Fe University of Art and Design in Santa Fe, New Mexico. In the US, she has presented workshops and lectures at various venues including the San Francisco Center for the Book in California, Penland School in North Carolina, and Haystack School in Maine.
Internationally, in 2014, she taught Artist as Traveler at Museo Carrillo Gil in Mexico City. In 2010, 2012, and 2014 she taught at Maison Conti, Montmirail, France. She also taught in Kyoto, Japan in 2010 and in Alamos, Mexico 2008. She was a guest lecturer at the Cheongju International Biennale in Korea in October 2007 where she was invited to display two of her travel journals. She has received a Western States Arts Federation Grant and a one month residency in Venice from the Emily Harvey Foundation in 2015.
S E L E C T E D R É S U M É
Born 1944 Mount Vernon, New York
EDUCATION
1966-1968 M.F.A. University of Florida Gainesville, Florida
1962-1966 B.F.A. University of Florida Gainesville, FL
TEACHING
2000-2016
The Artist As Traveler, Journal of Possibilities, Mapping, and Design Workshops at various venues including: San Francisco Center for the Book; Convergence; Split Rock Arts Center, MN; Penland School, NC; Alamos, Mexico; Haystack, ME; Siegal Studio, Montreal, Canada; Maison Conti, Monrtrail France, Mexico City
2003-2012
Journal Journey Workshops in Thailand, Laos, Japan & Mexico
TRAVEL
Venice 2015; Rural France 2010, 2013, 2015; Mexico City & Oaxaca 2014; Rural Central Honshu, Japan 2008, 2010, 2014; Laos & Cambodia 2013, Alamos, Mexico 2008, Kyoto, Japan 1995, 2001, 2005, 2007, 2008; Kyoto, Shigaraki and Tokyo 2012, Cheongju, South Korea 2007; Chaing Mai, Thailand and Luang Prabang, Laos, 2006; Shikoku and Western Honshu, Japan 2003; Tohoku Area, Japan 1997; Central Italy 1995
ARTIST RESIDENCY
Emily Harvey Foundation, Venice, Italy 2015
SELECTED AWARDS
Acclaimed Artist Series Purchase Award New Mexico Arts Commission 2006
Western States Arts Federation Grant 1977
SELECTED COLLECTIONS
The Dobkin Family Foundation, NYC; The Albuquerque Museum, Albuquerque, NM; New Mexico; Museum of Fine Arts, Santa Fe, NM; Lael & Eugenie Johnson, Chicago, IL; Mr. and Mrs. Frederick Mayer, Denver, CO; Luisa Sarofim, Houston, TX; Santa Fe Institute, Santa Fe; University of New Mexico, Albuquerque, NM; Capital 1 Bank
SELECTED TOURS VISITING RIEKE STUDIOS
Museum of Arts & Design, NY; Mint Museum of Craft + Design, NC; International Women’s Forum; New Mexico Museum of Fine Arts, NM; National Museum
of Women in the Arts Washington, DC; Renwick Museum, Washington, DC; Oakland Museum, CA; Intuit, Chicago, IL
SELECTED EXHIBITIONS
2015 Cascais International Book Art Cascais, Portugal
Collector of Memory Solo Show Rieke Studio Gallery, Santa Fe, NM
2014 Patina Gallery Solo Show Santa Fe, NM
2013 Recent Acquisitions, New Mexico Museum of Art, Santa Fe, NM
Shadowcatcher Solo Show Rieke Studio Gallery, Santa Fe, NM
2012 Smink Gallery, Dallas, Texas
2011 Muse Solo Show Rieke Studio Gallery, Santa Fe, NM
Traces – Mapping a Journey in Textiles, Greg museum of Art and Design, Raleigh, NC
2009 Calendar Solo Show, Rieke Studio Gallery, Santa Fe, NM
2007 Present, Solo Show, Rieke Studio Gallery, Santa Fe, NM
Crafts, A Mode of Life, Cheongju Craft Biennale 2007 Cheongju, South Korea
Gail Rieke, Clarke & Clarke Gallery, Scottsdale, AZ (also 2006)
2006 Gail Rieke, Sandy Carson Gallery, Denver, Colorado
2005 Time Windows, Solo Show, Rieke Studio Gallery, SantaFe,
Mapping the Moment, New Mexico State Capitol Rotunda Gallery NM 2004
Beyond Words: Artists and the Book, New Mexico Museum of Fine Arts, Santa Fe, NM
Cahoots , Gail & Zachariah Rieke, The Art Center, St. Petersburg, FL
2003 Cumulus, Solo Show, Rieke Studio Gallery, Santa Fe,
Summer Contemporary Show, Museum of Fine Arts, St. Petersburg, FL
XOXOX San Francisco Center for the Book, San Francisco
2002 From Realism to Abstraction: Art in New Mexico, 1917-2002, New Mexico Museum of Fine Arts, Santa Fe, NM
Art of the Book in the Southwest, Millicent Rogers Museum, Taos, 2001
Theatre of Memory, Solo Show, Rieke Studio Gallery, Santa Fe, NM
2000 SOFA, Sculptural Objects & Functional Art, Navy Pier, Chicago, IL (also 1999)
1999 Gail and Zachariah Rieke: Found Objects in an Open World, New Mexico Museum of Fine Arts, Santa Fe, NM
Gail & Zachariah Rieke, Rieke Studio Gallery, Santa Fe, NM
To Visit the Artists' Website
SIGNE STUART
Professor Emerita South Dakota State University
C O M M E N T A R Y
Observations and questions about mysteries of the universe, life and consciousness are sources of visual ideas for my paintings and constructions. Making these works is an ongoing process of negotiation and experimentation between ideas and materials.
I want my artworks to resonate with viewers and move them toward seeing this is that: everything as a consequence of endless shape-shifting, combining and recombining.
R É S U M É
EDUCATION
University of Connecticut, Yale Summer Art School, University of New Mexico and University of Oregon-seminar with Ad Reinhardt.
GRANTS and AWARDS
1986 SD Arts Council Artist Fellowship
1977 National Endowment for the Arts, Art in Public Places, Cedar Rapids, IA
1976 National Endowment for the Arts - Painting Fellowship
ARTIST RESIDENCIES
2001 Cowles Visiting Artist, Grinnell College, Grinnell, IA
1990 U-Cross Foundation, Clearmont, WY
SOLO EXHIBITIONS
2015 -16 SIGNESTUART:FIFTEEN, Roswell Museum and Art Center, Roswell, NM
2014 POLYPLACE, vacuuform installation, Washington Pavilion, Sioux Falls, SD
Continuum, William Siegal Gallery, Santa Fe, NM
2013 Insilence2, installation, Dahl Art Center, Rapid City, SD
2011 Artifacts, William Siegal Gallery, Santa Fe, NM
2008 In Silence, installation, Untitled Artspace. Oklahoma City, OK
2005 Scrolls, South Dakota Art Museum,, Brookings, SD
1998 Nordic Heritage Museum, Seattle, WA
1995 Retrospective, South Dakota Art Museum, Brookings, SD (catalog)
1990 Painted Constructions, North Dakota Museum of Art, Grand Forks, ND
1989 The Nature of Space: Paintings by Signe Stuart, Plains Art Museum, Fargo, ND
GROUP EXHIBITIONS
2011 Crossing Boundaries: Synesthesia in American Art, Burchfield Penney Art Center, Buffalo, NY & Albuquerque Art Museum, Albuquerque, NM
Xhibit 6, Preston Contemporary Art Center, Mesilla, NM
2006 Kate Ganz Ltd, NYC
2004 Insight Out, Center for Contemporary Art, Santa Fe, NM (catalog)
Contemporary Works on Paper NM Museum of Art, Santa Fe, NM
2001 Patient Process, Faulconer Gallery, Grinnell, IA (catalog)
2000 Term Limits, NM Museum of Art, Santa Fe, NM
1998 Taos, Santa Fe, & Albuquerque: the City Series, Cedar Rapids Museum of Art, Cedar Rapids, IA (catalog)
1990 Midlands Invitational, Joslyn Art Museum, Omaha, NE (catalog)
CATALOGS/ARTICLES
2014 Abatemarco, Michael, “ Line By line...By Line,” Pasatiempo, The New Mexican, May 30, P.26-27
Adlmann, Jan, “Santa Fe/Signe Stuart/William Siegal,” Art in America, October, P. 180
2008 Romantic Materialism,: Signe stuart, Jesse Small and Brandon Reese
2006 Zimmerman, Nancy, “Creative Trinity,” Santa Fe Trend, Summer, p.80-87
2004 Bennett, Mary & VanBuskirk, Jim, Insight Out:Reversing Vandalism
1995 Yood, James; Signe Stuart:Retrospective, South Dakota Art Museum,
1989 Reuter, Laurel; Signe Stuart, Civic Fine Arts Center, Sioux Falls, SD
PUBLIC COLLECTIONS
American Swedish Institute, Benton Museum of Art, Joslyn Art Museum, New Mexico
Museum of Art, North Dakota Museum of Art, Plains Museum, Sheldon Art Museum,
South Dakota Art Museum,Tacoma Art Museum, Utah Museum of Fine Arts,and others.
To Visit the Artists' Website
Professor Emerita South Dakota State University
C O M M E N T A R Y
Observations and questions about mysteries of the universe, life and consciousness are sources of visual ideas for my paintings and constructions. Making these works is an ongoing process of negotiation and experimentation between ideas and materials.
I want my artworks to resonate with viewers and move them toward seeing this is that: everything as a consequence of endless shape-shifting, combining and recombining.
R É S U M É
EDUCATION
University of Connecticut, Yale Summer Art School, University of New Mexico and University of Oregon-seminar with Ad Reinhardt.
GRANTS and AWARDS
1986 SD Arts Council Artist Fellowship
1977 National Endowment for the Arts, Art in Public Places, Cedar Rapids, IA
1976 National Endowment for the Arts - Painting Fellowship
ARTIST RESIDENCIES
2001 Cowles Visiting Artist, Grinnell College, Grinnell, IA
1990 U-Cross Foundation, Clearmont, WY
SOLO EXHIBITIONS
2015 -16 SIGNESTUART:FIFTEEN, Roswell Museum and Art Center, Roswell, NM
2014 POLYPLACE, vacuuform installation, Washington Pavilion, Sioux Falls, SD
Continuum, William Siegal Gallery, Santa Fe, NM
2013 Insilence2, installation, Dahl Art Center, Rapid City, SD
2011 Artifacts, William Siegal Gallery, Santa Fe, NM
2008 In Silence, installation, Untitled Artspace. Oklahoma City, OK
2005 Scrolls, South Dakota Art Museum,, Brookings, SD
1998 Nordic Heritage Museum, Seattle, WA
1995 Retrospective, South Dakota Art Museum, Brookings, SD (catalog)
1990 Painted Constructions, North Dakota Museum of Art, Grand Forks, ND
1989 The Nature of Space: Paintings by Signe Stuart, Plains Art Museum, Fargo, ND
GROUP EXHIBITIONS
2011 Crossing Boundaries: Synesthesia in American Art, Burchfield Penney Art Center, Buffalo, NY & Albuquerque Art Museum, Albuquerque, NM
Xhibit 6, Preston Contemporary Art Center, Mesilla, NM
2006 Kate Ganz Ltd, NYC
2004 Insight Out, Center for Contemporary Art, Santa Fe, NM (catalog)
Contemporary Works on Paper NM Museum of Art, Santa Fe, NM
2001 Patient Process, Faulconer Gallery, Grinnell, IA (catalog)
2000 Term Limits, NM Museum of Art, Santa Fe, NM
1998 Taos, Santa Fe, & Albuquerque: the City Series, Cedar Rapids Museum of Art, Cedar Rapids, IA (catalog)
1990 Midlands Invitational, Joslyn Art Museum, Omaha, NE (catalog)
CATALOGS/ARTICLES
2014 Abatemarco, Michael, “ Line By line...By Line,” Pasatiempo, The New Mexican, May 30, P.26-27
Adlmann, Jan, “Santa Fe/Signe Stuart/William Siegal,” Art in America, October, P. 180
2008 Romantic Materialism,: Signe stuart, Jesse Small and Brandon Reese
2006 Zimmerman, Nancy, “Creative Trinity,” Santa Fe Trend, Summer, p.80-87
2004 Bennett, Mary & VanBuskirk, Jim, Insight Out:Reversing Vandalism
1995 Yood, James; Signe Stuart:Retrospective, South Dakota Art Museum,
1989 Reuter, Laurel; Signe Stuart, Civic Fine Arts Center, Sioux Falls, SD
PUBLIC COLLECTIONS
American Swedish Institute, Benton Museum of Art, Joslyn Art Museum, New Mexico
Museum of Art, North Dakota Museum of Art, Plains Museum, Sheldon Art Museum,
South Dakota Art Museum,Tacoma Art Museum, Utah Museum of Fine Arts,and others.
To Visit the Artists' Website
s.c. THAYER
A R T I S T S T A T E M E N T
A couple of decades ago while attempting to manipulate paper-mâché to conform to my will as I worked on vessel shapes, it
occurred to me if I intended to continue pursuing the vessel form, in paper, it would be necessary to make the paper. That was the beginning of a journey of exploration in fiber. The journey continued as the process moved from making two-dimensional sheets to manipulating the pulp and filling space with sculptural forms that are beautiful in color and texture, are weightless and rarely still.
This journey continues. May this work allow you a view of quiet contemplation, reflection and beauty.
B I O G R A P H Y – R É S U M É
Thayer received a B.A. in studio art from the University of Pittsburgh. Currently living and working in Santa Fe, New Mexico,
Thayer's drawing, mixed media work, and fiber sculptures have been shown in galleries around the country. The work has been included in numerous national and international juried group shows as well as many invitational shows.
Thayer's work has been awarded prizes in two national juried shows – in New Haven, Connecticut (2010) and
Tucson, Arizona (2013).
Additionally, Thayer has had five solo shows.
To Visit the Artists' Website
A R T I S T S T A T E M E N T
A couple of decades ago while attempting to manipulate paper-mâché to conform to my will as I worked on vessel shapes, it
occurred to me if I intended to continue pursuing the vessel form, in paper, it would be necessary to make the paper. That was the beginning of a journey of exploration in fiber. The journey continued as the process moved from making two-dimensional sheets to manipulating the pulp and filling space with sculptural forms that are beautiful in color and texture, are weightless and rarely still.
This journey continues. May this work allow you a view of quiet contemplation, reflection and beauty.
B I O G R A P H Y – R É S U M É
Thayer received a B.A. in studio art from the University of Pittsburgh. Currently living and working in Santa Fe, New Mexico,
Thayer's drawing, mixed media work, and fiber sculptures have been shown in galleries around the country. The work has been included in numerous national and international juried group shows as well as many invitational shows.
Thayer's work has been awarded prizes in two national juried shows – in New Haven, Connecticut (2010) and
Tucson, Arizona (2013).
Additionally, Thayer has had five solo shows.
To Visit the Artists' Website
DAVID WAGNER
A R T I S T S T A T E M E N T
I am an artist and art consultant working primarily in large scale architectural art glass. Glass is a heavy, brittle, expensive, and unforgiving medium. What attracts me to glass is the interaction with light. The artwork is illuminated with transmitted as well as reflected light. Also, images can appear to float in the air, when presented on large sheets of clear glass, which is not unusual in my projects.
Kites share these attributes. My early experiments silkscreening images on glass in art school often became kites, as I framed
up the paper proofs and flew them before the sun. Paper was fragile, and I could not manage to get the contemporary inks to stick to the more appropriate synthetic fabrics, such as ripstop nylon. I also realized that kites in this country are perceived as a toy or a sport, and I soon lost interest.
I spent 10 years in South East Asia, through the 90’s, and there was exposed to a different approach. Throughout the region, kites were accepted as a viable medium of artistic expression, often in a highly refined or ritualized context. Some of the work I saw and recorded was fantastically detailed and rendered.
Over this decade, I traveled extensively and shot thousands of photographs in documenting the work I found in Malaysia, Indonesia, Thailand, China, and Japan. I published articles in art and aviation periodicals, and curated a number of shows in Asia and the US.
I was primarily interested in the way the artists interpreted their work, relating it to cultural motifs and incorporating unusual mediums.
I also began building my own kites, initiating several series that I continue today. I have explored a number of approaches, utilizing the traditional Japanese edo planform. Some of this work is illustrated on the website.
B I O G R A P H Y
David Wagner received his BFA from the University of Minnesota in 1980 and has spent the following 35 years working in the generation, design, fabrication and installation of large scale architectural art projects throughout the US and Asia. He spent 10 years in Singapore, completing many public art works in SE Asia. Since returning to the US in 1999, he has concentrated on working with architects and contemporary artists to produce large scale public art, specializing in glass and steel. He provides the generation, modeling, architect liason, engineering, fabrication, and installation of public artwork in collaboration with a wide range of artists often working within the artist team format.
R É S U M É
2006 – present Santa Fe, NM
- Public artist and consultant, commission designer working in glass and steel.
1999 – 2006 Oakland, California
- Established Derix Art Glass Consultants, LLC to develop public art projects, specializing in glass and steel. Extensive travel in US
and Asia. Work closely with two dozen European public artists, and a large selection of American and Asian public artists.
- Funding review panelist for public and cultural art in Oakland, San Francisco, San Jose, Sacramento, Nagoya, Kaohsiung,
Taiwan, etc.
- Curate art glass exhibition for Jujo Conference in Nagoya, Japan, August 2002, 2004.
- Numerous lectures on architectural art glass at Pilchuck, Corning, Melbourne, Nagoya, and Singapore.
- Keynote speaker for Stained Glass Association conference 2005.
- Keynote speaker for Int’l Architectural Art Glass conference, Reykjavik, 2006.
- Set up first public art program in Taiwan, in Kaohsiung for KRTC train project 2003 – 2006. Organized public art seminars
for Taiwanese artists.
1989 – 1999 Singapore
- Architectural art glass consultant and designer – work with European studios and Asian architects and arts commissions on
large scale glass and mural installations throughout the region including Taiwan, Hong Kong, China, and Japan.
- Extensive travel and study of Indonesian and Malaysian traditional and contemporary art.
- Curate exhibition of Japanese art glass techniques – Singapore Design Center.
- Curate exhibition of European architectural art glass, including autonomous work, at Australian Art Glass Conference in Adelaide.
1983 – 1989 Minneapolis
- Architectural art glass studio; designer, manager.
Articles written and published in:
Ministry & Liturgy Stained Glass Quarterly Neus Glas in Deutschland
Environment and Arts Singapore Architect This Side Up
To Visit the Artists' Website
A R T I S T S T A T E M E N T
I am an artist and art consultant working primarily in large scale architectural art glass. Glass is a heavy, brittle, expensive, and unforgiving medium. What attracts me to glass is the interaction with light. The artwork is illuminated with transmitted as well as reflected light. Also, images can appear to float in the air, when presented on large sheets of clear glass, which is not unusual in my projects.
Kites share these attributes. My early experiments silkscreening images on glass in art school often became kites, as I framed
up the paper proofs and flew them before the sun. Paper was fragile, and I could not manage to get the contemporary inks to stick to the more appropriate synthetic fabrics, such as ripstop nylon. I also realized that kites in this country are perceived as a toy or a sport, and I soon lost interest.
I spent 10 years in South East Asia, through the 90’s, and there was exposed to a different approach. Throughout the region, kites were accepted as a viable medium of artistic expression, often in a highly refined or ritualized context. Some of the work I saw and recorded was fantastically detailed and rendered.
Over this decade, I traveled extensively and shot thousands of photographs in documenting the work I found in Malaysia, Indonesia, Thailand, China, and Japan. I published articles in art and aviation periodicals, and curated a number of shows in Asia and the US.
I was primarily interested in the way the artists interpreted their work, relating it to cultural motifs and incorporating unusual mediums.
I also began building my own kites, initiating several series that I continue today. I have explored a number of approaches, utilizing the traditional Japanese edo planform. Some of this work is illustrated on the website.
B I O G R A P H Y
David Wagner received his BFA from the University of Minnesota in 1980 and has spent the following 35 years working in the generation, design, fabrication and installation of large scale architectural art projects throughout the US and Asia. He spent 10 years in Singapore, completing many public art works in SE Asia. Since returning to the US in 1999, he has concentrated on working with architects and contemporary artists to produce large scale public art, specializing in glass and steel. He provides the generation, modeling, architect liason, engineering, fabrication, and installation of public artwork in collaboration with a wide range of artists often working within the artist team format.
R É S U M É
2006 – present Santa Fe, NM
- Public artist and consultant, commission designer working in glass and steel.
1999 – 2006 Oakland, California
- Established Derix Art Glass Consultants, LLC to develop public art projects, specializing in glass and steel. Extensive travel in US
and Asia. Work closely with two dozen European public artists, and a large selection of American and Asian public artists.
- Funding review panelist for public and cultural art in Oakland, San Francisco, San Jose, Sacramento, Nagoya, Kaohsiung,
Taiwan, etc.
- Curate art glass exhibition for Jujo Conference in Nagoya, Japan, August 2002, 2004.
- Numerous lectures on architectural art glass at Pilchuck, Corning, Melbourne, Nagoya, and Singapore.
- Keynote speaker for Stained Glass Association conference 2005.
- Keynote speaker for Int’l Architectural Art Glass conference, Reykjavik, 2006.
- Set up first public art program in Taiwan, in Kaohsiung for KRTC train project 2003 – 2006. Organized public art seminars
for Taiwanese artists.
1989 – 1999 Singapore
- Architectural art glass consultant and designer – work with European studios and Asian architects and arts commissions on
large scale glass and mural installations throughout the region including Taiwan, Hong Kong, China, and Japan.
- Extensive travel and study of Indonesian and Malaysian traditional and contemporary art.
- Curate exhibition of Japanese art glass techniques – Singapore Design Center.
- Curate exhibition of European architectural art glass, including autonomous work, at Australian Art Glass Conference in Adelaide.
1983 – 1989 Minneapolis
- Architectural art glass studio; designer, manager.
Articles written and published in:
Ministry & Liturgy Stained Glass Quarterly Neus Glas in Deutschland
Environment and Arts Singapore Architect This Side Up
To Visit the Artists' Website