Britton, Val 2160498232

San Francisco Arts Commission

New Commissions at San Francisco International Airport

Val Britton

San Francisco, CA US

Submitted: Jun 7 2012 3:30PM CST/CDT Overall Rating: 100/100

Tags: SFO- Non Secure Connector, SFO- T3 Pool

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

1 Britton, Val 2160498232

Val Britton ______

Born in Livingston, New Jersey. Lives and works in San Francisco, California.

EDUCATION

2006 M.F.A., California College of the Arts, San Francisco + Oakland, California 1999 B.F.A., Rhode Island School of Design, Providence, Rhode Island French Coursework, Brown University, Providence, Rhode Island Study Abroad, Edinburgh College of Art / Edinburgh Printmakers Workshop, SCOTLAND

SOLO AND TWO-PERSON EXHIBITIONS

2012 TBA Two-Person Exhibition, Foley Gallery, New York, NY (upcoming) TBA Solo Exhibition, San Francisco Arts Commission Gallery, San Francisco, CA (Nov 2012-Jan 2013) TBA Solo Exhibition, Addison Street Window Gallery, Berkeley, CA (Aug 2012-Jan 2013) Infinite Loop: Art + Sound by Val Britton and John Colpitts, Secret Project Robot, Brooklyn, New York (Jan 2012)

2010 Index to Selected Stars: Recology Artist-in-Residence Program, Recology, San Francisco, CA

2009 The Echo Fields: Val Britton + Michael Meyers, Johansson Projects, Oakland, California

2007 Near and Far: New Work by Val Britton, 301 Bocana Gallery, San Francisco, California

SELECTED GROUP EXHIBITIONS

2012 Group Exhibition, CES Contemporary, Laguna Beach, CA (Sept-Oct) TBA, American Association for the Advancement of Science, Washington, DC (Aug-Nov) Inked Surfaces, Diablo Valley College, Pleasant Hill, CA (August-Sept)

2011 The Collage Show, Jack Fischer Gallery, San Francisco, CA SLASH: An International Survey of Contemporary Collage, CES Contemporary, Laguna Beach, CA Here Be Dragons: Mapping Information and Imagination, Intersection for the Arts, San Francisco, CA Topophilia, work-detroit gallery, University of Michigan, Detroit, Michigan Kala Art Institute, The Mills Building, San Francisco, California Life of the World to Come: Chase the Tear, National Institute of Art and Disabilities (NIAD), Richmond, CA Ucross Retrospective Exhibition, Ucross Foundation Art Gallery, Clearmont, Wyoming

2010 Mapping: Memory and Motion in Contemporary Art, Katonah Museum of Art, Katonah, NY Ucross, Nicolaysen Art Museum, Casper, Wyoming Constructed Territory, Robert & Elaine Stein Galleries, Wright State University, Dayton, OH OCAC Artist-in-Residence Exhibition, Oregon College of Art and Craft, Portland, Oregon Residency Projects I, Kala Art Institute, Berkeley, California

2009 GeoMorph: New Currents in Geometric and Biomorphic Abstraction, Pence Gallery, Davis, CA Salon #2, Marine, Santa Monica, California LA to OC - Emphasis: Extreme, Orange County Center for Contemporary Art, Santa Ana, CA My Certain Fate, Pharmaka, Los Angeles, California All Over the Map, John Michael Kohler Arts Center, Sheboygan, Wisconsin Collective Compulsions, Johansson Projects, Oakland, California

2008 Road Trip, San Jose Museum of Art, San Jose, California Vital Signs, Newcomb Art Gallery, Tulane University, New Orleans, Louisiana Raw Boundaries, KN Gallery, Chicago, Illinois

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Amidst the Ruins, Mission 17, San Francisco, California Out of the Fog: Artists from Headlands, Art Works Downtown, San Rafael, California Close Calls: 2008, Headlands Center for the Arts, Sausalito, California

2007 There’s No Place Like Here, University Art Gallery, Sonoma State University, Rohnert Park, CA Excavations, Johansson Projects, Oakland, California Time Lines, Mina Dresden, San Francisco, California

2006 Dowser’s Delight: Divining the Inner Cartographic Impulse, the Front Gallery, Oakland, CA New California Masters, Works/San José, San José, California Graduate Exhibition, California College of the Arts, San Francisco, CA Ocean Crossing: Osaka University of Arts + CCA 2006 Print Exchange, Oliver Art Center, CCA, Oakland, CA New Prints 2006 / Winter, International Print Center New York, New York, New York Go. #2: Space/Time, Varnish Fine Art, San Francisco, California

2005 People, Places & Things, the Gallery at R & F, Kingston, New York Ocean Crossing: Osaka University of Arts + CCA Print Exchange, Osaka University of Arts, Osaka, JAPAN Entangled Orbits: You Could Be Me, PLAySPACE Gallery, San Francisco, California Visual Scholars: New School, Up and Coming Southern California Artists, Santa Ana College, Santa Ana, CA Ocean Crossing: Osaka University of Arts + CCA Print Exchange, Oliver Art Center, California College of the Arts, Oakland, California

2004 Multiple Encounters: Indo–US Print Exhibition, The Indira Gandhi National Centre for the Arts, New Delhi, INDIA; Govt. College of Art, Chandigarh, INDIA; Rajasthan Lalit Kala Akademy & Jawahar Kalakendra, Jaipur, INDIA; Manhattan Graphics Center, New York, NY. Pattern & Decorations, Woman Made Gallery, Chicago, Illinois The 4th National Minnesota Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN

2003 Manhattan Graphics Center 9/11 Portfolio, The New-York Historical Society, New York, NY New York Scenes and Dreams, New York Public Library, Tompkins Square Branch, New York, NY

AWARDS, GRANTS, FELLOWSHIPS, AND RESIDENCIES

2011 Millay Colony for the Arts, Austerlitz, New York - Artist Residency Caldera, Sisters, Oregon - Artist Residency

2010 The Pollock-Krasner Foundation, Inc., New York, New York - Grant Recipient The Jentel Artist Residency Program, Banner, Wyoming - Artist Residency Recology, San Francisco, California - Artist Residency

2009 Kala Art Institute, Berkeley, California – Fellowship Oregon College of Art and Craft, Portland, Oregon - Artist Residency Ucross Foundation, Clearmont, Wyoming - Artist Residency

2007 The Drawing Center, New York, New York - Viewing Program (Current Participant)

2006 Headlands Center for the Arts, Sausalito, California - Affiliate Artist Program (2006-2008)

2004 California College of the Arts, Oakland, California - Yozo Hamaguchi Teaching Assistantship

2001 Manhattan Graphics Center, New York, New York - Grant Recipient

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1999 Sitka Center for Art and Ecology, Otis, Oregon - Emerging Artist Residency Rhode Island School of Design, Providence, Rhode Island - RISD Alumni Scholarship Rhode Island School of Design, Providence, Rhode Island - Annual Tuition Scholarship Rhode Island School of Design, Providence, RI - G. W. Hodge Ritchie Award for Excellence in Printmaking

VISITING ARTIST LECTURES AND PRESENTATIONS

2012 Visiting Artist Residency, Illinois State University School of Art, Normal, Illinois (October) Advanced Drawing, University of California Berkeley, Berkeley, California

2011 Distinguished Majors Program Visiting Artist, University of Virginia Art Department, Charlottesville, VA The Urban School of San Francisco, San Francisco, California San Francisco Art Institute, San Francisco, California Caldera Artist in Residence Program, Sisters, Oregon

2010 Jentel Presents, the Jentel Artist Residency Program, Sheridan, Wyoming Art at the Dump, Recology, San Francisco, California Fellowship Lecture, Kala Art Institute, Berkeley, California Advanced Drawing and Painting, San Jose State University, San Jose, CA

2009Pacific Northwest College of Art, Portland, Oregon Artist-in-Residence Lecture, Oregon College of Art and Craft, Portland, Oregon Printmaking Department, Cabrillo College, Santa Cruz, California

2008 Painting Department, California College of the Arts, San Francisco, CA San Jose Museum of Art Docents, San Jose Museum of Art, San Jose, CA

BIBLIOGRAPHY

Art Auction 2008, exh. cat. SFMoMA, San Francisco: 2008. Braithwaite, Michael. “4 Emerging Artists.” Plastic Antimony Issue #2 (Spring 2008): 33. Buuck, David. “Collective Compulsions.” Artweek April 2009. Cheng, DeWitt. “Babel-icious: Four artists explore medium and message in Echo Fields.” East Bay Express 3 June 2009. Cheng, DeWitt. “End Products at Kala.” East Bay Express 11-17 August 2010. Cheng, DeWitt. “Life of the World to Come: Chase the Tear.” East Bay Express 29 June 2011. Crews, James. The Book of What Stays. (Cover Art) Lincoln: University of Nebraska Press, 2011. Elephant: The Arts & Visual Culture Magazine, Issue 7, Summer 2011. Flavorpill Los Angeles, October 2009. Flavorpill San Francisco, February 2007. Harmanci, Reyhan. “On the Level: ‘Excavations’ / New Oakland gallery displays ‘magical mix’ of emerging and established artists.” San Francisco Chronicle 10 May 2007. Harmon, Katharine. The Map as Art: Contemporary Artists Explore Cartography. New York: Princeton Architectural Press, 2009. Hawkes, Alison. "Where art meets recycling." Way Out West News 16 September, 2010. Hiatt, Melissa. "Mapping your world: New exhibit offers intrinsic pathways to everything." Davis Enterprise 29 October 2009. Invisible City, Issue 05: Mapping, September 2009. Leaverton, Michael. “Out of Time.” SF Weekly 9 Feb. 2007. Locke, Michelle. "Dumpster divas practice art of recycling." Associated Press 5 October 2010. Mapping: Memory and Motion in Contemporary Art, exh. cat. Katonah Museum of Art, Katonah: 2010. Martens, Anne. "Bring It On Home: Los Angeles Art Outside the White Cube." Artillery, Nov/Dec 2009. New American Paintings, No. 79, December 2008. Peng, Qi. “ASSASSINATION: Val Britton.” Salt Lake City Fine Arts Examiner 8 March 2009. Reetz-Laiolo, Chaz. “’Excavations’ at Johansson Projects.” Shotgun Review 11 June 2007. Scholz, Zachary Royer. “Here Be Dragons: Mapping Information and Imagination.” Art Practical, Issue 3.6 December 2011. Scholz, Zachary Royer. “’There’s No Place Like Here’ at Sonoma State University Art Gallery.” Shotgun Review 4 December 2007. Vikram, Anuradha. “Johansson Projects: Val Britton, Michael Meyers, Jennifer and Kevin McCoy.” SFMOMA

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Open Space 29 May 2009. sleek magazine, “Local/Global,” Winter 2008/09. Ucross Foundation: Twenty-Seven Years of Visual Arts Residencies, exh. cat. Nicolaysen Art Museum & Discovery Center, Casper: 2010. Westbrook, Lindsey. “Seeking Epiphany.” California College of the Arts News, 9 May 2011.

SELECTED COLLECTIONS

Alameda County Art Collection, Oakland, CA The Ellington, Oakland, CA Print Collection, Library of Congress, Washington, DC National September 11 Memorial & Museum, New York, NY The New-York Historical Society, New York, NY Print Collection, the New York Public Library, New York, NY Recology, San Francisco, CA SAP, Palo Alto, CA Visa Inc., Foster City, CA

Letter of Interest

1. Letter of Interest:

5 Britton, Val 2160498232

My art practice uses the language of maps to create mixed media abstractions that describe physical and psychological spaces. Much of my immersive, mixed media work was initially inspired by my longing to connect to my father, a long-haul cross country truck driver and mechanic who passed away when I was a teenager. Based on road maps of the U.S., routes my father often travelled, and an invented conglomeration, mutation, and fragmentation of those passageways, these works help me piece together the past and make up the parts I cannot know. An ongoing concern in my work is how to push the language of abstraction in order to create a visceral sense of movement through space and a universal, emotional impact. Mapping serves as a metaphor for searching, an implication of the unknown in wide, open spaces, and a trace of how we see where we’ve been.

The San Francisco International Airport is a site that resonates with the themes of my work, being a hub for travel and exchange. I have been a resident of the Bay Area for eight years, but I grew up in New Jersey with a father who criss-crossed the country. During graduate study and in the years since, I have amassed a large map collection as research and source material for my large-scale abstractions. Flight maps, the ocean floor, earthquake maps, road maps, and many others have provided inspiration for my ongoing body of work that uses maps as metaphors, charting the psychological, emotional spaces we inhabit and how those spaces seem to be in perpetual flux.

In addition to my work with mapping, I have a deep engagement with the element of recycling in San Francisco as an urgent, productive, transformative strategy in my art practice. Recycled materials gleaned from Recology, also known as the San Francisco Dump, have become an important component in my work. I became invested in reuse while an Artist-in-Residence at Recology in 2010, where I was challenged to make an entire body of work using solely materials scavenged from the dump. The experience of using recycled materials had a deep impact on my practice. Integrating materials imbued with the history of someone else's unknown journey imbued the work with another layer of embedded meaning for me, informing and expanding my work conceptually in unexpected ways. During the four months I was in residence at Recology, I spoke several times per week to public tours of diverse ages and communities, speaking about my work and experiences with recycling and reuse and how it deeply affected not only my artistic life but my everyday life. I became more educated about our waste stream and the urgency of reducing our environmental impact. This residency was pivotal and life changing, and my work with reclaimed materials has continued to influence my practice.

In the context of a public artwork, much of my work has been large-scale, and I am dedicated to pushing the boundaries of scale. I often work with paper and two-dimensional materials through collage processes that can sometimes be sculptural and low relief. I have also been expanding my practice into three-dimensional installation over this past year through several projects, including a show in New York last winter and an upcoming solo exhibition for the SF Arts Commission Gallery. As a self-employed artist for the last decade, I have learned to manage my time and to be flexible and adaptable to working in many different freelance, exhibition, and residency environments with diverse communities.

For this public art project, I envision multiple methods of translating my ideas into durable materials. Possibilities for artwork above the escalator are a suspended sculpture of laser-cut aluminum or plastic hung with lines from the ceiling. I am particularly interested in the Control Tower connector wall and the Terminal 3 Checkpoint Wall as sites for a series of large-scale, two-dimensional artworks. The potential 10’ x 10’ scale for each panel is an ideal working size for me that I have utilized for several existing pieces. I have installed a 10’ x 10’ sculptural paper artwork in the lobby of a residential building in Oakland, working with professional art installers to build a frame support on which to mount the paper work for long-term display on the lobby wall.

Glass or tile mosaic could be an apt material in which to translate my ideas for the connector wall site, as well as collage/mixed media work on wood or artist panels, which would then be sealed with resin or varnish. I see the connector corridor as a site rich with potential in which to make a dramatic, high impact visual statement that connects to our human experience of travel, transition, and interconnectedness. My approach to the project will be to research the site--it’s history, the diverse population that travels through it, et cetera--and to synthesize the research visually, extracting elements and symbols in order to create the piece. Thank you for your time and consideration.

Annotated Image List

1. Annotated Image Descriptions

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IMAGE LIST

1. Title: impossible boundaries Medium: ink, collage, graphite, gouache, and hand cut paper Dimensions: 84h x 108w Year: 2009

2. Title: impossible boundaries (detail) Medium: ink, collage, graphite, gouache, and hand cut paper Dimensions: 84h x 108w Year: 2009

3. Title: collapsible city Medium: graphite, ink, tempera, and collage on paper Dimensions: approximately 6h x 7w Year: 2012

4. Title: Beginning anywhere Medium: ink, graphite, collage, and hand cut paper Dimensions: 108h x 108w Year: 2008

5. Title: under the ruptured sky Medium: ink, graphite, and collage on paper Dimensions: 54h x 72w Year: 2010

6. Title: string theory Medium: ink, collage, graphite, and gouache on paper Dimensions: 72h x 96w Year: 2009

7. Title: possibility Medium: 56h x 94w Dimensions: collage, acrylic, ink from printer cartridges, graphite, and colored pencil on antique window shade Year: 2010 Description of work: This piece was made from 100% reclaimed materials scavenged from Recology/the San Francisco dump.

8. Title: Celestial Viewing Medium: ink, collage, and graphite on paper Dimensions: 45h x 60w Year: 2010

9. Title: Double I Medium: mono print, ink, acrylic, watercolor, and latex paint on paper Dimensions: 26h x 40w Year: 2011

10. Title: Burst Apart II Medium: Site specific installation of hand cut paper, ink, tempera, and thread Dimensions: Variable Year: 2012 Description of work: Site-specific mixed media installation created for the exhibition "Infinite Loop: Art + Sound by Val Britton and John Colpitts" at Secret Project Robot, Brooklyn, NY, January 2012. The installation functioned as a set, and many musicians, including an experimental drum ensemble called "Man Forever" performed under the piece as part of a month of programming in January 2012.

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Overall Rating: 100/100 Rating: 100

Taleporos, Zoe 100/100

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"impossible boundaries"

84" x 108" 2009

ink, collage, graphite, gouache, and hand cut paper

"impossible boundaries (detail)"

84" x 108" 2009

ink, collage, graphite, gouache, and hand cut paper

"Collapsible City"

Approximately 6' h x 7' w 2012

graphite, ink, tempera, and collage on paper

"beginning anywhere"

approximately 108" x 108" 2008

Ink, graphite, collage and hand cut paper

"string theory"

72" x 96" 2009

ink, collage, graphite, and gouache on paper

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"under the ruptured sky"

54" x 72" 2010

ink, graphite, and collage on paper

"possibility"

56" x 94" 2010

Collage, acrylic, ink, graphite, + colored pencil on antique window shade. This piece was made while I was an Artist-in-Residence from June through September 2010 at Recology, San Francisco, CA. All the materials used (the antique window shade, vintage papers, wallpaper, ink, acrylic paint, and even the glue used to adhere the collage together) are100% recycled and have been scavenged and reclaimed from the San Francisco dump.

"celestial viewing"

45" x 60" 2010

ink, collage, and graphite on paper

"Double I"

26"h x 40"w 2011

monoprint, ink, acrylic, watercolor, and latex paint on paper

"Burst Apart II"

Dimensions variable 2012

Site-specific mixed media installation of hand cut paper, ink, tempera, and thread created for the exhibition "Infinite Loop: Art + Sound by Val Britton and John Colpitts" at Secret Project Robot, Brooklyn NY

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"impossible boundaries" "impossible boundaries (detail)"

"Collapsible City" "beginning anywhere"

"string theory" "under the ruptured sky"

"possibility" "celestial viewing"

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"Double I" "Burst Apart II"

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San Francisco Arts Commission

2011-2012 Prequalified Artist Pool -- Request for Qualifications

adriane colburn

San Francisco, CA US

Submitted: Jan 17 2011 7:47AM CST/CDT

Tags: Cabrillo, Prequal-Yes Daggett, PUC 2D Program, Yes 17th and Folsom, Yes Prequal Pool

Geographical Eligibilty

1. Are you a resident of one of the following Western States?: Yes

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

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Adriane Colburn San Francisco, CA -- @ www.adrianecolburn.com

EDUCATION BFAPrintmaking, The School of the Art Institute of Chicago, 1997 MFANew Genres, Stanford University, Stanford, CA, 2001

UPCOMING PROJECTS: 2011 oFor the Deep, Dark, The Luggage Store Gallery, SF (solo) oPaper Quilt Exhibition, Berkeley Art Musuem, Berkeley, CA oArtist in Residence, Los Amigos Bilogical Preserve, Madre de Dios, Peru oArtist in Residence, USCG Healy (w/ University of Fairbanks, Alaska) 2012 oNew commissioned work, San Francisco Film Instittue, SF (solo) oTBA, Smack Mellon, Brooklyn, NY (solo) SELECTED EXHIBITIONS 2010 oUnfold, Traveling exhibition: Vienna, London; Tokyo; Chicago; Seoul oThe Biomimicry Project, Eleanor Harwood Gallery, San Francisco, CA 2009 oEarth, Art of a Changing World, Royal Academy of Arts, London, UK oMapping and the Imagination in California Art, SFSU ore:con-figure, Kala Art Instiitute, Berkeley CA oNear Everywhere, G.A.S.P, Boston, MA 2008 oArtisterium, International Forum on Contemporary Art, Tbilisi, Republic of Georgia oThe Shape of Things: paper traditions and transformations, Museum of Craft and Folk Art, San Francisco, CA oResidency Projects-Part 4 Kala Art Institute, Berkeley, CA oVital Signs, Newcomb Art Gallery, Tulane University oPacific Light, California Watercolor Refracted, 1907-2007, The Nordic Watercolor Museum, Skarhamm, Sweden oSedimentary Emergence, Firehouse Gallery, Burlington, VT (solo) 2007 oIn the Fullness of Time, Luggage Store Gallery, San Francisco, CA oAn Affair With Artists, Michael Rosenthal Contemporary Arts, Redwood City, CA 2006 oArtadia Award Exhibition, CCA San Francisco, CA oPaper, Traywick Contemporary, Berkeley, CA oInternational Waters, Steven Wolf Gallery, San Francisco 2005 oExplosive Compulsive, The Luggage Store, San Francisco oAdriane Colburn, Gallery 16, San Francisco (solo) oBay Area Now 4, Yerba Buena Center for the Arts, San Francisco oAdriane Colburn, Before the Rush, Southern Exposure, San Francisco (solo) 2004 o2 1/2: Art at the Corner of Two + Three Dimensions, Fine Arts Gallery, SFSU

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oSF Drawing Show, New Image Art, Los Angeles oEcotopia, Lump Gallery, Raleigh, NC oThe Way It Looks From Here, Spanganga Gallery, San Francisco

2003 oClose Calls, Headlands Center for the Arts, Sausalito, CA oNO WAR: 70 Artists Respond to the Threat of War (Curated by Adriane Colburn, Laurie Lazer, and Darryl Smith), The Luggage Store, San Francisco

2002 oNewFangle 2002, GenArtSF, San Francisco oGenealogy Project, Adriane Colburn, Francis Colburn Gallery, UVM (solo) oMusée Miniscule, New Langton Arts, San Francisco

2001 oMastermind, Richmond Art Center, Richmond, CA oPoster Show, New Image Art, Los Angeles oTrails: Adriane Colburn, The Luggage Store, San Francisco (solo)

SELECTED RESIDENCIES, AWARDS AND HONORS

2010 -Artist in Residence, Carnegie Airborne Observatory, Stanford University

2009 -Artist In Residence, Blue Mountain Center, NY -Andes to Amazon Expedition, Cape Farewell Project

2008 -Arctic Sea Floor Mapping Expedition, USCG Healy -Eureka Fellowship, Fleishhacker Foundation -Artist in Residence, Center for Coastal and Ocean Mapping, Durham, NH

2007 -Fellowship Award, Kala Art Institute, Berkeley, Ca

2006 -Artist in Residence, Macdowell Colony, Peterborough, NH

2005 -Artist in Residence, Headlands Center for the Arts, Sausalito, CA -Artadia Award for Visual Arts

2004 -Commissioned permanent photographic Installation, Meditation Room, Kaiser Hostial, SF

SELECTED BIBLIOGRAPHY

•Buckland, David, Unfold; A Cultural Response to Climate Change, Springer Wien, 2010 •Earth; Art of a Changing World, Exh. Cat. Royal Academy of Art, 2009 •Near Everywhere, Exh. Cat. Deb Todd Wheeler, 2009 •Perfect Paper, Page One, 2009 •Thompson, Nato, Experimental Geography: Radical Approaches to Landscape, Cartography and Urbanism. Melville House, 2008 •Modus Operandi- In Quest of a Different Way, exh. cat. Artisterium ,08 Tbilisi •Nordhal, Bera; Johnson, Mark. “Pacific Light: California Watercolor Refracted, Nordiska Akvarellmuseet 2008 •Nolan, Abner. Exposure #2— Adriane Colburn, Before the Rush, exh. cat. SOEX 2005. •Porges, Maria. “Review: Adriane Colburn.” Artforum (Summer 2005). •Silverman, Jessica. International Waters, exh. cat. San Francisco, Steven Wolf 2006

Letter of Interest

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1. Letter of Interest: I am writing to express my interest in joining the 2011 Prequalified Artist Pool.

During the past 20 years, I have been deeply involved with the San Francisco art community through relationships with artists, galleries, non-profits and as a teacher at CCA and the SFAI. My career as an artist has allowed me a number of unique experiences, exhibitions and commissions that provide a solid background for public art. I have exhibited throughout the United States and internationally, recently at the Royal Academy of Art in London where I was commissioned to create an installation in conjunction with the COP15 Climate Talks. I have been awarded an Artadia Award and a Fleishhacker Fellowship as well as residencies at the Headlands and the Macdowell Colony. I have also participated in scientific expeditions in the Amazon with Cape Farewell and in the Arctic onboard US Coast Guard Icebreaker, The Healy. These experiences have deepened my involvement with my work and increased my commitment to research, exploration, and innovative process.

My work consists of a series of large-scale cartographic installations comprised primarily of layers of metal, hand cut paper, light and shadow. This work is, in part, an investigation into what is revealed when hidden systems are made visible and displayed. Over the years, my artwork has explored body systems, urban infrastructure such as the San Francisco Sewer System and historic network of creeks, networks of oil pipelines as well as scientific data collected while participating in expeditions in the Arctic and Amazon.

In my practice I seek to reimagine maps and photographs of places (and networks) that are obscured by geography, scale or the passing of time. At the core of this is a fascination with the way that our attempts to make sense of the world around us through maps, data and images result in abstractions that are simultaneously informative and utterly ambiguous. I create my installations by transforming images through a system of physical removal, cutting out everything except imperative lines, thus creating constructions that are informed by voids as much as by positive marks. Through this cutting and display, an intricate array of reflective shadows results. All of my projects are based heavily on research and have a strong connection to place. My work tends to have a fragile appearance, however, my recent projects are constructed primarily of steel and aluminum, giving them a high level of permanence while maintaining their delicacy.

I am particularly interested in public art in San Francisco because of my investigations into urban systems, the relationship between humans and the natural world and urban landscape history- topics that have great potential in a public context. I am enthusiastic about the immense conceptual possibilities that come with art in a specific site, building or public municipal space. The high level of public visibility, relative permanence, and relationship to architecture are all challenging and exceptional opportunities. I am confident that my work would translate very naturally to public art in both form and content.

Annotated Image List

1. Annotated Image Descriptions

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IMAGE LIST- ADRIANE COLBURN

1-2. Forest for the Trees, 2010 Ink jet prints, film, sumi ink, gouache 12’x7’ Forest for the Trees is a meditation on the complex relationship between nature and industry; sustained land vs. commodified land; matter on the surface of the earth vs. the matter below ground; the morphing of the forest into an industrial landscape; and the fines lines between use and exploitation. This piece is inspired by a swath of the Peruvian Amazon that is the subject of a contentious debate over whether or not to allow oil exploration in the region.

3-4. Up From Under the Edge, 2009 Aluminum, paper, ink jet prints, 2 channel video, steel, wood, c-prints 14’x24’ Like Forest for the Trees, Up From Under the Edge is also inspired by the Peruvian Amazon. In this work, photography and video shot in a section of the Amazon slated for oil exploration, are used to create the installation. The videos, inside small viewers, depict a remote view of the place. The photographic elements, have been transformed into silhouettes.

5-6. For the Deep, Phase Two, 2009 Ink Jet prints, paper 11'x40’ (variable) For the Deep, is derived from maps of the arctic seafloor; video and photographs taken while onboard USCG icebreaker, The Healy; audio recordings of ships, ice and marine mammals recorded from the bottom of the Arctic Ocean; and sub-bottom profiles of the geology of the Arctic. The primary map-structure of For the Deep depicts the US efforts in the Arctic to support Article 77 of the UN Convention for the Law of the Sea. In an effort to determine the location and span of the United States’ continental shelf north of Barrow, Alaska, scientists are making the first detailed maps of the seafloor using sonar.

7-8. Piped In, Hooked On, 2007 Paper, aluminum, ink and latex paint 10’ x 30’ x 8’ This project is derived from maps of the crude oil and natural gas pipelines of the US, a massive system that each member of contemporary society interacts with in nearly all aspects of life, but which is seldom visible.

9-10. Just Below (sewer to bay), 2005 Paper and ink Dimensions variable (app: 30’ high x40’wide) This installation, displayed at Yerba Buena Center for the Arts, charts the course of water from the museum’s pipes to the Bay through the San Francisco sewer system and wastewater treatment plant. The layers of maps represent the sewer lines, city streets, the historic creek network that now runs through the sewer system, as well as the pipes that form wastewater treatment.

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"Forest for the Trees"

12'x7'x8" inke jet prints, film and sumi ink 2010

Forest for the Trees is a meditation on the complex relationship between nature and industry; sustained land vs. commodified land; matter on the surface of the earth vs. the matter below ground; the morphing of the forest into an industrial landscape; and the fines lines between use and exploitation. This piece was created from photographs taken in an area of the Peruvian Amazon that is being monitored to decipher the carbon storage value of tropical forests.

"Forest for the Trees"

12'x7'x8" Ink jet prints, film and sumi ink 2010

"Up From under the Edge"

14'x23'x3' Aluminum, paper, ink jet prints, steel, video 2009

Like Forest for the Trees, this piece looks at the balance between nature and industry in a contentious piece of forest. This work is inspired by a swath of the Peruvian Amazon that is the subject of a contentious debate over whether or not to allow oil exploration in the region. This work includes two video viewers that depict abstracted views of the forest, including underground footage, rotting carcasses and illegal gold mines.

"Up From under the Edge"

14'x23'x3' Aluminum, paper, ink jet prints, steel, video 2009

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"For the Deep"

12'x35'x4' (app) Ink jet prints, paper, wood, video, audio, etc 2009

For the Deep, Phase Two is derived from maps of the arctic seafloor; video and photographs taken while onboard USCG icebreaker, The Healy; audio recordings of ships, ice and marine mammals recorded from the bottom of the Arctic Ocean; and sub-bottom profiles of the geology of the Arctic. The primary map-structure of For the Deep depicts the US efforts in the Arctic to support Article 77 of the UN Convention for the Law of the Sea. In an effort to determine the location and span of the United States continental shelf north of Barrow, Alaska, scientists are mapping the seafloor using sonar. The path they choose to map is determined by where it is believed the continental shelf might extend and where the ice pack allows the ship to break through. In this process, we gain strands of information that bring to light this submerged topography.

The installation includes sound recorded from the sea floor and three video viewers with footage from Arctic Ocean inside.

"For the Deep"

12'x35'x4' Ink jet prints, paper, video, wood, audio, etc 2009

Detail shows: close up of installation with video viewer and video still.

"Piped In Hooked on"

11'x20' Aluminum, Paper, latex, Ink 2008

This project is derived from maps of the crude oil and natural gas pipelines of the US, amassive system that each member of contemporary society interacts with in nearly allaspects of life, but which is seldom visible.

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"acolburn_10"

11'x20' Aluminum, Paper, Latex, Ink 2008

"Just Below (SF Sewer to Bay)"

30'x40' (variable) Paper and Ink 2005

Made in collaboraion with the SF Sewer Depatment, this installation, displayed at Yerba Buena Center for the Arts, charts the course ofwater from the museum’s pipes to the Bay through the San Francisco sewer system andwastewater treatment plant. The layers of maps represent the sewer lines, city streets,the historic creek network that now runs through the sewer system, as well as the pipesthat form wastewater treatment.

"Just Below (SF Sewer to Bay)"

30'x40' (variable) Paper and Ink 2005

8 colburn, adriane 1110241206

"Forest for the Trees" "Forest for the Trees"

"Up From under the Edge" "Up From under the Edge"

"For the Deep" "For the Deep"

"Piped In Hooked on" "acolburn_10"

9 colburn, adriane 1110241206

"Just Below (SF Sewer to Bay)" "Just Below (SF Sewer to Bay)"

10 Melchert, James 2160503972

San Francisco Arts Commission

New Commissions at San Francisco International Airport

James Melchert

Oakland, CA , US

Submitted: Jun 27 2012 1:54PM CST/CDT Overall Rating: 50/100

Tags: SFO- Non Secure Connector, SFO- T3 Pool

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

1 Melchert, James 2160503972

JAMES (JIM) MELCHERT

Oakland, CA www.jimmelchert.com

EDUCATION 1952 Princeton University A.B. 1957 University of Chicago M.F.A. 1961 University of California at Berkeley M.A.

ACADEMIC APPOINTMENTS

1952-1956 Tohoku Gakuin Schools, Sendai, Japan 1957-1959 Carthage College 1961-1965 San Francisco Art Institute 1965-1992 University of California at Berkeley

NON-ACADEMIC APPOINTMENTS

1977-1981 National Endowment for the Arts Director, Visual Arts Program 1984-1988 American Academy in Rome Director

AWARDS AND HONORS

Woodrow Wilson Fellowship, 1961-1962 Louis Comfort Tiffany Fellowship, 1964 Adeline Kent Award, San Francisco Art Institute, 1970 Artist Fellowship, National Endowment for the Arts, 1973 Honorary Fellow, National Conference of Educators in the Ceramic Arts (NCECA), 1978 Honorary Doctor of Fine Arts Degree, San Francisco Art Institute, 1984 Honorary Fellow of the American Craft Council, 1988 Award of Distinction, National Council of Art Administrators, 1989 Elected to Membership, The Century Association, 1989 Honorary Doctor of Fine Arts Degree, Maryland Institute, College of Art, 1993 Citation for Distinguished Service in the Visual Arts, National Association of Schools of Art and Design, 1993 Award for Design Collaboration, Boston Society of Architects, 1995 Regis Masters Award, Northern Clay Center, Minneapolis, 1998 Distinguished Alumnus Award, College of Environmental Design, UC-Berkeley, 1999 Class of 1952 Distinguished Career Award, Princeton University, 2002 Juror, World Ceramic Biennale Korea 2009, Icheon, South Korea Watershed Legends Award, Watershed Center for the Ceramic Arts, Maine 2009 Kala Master Artist Award, Kala Institute, Berkeley, 2011

SOLO EXHIBITIONS

2011 Gallery Paule Anglim, San Francisco 2008 Gallery Paule Anglim, San Francisco B. Sakata Garo, Sacramento 2007 Paul Kotula Projects, Detroit 2006Katzen American University Art Museum, Washington, D.C. 2005Fresno Art Museum, CA Gallery Paule Anglim, San Francisco 2004 Revolution Gallery, Detroit Gallery Paule Anglim, San Francisco 2001 Revolution Gallery, Detroit Franklin Parrasch Gallery, New York BACCA, Berkeley 2000 Howard Yezerski Gallery, Boston 1999 Revolution Gallery, Detroit Robert Mondavi Winery, Oakville, CA

2 Melchert, James 2160503972

1998 European Ceramic Work Centre, s-Hertogenbosch, Holland Revolution Gallery, Detroit 1996 Jernigan Wicker Fine Arts, San Francisco 1995 Revolution Gallery, Detroit Jernigan Wicker Fine Arts, San Francisco 1994 Revolution Gallery, Detroit 1992 Fabric Workshop, Philadelphia 1991 Century Association, New York Kala Institute, Berkeley Holly Solomon Gallery, New York 1990 Grey Gallery, East Carolina State, Greenville 1989 College of Notre Dame, Belmont, CA 1984 Fuller Goldeen Gallery, San Francisco 1983 University of New Mexico, Albuquerque 1981 San Francisco Art Institute Fendrick Gallery, Washington, DC 1978 Galerie Fignal, Amsterdam 1977 Nancy Lurie Gallery, Chicago Madison Art Center, WI 1975 Museum of Modern Art, San Francisco Daniel Weinberg Gallery, San Francisco 1974 de Saisset Art Gallery, University of Santa Clara, CA 1973 In Out Gallery, Amsterdam 1972 Ceragenetics, Amsterdam Gallery Reese Palley, San Francisco 1971 School of the Art Institute, Chicago 1970 Obelisk Gallery and Parker Street 470, Boston San Francisco Art Institute 1969 Reed College, Portland 1968 Gallery 669, Los Angeles Obelisk Gallery, Boston SOLO EXHIBITIONS cont.

1964 Hansen Galleries, San Francisco 1961 Richmond Art Center, CA

SELECTED GROUP EXHIBITIONS

2011 Under the Big Black Sun: California Art 1974-1981, MOCA Contemporary, Los Angeles State of Mind: New California Art Circa 1970, Orange County Museum of Art Mind Over Matter, Meulensteen Gallery, NYC Get Lucky: The Culture of Chance, SOMArts, San Francisco Crafting Modernism: Midcentury American Art and Design Museum of Arts and Design, NYC Cracks, Drips, and Markings, with Nancy Genn, Sanchez Art Center, Pacifica, CA 2010 Out of Order, Fine Arts Gallery, San Francisco State University Ceramics Annual of America, San Francisco Six Treasures, Berkeley Art Center, Berkeley, CA Hand + Made, Contemporary Art Museum, Houston Susie Lee Exhibition, Lawrimore Project, Seattle 2009 Life of Making, Sonoma Valley Museum of Art, Sonoma, CA Watershed Legends Exhibition, SOFA, Chicago 2008 64th Annual Ceramics Exhibition, Scripps College, Claremont , CA Bay Area Ceramic Sculpture, diRosa, Napa 2007Garage Biennale, San Francisco Peter Selz Tribute, B.Sakatagaro Gallery, Sacramento 2006 Practice Makes Perfect: Bay Area Conceptual Craft, Southern Exposure, San Francisco Slides, Baltimore Museum of Art; Contemporary Arts Center, and the Cincinnati Museum of Art 2004Continuations, the Nelson Gallery, University of California at Davis Beyond Boundaries: Bay Area Conceptual Art of the 1970s, Pasadena Museum of California Art A Secret History of Clay, from Gauguin to Gormley, Tate Liverpool, England Bay Area Now 3, Yerba Buena Center for the Arts, San Francisco Contemporary American Ceramics (1950-1990), Aichi Prefectural Ceramics Museum and the National Museum of Modern Art, Kyoto) 2003 Inaugural Exhibition, Racine Art Museum, Racine, WI

3 Melchert, James 2160503972

Works from the diRosa Collection, Kreeger Gallery, Washington, D.C. 60th Annual Ceramics Exhibition, Scripps College, Claremont, CA Blobs, Wiggles and Dots, The Workspace, New York 2001 World Ceramic Exposition 2001 Korea, Icheon Ceramics as Sculpture, Minneapolis Institute of Arts 2000 Made in California; Art, Image & Identity, 1900-2000, Los Angeles County Museum of Art Color & Fire; Defining Moments in Studio Ceramics, Los Angeles County Museum of Art High Minded: Conceptual Art in Moving-Image Media, San Francisco MOMA Bricks & Tiles, with Mark Boulding, Zwick Gallery, Denver 1999 Interaction 99, Mimar Sinan University, Istanbul 1998 NCECA Fellows, Modern Art Museum, Fort Worth Regis Master Series, Northern Clay Center, Minneapolis 1997 Abstract Expressionist Ceramics Revisited, Garth Clark Gallery, NYC Early Work, Nancy Margolis Gallery, New York City 1996 Hot Off the Press, (traveling exhibition), United Kingdom GROUP EXHIBITIONS cont.

1996 cont. Affinities, with Jamie Walker, Dorothy Weiss Gallery, San Francisco 1995 Potent Matter/Pertinent Material, Betty Rymer Gallery, Chicago Art Institute 1993 Beyond Boundaries: Art of the '60's and '70's, San Francisco MOMA Clay 1993: A National Survey, William Traver Gallery, Seattle 1992 In the Spirit of John Cage, Jernigan-Wicker Gallery, San Francisco Five by Seven, Alfred University 1987 The Projected Image, San Francisco MOMA 1986San Francisco Bay Area, the Drawing Center, New York The Object as Poet, the Renwick Gallery, Washington DC Words at Liberty, Museum of Contemporary Art, Chicago Sculpture from the Museum Collection, San Francisco MOMA 1977California Painting and Sculpture, National Museum of American Art, Washington DC 1974 Artists' Books, Groningen, the Netherlands The Biennial, Sydney, Australia Two Performance Works, South of the Slot, San Francisco 1973 Video Verslag, Lignbaancentrum, Rotterdam 1972 Documenta 5, Kassel, West Germany Contemporary Ceramic Art, National Museums of Modern Art, Kyoto and Tokyo 1971Sound as Sculpture, Museum of Conceptual Art, San Francisco Annual Exhibition of Painting and Sculpture, Whitney Museum of American Art. New York 1969 The Spirit of the Comics, ICA, Philadelphia Twentieth Century American Art, Rhode Island School of Design Objects USA, National Museum of American Art, Washington DC 1968 The Wellington-Ivest Collection, Museum of Fine Arts, Boston Annual Exhibition of Painting and Sculpture, Whitney Museum of American Art, New York 1967 The West Coast Now, Portland, Seattle, San Francisco and Los Angeles Funk Art, Art Museum, University of California at Berkeley 1966 Annual Exhibition of Painting and Sculpture, Whitney Museum of American Art Abstract Expressionist Ceramics, University of California at Irvine Twenty American Studio Potters, Victoria and Albert Museum, London 1965 Slant Step Show, Berkeley Gallery, San Francisco Young American Sculpture-East to West, New York World's Fair 1963 Onze Sculpteurs Americains, Musee d'Art Modern de la Ville de Paris 1962 Work in Clay by Six Artists, San Francisco Art Institute

COMMISSIONS

1965 diRosa Napa, CA Concrete sculpture entitled "Earth Door" 7'h x 4' x 2'

1967 diRosa Napa, CA Ceramic water jet, 8" x 5" x 10" COMMISSIONS cont.

4 Melchert, James 2160503972

1989 Oliver Ranch and Sculpture Park Geyserville, CA Ceramic tile for border of swimming pool and shower 20' x 40' x 1' and 8' x 4' x 6' respectively

1990 River West Development Sculpture Park, Folsom, CA Ceramic tile mural 8 x 8

1991 Metropolitan Rapid Transit Sacramento, CA Bus shelter consisting of a steel trellis and a tiled bench 10' x 18' x 8'

1994 Massachusetts Institute of Technology Cambridge, MA Ceramic tile mural in the new biology building 14'h x 225'

1994 Case Western Reserve University Cleveland, OH Sculpture installation in the new biomedical research building Bronze component 12' across, Brass component 3' in diameter

1996 Residence for the American Ambassador Singapore Two ceramic tile murals inside the entrance 4' x 8' each

PUBLIC, INSTITUTIONAL, AND CORPORATE COLLECTIONS

Victoria and Albert Museum, London Stedelijk Museum, Amsterdam Museum Het Kruithuis, 's-Hertogenbosch National Museum of Modern Art, Kyoto World Ceramic Center, Icheon, Korea Museum of Arts & Design, New York Renwick Gallery, Smithsonian Institution PUBLIC, INSTITUTIONAL, AND CORPORATE COLLECTIONS cont.

Baltimore Art Museum Museum of Contemporary Art, San Diego Los Angeles County Museum of Art San Francisco Museum of Modern Art Achenbach Foundation, San Francisco Crocker Art Museum, Sacramento Oakland Museum Berkeley Art Museum The diRosa, Napa Des Moines Art Center Rose Museum, Brandeis University Addison Gallery of American Art, Andover Academy Rhode Island School of Design, Providence The Henry Art Gallery, University of Washington, Seattle University of California at Davis

5 Melchert, James 2160503972

University of Colorado Boulder Art Museum University of New Mexico, Albuquerque University of Iowa Art Museum, Iowa City Yale University Art Gallery, New Haven Wellington-Ivest, Inc., Boston IBM Corporation Pacific Bell

PRIVATE COLLECTIONS

Edward Albee, Montawk Mr. and Mrs. Tom Freudenheim, New York City Mr. and Mrs. William Roth, New York City Mrs. Stephen Paine, Cambridge Marion Stroud, Philadelphia Maxine and Stewart Frankel, Bloomfield Hills Larry and Cindy Meeker, Kansas City Jun Kaneko, Omaha Paule Anglim, San Francisco Carl Djerassi, San Francisco Ann Hatch, San Francisco James Newman, San Francisco Mrs. Robert Mondavi, Oakville

Letter of Interest

1. Letter of Interest: Letter of Interest The possibility of having ones artwork located in a public space is exciting. It allows an artist to contribute in a positive way to the spirit and flow of what goes on there among the people using it. When the space is an air terminal travellers are at the center of the activity. The building facilitates their circulation, guiding them to where they need to be; the artworks, however, have to do with celebrating activity that leads to new beginnings. If you think of the terminal as a doorway through which people come and go, the artwork in it makes the difference between a significant gateway and an opening in the wall. The artworks help frame and dignify the passage through. (Every time I wait for a friend clearing customs at the International terminal, I have Lewis deSotos floor installation to enjoy again and reconnect me with the larger frame of things.) As a seasoned traveler I especially like the artwork in airports that represents the community Im either about to enter or leave. It speaks for the spirit of the people and the culture there and makes the possibility of connecting with them attractive. I would gladly offer my services to be on the team whose work engages visitors as they pass through our point of entry.

Annotated Image List

1. Annotated Image Descriptions

6 Melchert, James 2160503972

1. Oliver Ranch Pool Glazed Ceramic Tiles ca 15' x 30' 1989 Commission $20,000

The border that I made for the swimming pool is half submerged so that the lower band of tiles is underwater and, therefore, refracted. Since the upper row is reflected on the surface of the pool there were three rather than two strips of colored shapes to play with.

2.MIT Biology Building Mural (detail) Glazed Ceramic Tile 220’ long by 16’high 1994 Commission $ 300,000

The mural in the Biology Building lines the corridor on the ground floor and can be viewed from the street outdoors as well. Though it measures 220’ in length, the wall is in two sections divided by a second entrance to the building. The passage shown in the photograph was done in response to a request from biologists on the jury who wanted a panel of microbes. By contrast, the panel before this one is a broad field of clear glass dots; when you’re facing it with your back to the window, you can see yourself reflected in all of them but only a half inch tall.

3.MIT Biology Building Mural (detail) Glazed Ceramic Tile 220’ long by 16’high 1994 Commission $ 300,000

I chose this section to illustrate the difference between what can be seen from the street and as opposed to inside the corridor in Image 4. It was a challenge to make both views engaging. The two sets of ellipses address of magnification. I got them by blowing up a zero on a computer keyboard

4.MIT Biology Building Mural (detail) Glazed Ceramic Tile 220’ long by 16’high 1994 Commission $ 300,000

When approached inside the corridor, the rings appear to vary in size as though stacked instead of flat. It suggests that what you see depends on where you are when you see it.

5.MIT Biology Building Mural (detail) Glazed Ceramic Tile 220’ long by 16’high 1994 Commission $ 300,000

Some reference to the double helix seemed in order but what interested me most was the sense of spiraling motion down the corridor as it neared the second entrance. The dark bands are filled with images of microbes yet to be known and explored.

6.MIT Biology Building Mural (detail) Glazed Ceramic Tile 220’ long by 16’high 1994 Commission $ 300,000

In this second segment of the end wall, I initiated a spiral by drawing the arc in a single tile to the left of the door that progress through the Fibonacci sequence. I liked the notion that the simple act of opening a door could set in motion the formation of a snail shell.

7.MIT Biology Building Mural (detail) Glazed Ceramic Tile

7 Melchert, James 2160503972

220’ long by 16’high 1994 Commission $ 300,000

No single photograph can convey the nature of the commission I was given in the new Medical Building at Case Western Reserve. There were three elements to the work of which this bronze wall figure is one. They all stem from the curious fact that the clock in the tower of the building has no numbers while the windows in the building are executed in blocks of twelve.

8.Feathers of the Phoenix (Black) Broken and glazed porcelain tiles 5’10”x 6’10” 2004 $20,000

“Feathers of the Phoenix (Black)” is one of several large wall panels that have to do with things broken and given new life in reference to the phoenix the bird that was destroyed by fire but later rose to rise from the ashes. I once asked a physicist about this and learned that cracks are not random. A break simply reveals where there the links between clay molecules are weak. The interior structure of a tile is a network of fault lines can be exposed if given a shock. When broken a certain way nearly all the fragments of a tile will have a vortex in their shape. By glazing them as chevron s I made them resemble feathers.

9.Feathers of the Phoenix (Red) Broken and glazed porcelain tiles, 9’2”x 7’10” 2005 diRosa Collection $26,000

“Feathers of the Phoenix (Red)” has had a fair amount of exposure in that it is now mounted at the entrance to the galleries in the gatehouse at the diRosa outside Napa.

10.Keyboard Score for David Tudor Broken and glazed porcelain tiles 4 ½’ x10 ½’ 2012 University of California at Davis Commission $10,000

In “Keyboard Score for David Tudor” the edges of the broken tile interrupt bands of glaze determined by chance while a grid of circles in the background provide a beat or a pulse. It’s not unlike a jazz trio.

8 Melchert, James 2160503972

Overall Rating: 50/100 Rating: 50

Taleporos, Zoe 50/100

9 Melchert, James 2160503972

"Oliver Ranch Pool"

ca 15' x 30' 1989

"MIT Mural: Organisms Segment"

16' x 220' 1994

"MIT Mural"

16' x 220' 1994

"M.I.T.Mural"

16' x 220' 1994

"M.I.T.Mural"

16' x 220' 1994

"M.I.T. Mural"

16' x 220' 1994

10 Melchert, James 2160503972

"Case Western Reserve"

12' 12' 1994

"Feathers of the Phoenix (black)"

5' 10" x 6' 10" 2004

"Feathers of the Phoenix (red)"

9' 2" x 7' 10" 2005

"Keyboard Score for David Tudor"

4' 6" x 10' 6" 2012

11 Melchert, James 2160503972

"Oliver Ranch Pool" "MIT Mural: Organisms Segment"

"MIT Mural" "M.I.T.Mural"

"M.I.T.Mural" "M.I.T. Mural"

"Case Western Reserve" "Feathers of the Phoenix (black)"

12 Melchert, James 2160503972

"Feathers of the Phoenix (red)" "Keyboard Score for David Tudor"

13 Wagner, Catherine 2150497207

San Francisco Arts Commission

New Commissions at San Francisco International Airport

Catherine Wagner

San Francisco, CA US

Submitted: Jun 20 2012 3:26PM CST/CDT Overall Rating: 10/100

Tags: SFO- Non Secure Connector

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.

1 Wagner, Catherine 2150497207

EDUCATION 1977/81, Masters of Art, San Francisco State University, CA 1975, Bachelors of Art, San Francisco State University, CA (Honors, Cum Laude)

PUBLIC ART COMMISSIONS In process: Mercer West Art Project, Seattle, WA, Atmospheric Flurry In process: Moscone Central Subway Station, San Francisco, CA, Arc Cycle In process: 474 Natoma, San Francisco, CA, Global Garden In process: The Village, Santa Monica, Civic Center, Santa Monica, CA, Wave Echo 2011, Millennium Tower, San Francisco, CA Vitreous Bench 2011, Education Branch Library, San Jose, CA, Nature/Knowledge 2009, Ronald F. Deaton Civic Auditorium, Los Angeles, CA, Ghost Grove 2008, Sava Pool, San Francisco, CA, Swimmers’ Waves 2004, Frisson Restaurant, San Francisco, CA, Flux Density 2003, UCSF Medical School, San Francisco, CA, Cell Wall II 2002, Comme des Garçons, Kyoto Japan

AWARDS (partial listing) 2007, Artadia: The Fund for Art & Dialogue Award 2007-09, Artist-in-Residence, California Academy of Sciences, San Francisco, CA 2002, Joan and Robert Danforth Distinguished Professorship in the Arts, Mills College, Oakland, CA 1998, Visual Arts Fellowship, Weizmann Institute, Rehovot, Israel 1997, Visual Arts Fellowship, San Jose Museum of Art, San Jose, CA 1990/91, Visual Artist Fellowship in Photography, National Endowment for the Arts 1987, Visual Artist Fellowship, John Simon Guggenheim Memorial Foundation 1981, Visual Artist Fellowship in Photography, National Endowment for the Arts

ONE PERSON EXHIBITIONS (partial listing) 2011, Reparations, Gallery Luisotti, Santa Monica, CA 2010, Reparations, Stephen Wirtz Gallery, San Francisco, CA 2010, Morphology, Stephen Wirtz Gallery, San Francisco, CA 2007, A Narrative History of the Light Bulb, Stephen Wirtz Gallery, San Francisco, CA 2005, Re-Classifying History, de Young Museum (inaugural), San Francisco, CA 2005, Catherine Wagner: Early Works 1975-1981, California Landscapes and Moscone Site, Gallery Luisotti, Santa Monica, CA 2004, Trilogy: Reflections on Frankenstein, the Arctic Circle, and the History of Science, Stephen Wirtz Gallery, San Francisco, CA (catalog) 2003, Cross Sections: Catherine Wagner, Pasadena Museum of California Art, Pasadena, CA 2001, Cross Sections: Catherine Wagner, San Jose Museum of Art, San Jose, CA 2001, Catherine Wagner: Selections 1980-2000, Stephen Wirtz Gallery, San Francisco, CA 1999, Realism and Illusion: Catherine Wagner Photographs the Disney Theme Parks, Modern Art Museum of Fort Worth, Fort Worth, TX; Gallery Luisotti, Santa Monica, CA 1999, Catherine Wagner, Selections 1978-1998, Jack Shainman Gallery, New York, NY 1997, Catherine Wagner: Art & Science, Investigating Matter, University Art Museum, California State University, Long Beach, CA; Gallery Luisotti, Los Angeles, CA; International Center Of Photography, New York, NY; Fraenkel Gallery, San Francisco, CA 1994, American Classroom, Museum fur Moderne Kunst, at Amerika House, Frankfurt, Germany (catalog) 1993, Home and Other Stories, Mills College, Oakland, CA; Fraenkel Gallery, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA (catalog) 1989, Photographs 1978-1988, Fraenkel Gallery, San Francisco, CA 1988, American Classroom, The Photographs of Catherine Wagner, Museum of Fine Arts, Houston, TX (catalog) 1987, Catherine Wagner, 1976-1986, Min Gallery, Tokyo, Japan ( catalog)

GROUP EXHIBITIONS (partial listing) 2012, Stage Presence: Theatricality in Art and Media, SFMOMA, San Francisco, CA 2012, New Acquisitions, The Walker Art Center, San Francisco, CA 2011, The Altered Landscape, The Nevada Museum of Art, Reno, NV 2011, Polaroid [Im]possible, WestLicht – Museum of Photography, Vienna, Austria 2011, HERE, Pier 24 Photography, San Francisco, CA 2010, Know the Rules – Then Break Them, di Rosa, Napa, CA 2010, Masterworks of American Photography: Popular Culture, Amon Carter Museum, Fort Worth, TX 2010, Real and HyperReal, San Jose Museum of Art, San Jose, CA 2009, 75 Years of Looking Forward: The Anniversary Show, SFMOMA, San Francisco, CA

2 Wagner, Catherine 2150497207

2009, An Autobiography of the San Francisco Bay Area Part One: San Francisco Plays Itself, SF Camerawork, San Francisco, CA 2007, Rembrandt to Thiebaud: A Decade of Collecting Works on Paper, The Legion of Honor Museum, San Francisco, CA (catalog) 2007, Bios 4, Centro Andaluz de Arte Contemporáneo (CAAC ), Seville, Spain 2003, How Human: Life in the Post-Genome Era, International Center of Photography, NY, NY 2002, Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001 Whitney Museum of American Art, New York, NY 2001, Architecture in Photography, Museum Folkwang, Essen, Germany 2000, Made in California: Art, Image, and Identity, 1900-2000, Los Angeles County Museum of Art 1999, Museum Pieces: Bay Area Artists Envisioning the de Young, de Young Museum of Art, San Francisco, CA (brochure) 1999, Bay Area Now, II, Yerba Buena Center for the Arts, San Francisco, CA (catalog) 1998, American Vernacular, Museum of Contemporary Art, Los Angeles, CA 1997, Absolute Landscape: Between Illusion and Reality, Yokohama Museum of Art, Yokohama, Japan

COLLECTIONS (partial listing) de Young Museum, San Francisco, CA Los Angeles County Museum of Art Museum of Contemporary Art, Los Angeles Museum of Fine Arts, Houston, TX Museum Folkwang, Essen, Germany Museum of Modern Art, New York, NY San Francisco Museum of Modern Art, CA Victoria and Albert Museum, London, England Walker Art Museum, Minneapolis, MN Whitney Museum of Art, NY

REVIEWS (partial listing) 2011, Spot Magazine, Lisa Sutcliffe, “Catherine Wagner speaks with Lisa Sutcliffe on Reparations and its connection to war, identity, and spirituality." Fall 2011, Artillery Magazine, Scarlet Cheng, “Catherine Wagner, May/June 2011, Art News, Lea Feinstein, “Catherine Wagner,” April 2010, The Huffington Post, “Catherine Wagner’s `Reparations` at Stephen Wirtz Galler.” Dec. 2010, Art Ltd. Magazine, Hearne Pardee, “Catherine Wagner: “Morphology” at Steven [sic] Wirtz Gallery.” March. 2008, Los Angeles Times. Pauline O’Connor, “New art exhibits are illuminating.” April 24th. 2007, San Francisco Chronicle. Kenneth Baker, “Everything is illuminated in show of lights,” April 7th. 2004, ArtForum.com, Glen Helfand, “Critics Picks, Catherine Wagner,” March 10th. 2004, San Francisco Chronicle, Kenneth Baker “Art Grapples with Science and Politics,” March 27th 2003, Los Angeles Times Calendar, Scarlett Cheng “Catherine Wagner: Cross Sections,” March 9th. 2002, New York Times Science, “Inside, Up Close: Medical Scans as Art,” Tuesday, July 2. 2002, Art in America, “Report from San Francisco,” November, p. 69.

Letter of Interest

1. Letter of Interest:

3 Wagner, Catherine 2150497207

For over thirty years I have investigated contemporary culture making art from the physical traces we leave behind. My public artwork connects viewers with the surrounding cultural, historic, or geographic context. This is particularly important in airports, which physically displace people from these surroundings. In this context I will provide, as critic Hearne Pardee writes, a “stage for our old-fashioned sense of wonder.” For a project at the L.A.P.D. headquarters civic auditorium I etched images of a citrus grove onto golden, anodized aluminum panels set flush with the interior walls of the building. This artwork needed to be completely UV resistant due to its location in direct sunlight. This dramatically lit imagery glows at night and is visible from the streets of downtown L.A., which were once flourishing orange groves and reminds viewers of the city’s history. In 2001 The San Jose Art Museum commissioned a large-scale installation entitled “Pomegranate Wall.” This piece is composed of a series of repeating images, lit from behind, on modular Plexiglas panels. The piece depicts layers of the inside of a pomegranate I photographed with MRI and SEM imaging devices. As well, I created public art for the most frequented public swimming pool in San Francisco, Sava Pool. This project had to be realized in a permanent, waterproof material, impervious to chlorine. I worked with photographic imagery of swimmers’ waves imbedded in porcelain enamel on steel. There is a rhythmic pattern to the panel installation that is in harmony with the architecture of the cast concrete walls. In the 1970’s I photographed the construction of the Moscone Center, a project that became a symbol of change in San Francisco. For the new Moscone subway station these photographs will be laser-etched onto floor-to- ceiling granite slabs, which will encourage viewers to consider both the area’s past and its future. I am currently working with two unique panel-mounting systems for “Global Garden” an affordable housing development in downtown San Francisco and “Atmospheric Flurry,” an exterior piece using algorithmic patterns of rain and wind, installed at either side of an underpass in Seattle. These projects connect viewers with their surroundings through formal strategies using light, materiality, and site-specific imagery. I have extensive experience with public art, particularly site-specific works employing panel-mounting systems. For this reason I am particularly interested in creating art for the San Francisco International Airport’s new control building. Through my public projects I give locations an identity, formal beauty, a connection to the surrounding natural or cultural environment. I welcome collaborative work on design teams and engage well with community stakeholders. I look forward to the opportunity to create public artwork for the San Francisco International Airport.

Annotated Image List

1. Annotated Image Descriptions

4 Wagner, Catherine 2150497207

1, 2, and 3, GHOST GROVE Medium: Etched Anodized Aluminum Panels Dimensions: 8’ x 155’ x 0" Date: 2009 Commission Amounts: $500,000

For the new civic auditorium in downtown Los Angeles I chose to create an image of an orange grove, laser etched onto anodized aluminum along the corridor walls of the building. Because the exterior walls are made of glass, the frieze is also visible from the outside of the building. The orange grove imagery honors the history of downtown LA, which was once flourishing with citrus groves. This piece seeks to extend the idea of the public park and plaza by referencing the notion of landscape, and to provide both a beautiful and interactive environment.

4, and 5, - 86 DEGREE FREEZERS Medium: Laminated Light Jet Prints on Stainless Steel Panels Dimensions: 100’ x 20’ Date: 2002 Commissioned Amount: $150,000

Photos from my series “Art & Science: Investigating Matter” cover the curving walls and recesses of this high-end design space, Comme des Garcons, Kyoto, Japan. The images are of the interior of freezers used in genetic research. The piece provides a serious contrast to the notion of a design store.

6, and 7, SWIMMERS' WAVES Dimensions: 14’ x 55’ Medium: Photographic Images on Porcelain Enameled Steel Date: 2008 Commission Amounts: $77,500

The Sava Pool is the most frequented city pool in San Francisco. This project is a tribute to Charlie Sava, the pool’s coach who was inducted into the Swimmer’s Hall of Fame. Commissioned by the SF Arts Commission.

8, and 9, POMEGRANATE WALL Dimensions: 8’ x 40’ Medium: Lambda Duratrans and Lightbox Date: 2001 Commission Amounts: $100,000

I used medical imaging devices, such as MRI and SEM machines, to explore the topography and internal structure of familiar and not-so-familiar organic materials such as the pomegranate. I am interested in what impact the changes that emerge from contemporary scientific research will have on our culture.

10, ATMOSPHERIC FLURRY Dimensions: 5’ x 240’ x 1’ Medium: Laser Cut, Powder Coated Aluminum and LED Lighting Date: In Process, expected 2013 Commission Amounts:: $350,000

As drivers, pedestrians, and bicyclists move along the Mercer Corridor they enter an illuminated underpass containing abstract, interactive imagery based on a rainstorm. This Moire patterning is designed to create the experience of the ever-changing weather patterns of Seattle. (Images are of mockup and rendering.)

5 Wagner, Catherine 2150497207

Overall Rating: 10/100 Rating: 10

Taleporos, Zoe 10/100

6 Wagner, Catherine 2150497207

"Ghost Grove (LAPD Civic Auditorium)"

8 x 155 2009

For the new civic auditorium in downtown Los Angeles I chose to create an image of an orange grove, laser etched onto anodized aluminum, along the corridor walls of the building. Because the exterior walls are made of glass, the frieze is also visible from the outside of the building. The orange grove imagery honors the history of downtown LA, which was once flourishing with citrus groves. This piece seeks to extend the idea of the public park and plaza by referencing the notion of landscape, and to provide a beautiful, interactive environment.

"Ghost Grove (LAPD Civic Auditorium)"

8 x 155 2009

"Ghost Grove (LAPD Civic Auditorium)"

8 x 155 2009

"Comme des Garcons"

100’ x 20’ 2002

Photographs from the series "Art & Science: Investigating Matter" cover the curving walls and recesses creating a new interior skin of Comme des Garcons in Kyoto, Japan, a high- end design space. The images are of the interior of freezers used in genetic research. The piece provides a serious contrast to the notion of a design store.

"Comme des Garcons"

100’ x 20’ 2002

7 Wagner, Catherine 2150497207

"Pomegranate Wall"

8' x 40' 2001

This sculptural wall is designed as an illuminated, free-standing, curved arc (8'x40') that depicts an MRI of the interior of a pomegranate repeated thousands of times. The distant view reads as a celestial body while the more intimate view reveals cellular structures. "Pomegranate Wall" is designed as a traveling installation that can be reconfigured.

"Pomegranate Wall (detail)"

8' x 40' 2001

"Swimmers Waves (Sava Pool)"

14 x 55 2003

The Sava Pool is the most frequented city pool in San Francisco, used for both competitive and recreational purposes. Charlie Sava, the pools coach and namesake, portrait is combined with images of the reflection of swimmers waves. The installation of the image panels create a continuous visual connection with the reflective light patterns generated by moving water in the pool itself. These elements work in concert with one another to create a visually activated wall that embraces the memory of Charlie Sava.

"Swimmer's Waves (Sava Pool)"

14 x 55 2003

"Atmospheric Flurry"

5" x 240" x 1" 2013

As drivers, pedestrians, and bicyclists move along the Mercer Corridor they enter an illuminated underpass containing abstract, interactive imagery based on a rainstorm. This Moire' patterning is designed to create the experience of the ever-changing weather patterns of Seattle. (Image of digital mockup)

8 Wagner, Catherine 2150497207

"Ghost Grove (LAPD Civic Auditorium)" "Ghost Grove (LAPD Civic Auditorium)"

"Ghost Grove (LAPD Civic Auditorium)" "Comme des Garcons"

"Comme des Garcons" "Pomegranate Wall"

"Pomegranate Wall (detail)" "Swimmers Waves (Sava Pool)"

9 Wagner, Catherine 2150497207

"Swimmer's Waves (Sava Pool)" "Atmospheric Flurry"