April 2017 Introduction
The Regional Arts & Culture Council (RACC) established the Design Team Roster as an on-line resource that can be used by anyone seeking an artist for a project – community groups, business or property owners, schools, architecture firms, private developers or other public art programs. The Roster provides a pool of highly qualified artists, and increases the efficiency of the selection process.
The intent of the roster is to provide users a range of artistic styles from which to select an artist that fits the needs of a particular project -- creating an art plan for a site; collaborating on early design along with having a budget to create artwork(s); identifying opportunities for other artists to provide design elements within the construction budget and/or complemented with public art funds; or, for creating a distinctive artwork for a site.
These artist have demonstrated skills, experience and interest in commissioned projects. As you review this roster, please read the artists’ statement and view details of up to three past projects to get a feel for their work. You are strongly encouraged to visit the artists’ websites and social media outlets to further explore their practice.
Please note that there are two different PDF versions you can view/download with the larger PDF containing artists’ resumes.
Questions? Contact Public Art Managers: Kristin Calhoun [email protected] | 503.823.5101 Peggy Kendellen [email protected] | 503.823.4196
Cover artists clockwise from upper left: Anne Marie Karlsen, Lawndale, CA, 2008; Adam Kuby, Aberdeen, WA, 2013; Norie Sato, San Francisco, CA, 2011; Napoleon Jones-Henderson, Bruce C. Boiling Municipal Building, Boston, 2015 MARYJO ANDERSON Nehalem, OR mjandersonsculpture.com [email protected]
I am interested in spatial relationships, materials and human interactions within public spaces. I am interested in producing work that has energy, meaning, metaphor and multiple layers of understanding. The collaborative lends itself to work that has sincerity and integrity. I believe art should not mimic architecture but enhance architecture, that public art need not please everyone but rather respect the diversity of a community.
Although primarily a stone sculptor, I have spent many years working with other art forms and materials such as bronze, cast iron and temporal installations. I believe in making art that provides access and insight into the human experience - artwork that elicits personal emotion while at the same time speaks to a public audience.
Since 2003 I have been exploring the role of smaller more intimate presentations of art in the public arena, a result of my continuing research of niches in public spaces in Italy.
I have experience working with landscape architects, architects and committees on designs for urban space
Top to bottom: To Scale the Scales of Justice, 2010, Salem, OR; Eyrie, 2013; La Grazia, 2011 M.J. ANDERSON – SCULPTOR PO BOX 400, NEHALEM,OR 97131 Tel 503-801-1928 Email: [email protected] WEBSITE: www.mjandersonsculpture.com
BORN Portland, Oregon 1953 EDUCATION Portland State University, B.A. with Honors 1977
SELECTED COMMISSIONS 2015 Jeff & Lara Sanderson, Private Residence 2010-2011 Noosa Botanic Gardens Stone Sculpture Bequest, Queensland, Australia 2009-2010 Justice Center, Oregon Arts Commission Percent for Art, Salem, OR 2006 Wellspring Medical Center, Silverton Hospital, Woodburn, OR 2004-2005 Church of the Resurrection, Solon, Ohio “Witness: Women of the Resurrection” 2005 Invited Artist, International Sculpture Symposium, Maroochy Regional Bushland Botanic Garden, Queensland, Australia Sept23 - Oct 9 2000 Seattle University School of Law, Sculpture Commission for the Law Library 1998/1999 Regional Children’s Center, Outdoor Sculpture Elements, RACC, Troutdale OR 1994 Commission of Altar Panels, St. James Cathedral, Seattle, WA 1994 Consultant to St. James Cathedral & Bumgardner Architects for a marble immersion baptismal font, font restoration and flooring, Seattle, WA AWARDS 2011 Career Opportunity Grant from the Oregon Arts Commission and The Ford Family Foundation Jordan Schnitzer Printmaking Residency, Sitka Center for Art & Ecology 2007 All Oregon Art Annual, Oregon State Fair, Second Award Professional 2006 Individual Artist Fellowship Award from the Oregon Arts Commission 2003 Two month Fellowship Award in Civita di Bagnoregio, Italy through NIAUSI --- the Northwest Institute of Architecture & Urban Studies in Italy 1993 Pollock-Krasner Foundation Grant & “Money for Women” Barbara Deming Memorial Fund
SELECTED SOLO EXHIBITIONS 2015 Elizabeth Leach Gallery, Acqua Pietricata, Portland, OR 2013 Davidson Galleries, Ancient Atmosphere, Seattle, WA 2012 Rowboat Gallery, Recent work, Pacific City, OR 2011 Ut Sculptura Poesi, Torano, Italy 2012 Figurative, Davis and Cline Gallery, Ashland, OR 2009 Davidson Galleries, The Probability of Resemblance, Seattle, WA Summer 2009 2007, 2005 Davidson Galleries, Seeking Equilibrium & Recent Sculpture Seattle, WA 2005, 2003 Alysia Duckler Gallery, Geology of Gender, Duet Between Figure & Form Portland, OR 2003 Northwest Museum of Art, Five Part Invention, La Conner, WA The Art Gym, Marylhurst University, The Skin of the Stone, Marylhurst, OR 2002 Froelick Adelhart Gallery, Passion & Penance, Portland, OR
SELECTED GROUP EXHIBITIONS 2013-2017 McMinnville Oregon, Art Downtown, Outdoor Sculpture. 2014-2016 Arts Downtown, outdoor sculpture exhibit, Lake Oswego, Oregon (& 2005, 2001) 2016, 2012 Clackamas Community College Sculpture Invitational, Oregon City, OR 2012 Stone Sculpture, Lane Community College, Eugene, OR 2011 Velocity, Museum of Northwest Art, Summer Group Exhibition Il Linguaggio della Materia, Carrara Marble Week, Carrara, Italy Life Still Life, show with painter John VanDreal, Cannon Gallery of Art, Western Oregon University, Monmouth, Or 2004 Survey in Stone, Portland Community College, ( Sylvan campus), Portland, OR 2000 Millennium show, Olga Dollar Gallery, San Francisco, CA 1999 Frauensicht:Mannsbilder, Babenhausen, Darmstaadt, Germany
TEACHING 2016 Northwest Stone Sculptors Summer Symposium, Suttle Lake, OR 2015,2012,2005 Northwest Stone Sculptors Summer Symposium, Camp Brotherhood, WA 2003-2005 Marylhurst University, Art Faculty, Sculpture and 3-D Design 1999 -2010 Summer Sculpture Workshops, Sitka Center for Art & Ecology, Oregon Coast 1998, 1999 Haystack Summer Session, Portland State University, Cannon Beach, OR 1995-1996 Oregon Stone Sculptors Symposium, Silver Falls, OR
SELECTED COLLECTIONS: -Portland Art Museum -Veterans Administration Women’s Clinic, Portland, OR -Hallie Ford Museum, Salem, OR -Clackamas Community College, Oregon City, OR -Noosa Botanic Gardens, QLD. Australia -Maroochydore Bushland Botanic Gardens, QLD. Australia -Town of La Conner, Washington -Museum of Northwest Art, La Conner, WA -Emanuel Hospital, Portland, OR -Providence Hospital, Portland, OR -Nordstrom Administration Headquarters, Seattle, WA - Caesar’s Palace, La Vegas, NV JILL ANHOLT Vancouver, BC jillanholt.ca [email protected]
Throughout my 18 years of practice, I have created more than 30 works in public spaces ranging from smaller scale functional works with modest budgets to large-scale highly integrated civic works with budgets of $1.5-$3.2M in cities throughout Canada and the US.
My installations explore the relationship between nature and infrastructure, body and place; revealing layers of personal and cultural memory and experience. My work also explores the way that the body relates to and inhabits space and how human perception is transformed by position and movement.
Understanding and working with context and multiple scales of engagement are my strengths. And, synthesizing the many complex layers of a site into a conceptual framework further embodies meaning for the work. My art installations try to engage people who encounter them not only as spectators, but often also as participants in the work in some way. Environmental sustainability plays a generative role in the conceptual development, form and material expression of my art installations.
For every project I undertake, I begin with an intimate reading of the site, and then expand my observations to ever-widening arcs of investigation that include explorations of historical, geographical, cultural, and environmental layers. The concept, form, materiality and experiential qualities of my work emerge from these very site-specific beginnings.
Top to bottom: Clearing, 2015, Aberdeen, WA; Lost Stream Found, 2013, North Vancouver, BC; Line of Work, 2009, Vancouver, BC Jill Anholt Curriculum Vitae
Jill Anholt is a visual artist based in Vancouver, B.C. who has been creating site specific works in the public realm since 1998. Anholt’s practice ranges from complex integrated works in parks, pedestrian walkways and transit stations to small scale installations in buildings and public plazas across North America. Her installations explore the relationship between nature and infrastructure, body and place; revealing layers of personal and cultural memory and experience. Environmental sustainability plays a generative role in the conceptual development, form and material expression of many of her works. In addition to her art practice, Jill is an instructor at Emily Carr University of Art and Design in Vancouver.
Public Art Commissions
Refined [in progress] $420,000 Charged Line [2014] $185,000 South False Creek, Vancouver BC South Calgary Emergency Response Station, Calgary AB A large sculptural work of white concrete, tumbled recycled glass and LED A series of five sculptures transform the animation of flowing water into that of lighting integrated into a new public plaza adjacent to a historic salt processing light; illuminating a public walkway along the southern edge of a new fire hall. building, capture and question the raw and the refined. Moose Jaw Trail [2013] $180,000 Coordinated Movement [in progress] $405,000 Patricia Row Park and Mark Thompson Park, Saskatoon SK Hurdman Station, Ottawa ON A series of sculptural works embedded in a public park interpret the story of an Work explores the inherent relationship between bird migration and human existing but previously unnoticed historic settler’s trail. (In collaboration with commuting, distilling the transformation of the individual to that of the Susan Mavor.) collective, and exploring the choreography of dynamic movement systems. Lost Stream Found [2013] $130,000 Immerse [in progress] $280,000 Northlands Terrace, North Vancouver BC S.200th Link, Seattle WA A towering, sinuous form composed of locally-sourced cedar celebrates the Immerse explores and celebrates the emphatic process of falling rain; revealing resurfacing of a hidden stream’s journey. and amplifying patterns and fluctuations in form as well as capturing its coincident materiality and immateriality. TransitStory [2012] $213,000 Centre Street LRT Station, Calgary AB Marking [2015] $1,200,000 A steel and light sculptural installation changes appearance and transparency Fort Calgary, Calgary AB with viewer movement. Present and absent, seen and unseen, the work seeks A series of carved wood members punctuated with traces of light draw upon to capture the fleeting trace of human presence within civic infrastructure. the southern prairie landscape and the people who inhabit it to echo the original 1875 Fort. Capturing the View [2012] $185,000 Three Harbour Green, Vancouver BC Clearing [2015] $132,000 Three sculptural towers reach upwards and outwards towards Vancouver’s Grays Harbor College, Aberdeen WA most desired views: the mountains, the park and the water while reflecting Inspired by the forest of old growth trees that once existed where the new movements of passersby. building is now located, artwork proposes a “clearing” of one of the majestic trees, leaving in place the memory of light and colour filtering through above. Light Showers [2011] $1,500,000 Sherbourne Park, Toronto ON Uplit [2015] $1,400,000 Iconically scaled sculptural forms celebrate the collection and purification of a Lansdowne Park , Ottawa ON new community’s rainwater, transforming infrastructure into art. A 12m tall water sculpture composed of stone and stainless steel draws inspiration from local geology fused with contemporary technology. Fluid Movement [2011] $80,000 Western Oregon University Health and Wellness Center, Monmouth OR Unfold [2015] $135,000 Dynamic sculptures evoke the movement of a swimmer, referencing the MET Condominiums, Burnaby BC building and landscape’s relationship to both water and health. Verdantly painted and folded, stainless steel sculptures emerge from the water and imbue the essence and growth of Lucky Bamboo. Projecting Drop [2010] $174,000 Pacific Plaza, Tacoma WA Peeled Pavement [2015] $400,000 An undulating mosaic tile and lighting installation reveals the historic and Mill Street , Toronto ON contemporary connections to water in the site. A series of folded sidewalk installations in bronze and back-lit cast glass form integrated seating elements while exposing the site’s past and future. Falling into Formation [2010] $97,500 Surrey RCMP Building, Surrey BC Moving Surfaces [2014] $1,800,000 A crescendo of dichroic glass fins transform from chaos into order to create an Lansdowne Park, Ottawa ON ephemeral composition of light and colour within a new RCMP building. Inspired by the park’s history and culture that is inextricably linked to moving water, the work is composed of a series of steel shapes that bend and fold in a manner reminiscent of the flow of water itself. Public Art Commissions Cont. Awards / Honours
Line of Work [2009] $1,000,000 CSLA Award of Excellence [2016] Vancouver Convention Centre, Vancouver BC Lansdowne Park (incl. Moving Surfaces and Uplit), in collab. with PFS Studio. A memorial for workers in BC reflects the energy, diversity and growth of the CODAawards Merit Award / Landscape Division [2015] Moving Surfaces province’s workforce. Created from laminated cedar with engraved text and stainless steel, the work folds out dynamically from a green roof plane to CISC BC Steel Design Awards for Outstanding Steel Structure/ interact spatially with viewers along a public pathway. Architectural Division [2015] Moving Surfaces, in collaboration with Fast & Epp, City of Ottawa, and Solid Rock Steel Fabricating. SkyRiver [2009] $169,000 Flo Development, Richmond BC Lieutenant Governor of Saskatchewan Heritage Architecture Glass and metal installation in a public plaza situates the viewer within an Excellence Award [2014] Moose Jaw Trail Public Art and Interpretation Project undulating stream of colour and light. City of Saskatoon: Heritage Space Award [2014] Moose Jaw Trail Public Art Urban Forest [2007] $50,000 and Interpretation Project Vine Street Plaza, Vancouver BC American Society of Landscape Architects (ASLA) Professional Seating and in-ground lighting elements for a public plaza explore the natural Awards: Honour Award [2013] Sherbourne Common (incl. Lightshowers), in and man-made layers of the city. collaboration with PFS Studio. Moving Pictures [2003] $35,000 Toronto Urban Design Awards: Award of Merit [2013] Sherbourne Vancouver International Film Festival Centre, Vancouver BC Common (incl. Lightshowers), in collaboration with PFS Studio. A sculpture for the Vancouver Film Centre that captures a “real-time” recording ASLA Conference: Boston of Vancouver’s street life. [2013] Presentor: Compelling Storytelling: Integrating Art Information and Landscape, Jill Anholt with Susan Mavor. Scopes of Site [2002] $85,000 Edmonton Urban Design Awards [2013] Invited Jury Member Aspac Developments, Vancouver BC A series of sculptures in a public garden reflect and juxtapose elements from RAIC National Urban Design Award/Special Jury Award: the past and present of the site. Sustainable Development [2012] Sherbourne Common (incl. Lightshowers), in collaboration with PFS Studio. Carving Turn [2001] $50,000 Whistler Creekside Development, Whistler BC CSLA National Honour Award for Design [2012] A dynamic sculpture and awards podium that captures the sense of risk and Sherbourne Common (incl. Lightshowers), in collaboration with PFS Studio. precariousness of ski racing. Banf Artist in Residence [2012] The Banf Centre, Banf AB LocusMotion [2001] $60,000 Design Exchange Gold for Landscape Architecture [2011] Sherbourne
Brentwood Skytrain Station, Vancouver BC Common (incl. Lightshowers), in collaboration with PFS Studio. A dynamic suspended dichroic glass sculpture in a new skytrain station responds to train and pedestrian movement. AIBC Conference: Presenter [2011] Making Connections: Art and Architecture
WaterMark [2000] $40,000 Subtle Technologies Conference, Toronto [2010] Presentor: Art & Sustainability First Street Plaza, North Vancouver BC An integrated water sculpture in a public park afected by rainfall run-of and Select Bibliography direct viewer interaction. The Globe and Mail: Alex Bozikovic, August 17, 2013, “The Future of Parks” Public Art Planning / Master Plans Forecast Public Art Review: June 2012 “Light Showers” CBC “Nature of Things, David Suzuki: Future City“ Sherbourne Common Review. Art Plan for the Lake 2 Bay Pedestrian Connection [2015] Aired Thursday Febrary 16 2012 Seattle WA (with Walker Macy Landscape Architects) Sitelines Magazine: Landscape Architecture in British Columbia, February 2012: Art and Culture Master Plan for Downtown Redmond [2014] Public Art and Design Collaboration by Jill Anholt, pp 16,17. Redmond WA (with PFS Studio) Toronto Star: Christopher Hume, August 5, 2011: “Sherbourne Common is Art Plan for Bernard Avenue Revitalization [2011] Anything But” Kelowna BC (with Space to Place Landscape Architects) Globe and Mail: Lisa Rochon, July 29, 2011: “Sherbourne Common: Clean, Public Art Consultant for River Street Underpass Project [2010] Green, Brainy and Blue” Toronto ON (with Brad Golden) Garten + Landschat, August 2011: Zwei neue Parks an der Toronto Waterfront, Art Plan for New Pittsburgh Penguins Arena [2008] pp 18-22. Pittsburgh PA (with Todd Bressi) Tacoma Daily Index: “Tacoma’s Ripple Efect”, November 5, 2010 Art Plan for Calgary Transportation [2008] Sculpture Magazine: “Line of Work by Jill Anholt”, June 2010 Calgary AB (with VIA Partnership and Todd Bressi) Interiors: D3 The Next Design Generation. “Public Artist Jill Anholt: Line of Work” Public Art Strategy for the West Don Lands [2008] pp. 158 - 161, April 2010 Toronto ON Kevin Grifin, “A Graceful Tribute in Steel to B.C. Workers,” Vancouver Sun. September 25, 2009. GABE BABCOCK Corvallis, OR gabebabock.com [email protected]
My work sheds light on the tension between humans and nature by creating work that has both a presence and coexists with a specific environment. Using natural materials, my work is easily visible but subtle in order to improve but also respect the natural quality of the site.
My work is broken down to the simplest elements, to reduce impact as well as be appreciated by a diverse group of people.
I am competent with all materials and capable of overcoming obstacles. At this point in my career I am looking for more experience in working with committees, architects and engineers, taking on larger budgets and projects. Nature’s process is nothing short of phenomenal and is often taken for granted. My expectations are high; to use site-specific art as a form of education to preserve the quality of natural spaces.
I am personable, and a peace keeper, always positive and always up for new challenges. I developed these skills from working with clients one on one, because inevitably they need to be happy with the piece. But at the same time, it is my piece so I help them find the common ground.
Top to bottom: Celilo, 2015, Hood River, OR; Flowers in the Sky, 2015, Port Angeles, WA; Lower Klamath Wildlife Refuge Aerie, 2015, Tule Lake, CA Gabe Babcock Resume Contact - 7335 SW Deerhaven Rd Corvallis, OR. 97333 541-760-4885 www.gabebabcock.com [email protected]
Education - Oregon College of Arts and Craft/Pacific Northwest College of Arts and Craft - Masters of Fine Arts. Admitted but declined. University of Oregon. B.S. in Fine Arts
Public Artist Roster - Regional Arts and Culture Council (RACC) – 2015-2018 Spaceworks – Tacoma, WA. 2016-2017
Outdoor Public Work - 2016 The Ruth Bancroft Garden – Walnut Creek, CA Piedmont Community Center - Oakland, CA 2015 Clackamas County Public Services Building - Oregon City, OR BIG Art Walk - Hood River, OR City Hall Sculpture Garden - Milwaukee, OR Autumn Lights Festival - City of Oakland, CA Art-Outside Exhibition - Port Angeles, WA Estacada Public Art Poles – Interview Finalist Art Contemplates Industry – Clackamas County Arts Council Westlake Middle School - Oakland, CA 2014 Autumn Lights Festival - City of Oakland, CA The Oregon Gardens Colusa Zen Garden - Colusa, CA 2013 Corvallis Arts Center Da Vinci Days – Corvallis, OR Corvallis Arts Center Solo Exhibition – Corvallis, OR
Gabe Babcock Resume
Private Commissions & Solo Exhibitions - 2016 Browzwear Interior Design + Installation – Corvallis, OR Flight of Love Wedding Arbor – Oakland, CA Slate Tokonoma - Colusa, CA Serendipitous Stones - Portland, OR 2015 Ring of Vows Wedding Arbor – Covallis, OR Ikebana Vase - McCall, ID Lower Klamath Wildlife Refuge Aerie - Klamath Falls, OR 2014 National Juried Exhibition - Marin Museum of Contemporary Arts The Oakland Redwoods - Berkeley, CA Farming Vessel - Alpine, OR Glass House - Corvallis, OR 2013 Madrone Men - Philomath, OR Hanging Rock Fence - Corvallis, OR A Piece of the Whole - Philomath, OR Remove Yourself From the Negative Environment - Oakland, CA
Publications: - River of No Return – PBS Nature Documentary, Camera Man LandEscape RON BARON Brooklyn, NY ronbaron.net [email protected]
Over the past 20 years I have created 25+ site-specific public artworks and have worked in various capacities as a lead artist, collaborating with committees, architects, locals and art consultants for a wide variety of locations ranging from wall-reliefs to plazas.
My creative process begins with a great deal of research to gain a broad understanding of the site, city and the desires of the local community. Key to an artwork’s success is creating an artwork that complements the scale and style of the architecture, landscape and the function of the space.
Each of my projects is created through a close working relationship with community groups, public art consultants, architects and design professionals.
The following core principals are my manifesto for creating art: • Establish a sense of place • Holistically integrate the work into the site, architecture and community • Reflect the function of the building • Create gathering spaces where individuals can congregate around art and ideas • Create work that is engaging, playful and strives to be examined and explored and accessible to a diverse population
Top to bottom: Lost and Found: An Excavation Project, 2005, NYC MTA; You Are Here, 2012, Providence Park, Portland, OR: Baggage Claim, 2008, Indianapolis International Airport R ON B ARON
582 D RIGGS A VENUE, B ROOKLYN, NY, 11211 718- 415- 9649, [email protected] Website: RonBaron.net
Commissions 2103 “Stratigraphy”, Bascom Library and Community Center, San Jose, CA -Bronze and granite sculptures at entryway -Commissioned by the San Jose Council for the Arts, CA, $285,000 2012 “North to the Future”, Ted Stevens International Airport, Anchorage, AL -An installation of bronze sculptures -Commissioned by the Airport and Alaska Council for the Arts, $250,000 “You are Here”, PGE Park, Portland, Oregon -Commissioned by Regional Arts Council Portland, OR $100,000 2011 “Station House”, Cleveland Transit Authority, Cleveland, Ohio -An installation of bronze and granite sculptures for the Puritas Station -Commissioned by the Greater Cleveland Transit Authority, $50,000 2010 “Bounce Pass”, Orlando Magic Recreation Center, Orlando, Florida -Three suspended sculptures for the interior lobby -Commissioned by the Orlando Magic Basketball team, $50,000 2009 “American Tourister”, Damen Brown Station, Chicago Transit Authority, Illinois - An installation of bronze sculptures for the Damen Brown Train Station -Commissioned by the Chicago Transit Authority, $115,000 “Bell Hop”, Cooper Hotels, Ft. Meyers, Florida -Sculpture for the lobby of a new hotel. $30,000 2008 “Baggage Claim”, Indianapolis Airport, Indianapolis, IN, -An installation of bronze sculptures for the new airport -Commissioned by the Indianapolis International Airport, $150,000 2005 “Lost and Found: an Excavation Project” Long Island Rail Road, MTA, New York, NY -An installation of bronze sculptures for the train station plaza, Hempstead, NY -Commissioned by the Long Island Railroad and the MTA, $200,000 “Dear Mother”, Stedeliik Museum ‘s Hertogenbosch, Netherlands -Vertical sculpture for permanent collection -Commissioned by the Stedeliik Museum , $25,000 2004 “O”, University of Oregon, Autzen Football Stadium, Eugene, Oregon -2 suspended sculptures composed of thousands of trophy tops -Commissioned by the Univ. Oregon, Eugene, $100,000 2000 “Tower of Time: Mirror of Brooklyn”, Brooklyn Public Library, -Site-specific sculpture for lobby of Main Branch -Commissioned by the Brooklyn Public Library, $20,000 1999 ”Birds”, Public Art Fund, New York, NY -Outdoor site-specific installation, $20,000 -Commissioned by The Greenwall Foundation and the Public Art Fund ”Full Court Press”, ESPN: The Zone, New York, NY, $30,000 1997 "Built with Pride", solo show, Anna Kustera Gallery, New York, NY 1996 "Spiritual", Este Lauder Inc., NYC, NY, Ronald Lauder -Sculpture commissioned for lobby of company headquarters, $20,000 1995 "Daddy-Magnetism", solo show, Chassie Post Gallery, New York, NY* "Receiver", Configura 2: Dialogue of Cultures, Erfurt, Germany -Installation of a monumental sculpture in the central plaza -Commissioned by Configura 2, and the city of Erfurt
Commissions - continued
1994 "Gates of Knowledge", Intermediate School #2, Brooklyn, NY: -Eight bronze sculptures incorporated into the fence and gate, $150,000 -Commissioned by the Board of Education, Percent for Art Program, NYC 1993 "My Time Is Now", Lehman College Gymnasium, Bronx, NY: -A vertical bronze sculpture installed at the entrance to the new gymnasium -Commissioned by Lehman College, Dormitory Authority of New York, $100,000
Honors and Awards
2015 Pollock-Krasner, Grant Yaddo Artist Colony, Saratoga Springs, NY, Louise Bourgeois Endowed residency 2014 Gottlieb Foundation, Grant 2007,08 Yaddo Artist Colony, Saratoga Springs, NY, summer residency 2005 Socrates Sculpture Park, Long Island City, NY, Grant Yaddo Artist Colony, Saratoga Springs, NY, summer residency 2001 Pollock-Krasner Foundation: Grant 2000 Yaddo Artist Colony, Saratoga Springs, NY, George Rickey Endowed Residency 1999,'96,'95 Yaddo Artist Colony, Saratoga Springs, NY, summer residency 1998 Public Art Fund, “Art in the Public Realm” Greenwall Foundation Fellowship 1997 New York Foundation for the Arts: Artist Fellowship, Sculpture Grant Tiffany Foundation Award, nominee 1997 Socrates Sculpture Park, Long Island City, NY, outdoor installation, grant 1993 Yaddo Artist Colony, Saratoga Springs, NY: -The Milton and Sally Avery Fellowship Marie Walsh Sharpe Foundation: Studio Program, New York, NY 1992 National Endowment for the Arts: Mid Atlantic, Artist Fellowship 1991 Monet Residency, Lila Wallace - Reader's Digest, Grant, 6 month stipend -Artist-in-residence at the Claude Monet Foundation and Museum, France LYNN BASA Chicago, IL lynnbasa.com [email protected]
While I have a number of public art commissions under my belt, I would like to transition to work that is more proactive. To put it another way, I’m more interested in making art that does something rather than only being about something.
For example, I’d like to find a site to create sculptural sanctuaries for native plants, birds, and insects. It could be miniature -- such as in a pocket park, median strip or vacant lot -- or monumental, such as in tangent to an urban walking trail. These would be living, site-specific self- maintaining and self-contained installations to bring Nature more into harmony and proximity with urban life.
Other ideas I’ve been looking for opportunities to do: • Sculptural rain and sprinkler water catchments that would create small oases for urban wildlife. • A naturalistic sculptural wall made of rammed earth or native stone that incorporated places for plants, shade, seating and play. • An intimate, spoken-word amphitheater for small audiences. • An outdoor reading room with book exchange. • Covered seating areas designed to encourage socializing. • A wall made of recycled local brick that demonstrates the lost art of fancy masonry. • Neighborhood time capsules. • Milkweed seed bomb project to increase habitat for Monarch butterflies.
All of my projects have been collaborative in two principle ways. First, in order to develop my concepts the input of the client, end user, architect, engineers, GC, etc. are critical. Second, I am committed to using local labor and materials whenever possible in order to create jobs and return the majority of the budget to the economy that generated it. Third, because I adapt my approach to the conditions of each site I use a wide variety of materials and know how to work professionally with subcontractors.
In addition to my studio and public art practice I’ve begun a residency in the storefront of a building I own in Chicago where, for over a year, I’ve been commissioning artists whose work is experiential and engages the community. In the process it’s changed my attitude towards what art can accomplish in the public realm. For one thing I’ve become more convinced of the value of taking art to the people rather than waiting for people to come to the art.
Top to bottom: Trimet Orange Line windscreens, 2015, Portland, OR; Coursing Through Life, 2010, University of Northern Iowa; Cornucopia, 2014, Chicago, IL Lynn Basa • 2248 N. Campbell Ave • Chicago IL • 60647 • (773) 2893616 [email protected] • www.lynnbasa.com
Education 2016 MFA, Studio, The School of the Art Institute of Chicago 1981 MPA, Public art policy, University of Washington 1977 BA, Fine Art (ceramics), Indiana University
Awards 2009 Honor Award, National Terrazzo & Mosaic Association International Parking Institute Award of Merit, Fredericksburg, VA 2008 Award of Excellence, Architectural Commission, City of Claremont, Claremont, CA
Public Art Commissions 2016 The Long Way Home, Wassaja Hall, University of Illinois Urbana Champaign Territory, 70 W. Madison,Chicago, IL 2015 Terrazzo floor artwork, University of Illinois Integrated Bioprocessing Research Lab, ($100,000) Urbana, IL Julia de Burgos Park, The 606, ($TBD), Chicago, IL 2014 Capriccio, Ballet West/Capitol Theater, ($120,000), Salt Lake City, UT Mosaics and bus shelter windscreens for nine light rail stations, Trimet, ($260,000), Portland, OR Abundance, University of Kentucky Medical Center, Chandler Pavillion, ($100,000), Lexington, KY Epoch, ($50,000) University of Minnesota, Itasca Biological Station, Itasca, MN 2013 Cornucopia, Chicago Transit Authority, ($48,300), Chicago, IL 2012 A Long Story, Cambridge Housing Authority, ($93,000), Cambridge, MA Transit Hub artwork, Des Moines Area Rapid Transit, ($60,000), Des Moines, IA Downtown Theater, Design team lead artist ($20,000), Town of Cary, NC Bower, University of Northern Iowa, Residence Hall, ($200,000), Cedar Falls, IA Threshold, University of Wisconsin, School of Human Ecology, ($99,000), Madison, WI 2010 Grove Alta, Alta building, Chicago, IL Learning Curve, Kingsport Center for Higher Education, ($75,000), Kingsport, TN Coursing Through Life, University of Northern Iowa, Sabin Hall, ($80,000), Cedar Falls, IA 2009 The Grand Lake Map, Grand River Dam Authority EcoEducation Center, ($57,000), Langley, OK 2008 Glendale History Walk, Downtown Parking Structure, ($200,000), Glendale, AZ The Great Circle Route, Indianapolis International Airport, ($440,000), Indianapolis, IN 2007 Grove, Downtown Parking Structure, ($200,000), Claremont, CA 2004 N=10, University of Washington/Bothell Community College, ($30,000), Bothell, WA 2003 Untitled, Highland Hospital, ($60,000), Oakland, CA
Museum Collections Selected Public Collections Iowa State University, Ames King County Arts Commission, Seattle Museum of Arts and Design, New York University of Washington Medical Center North Carolina State University Museum Washington State Arts Commission Rhode Island School of Design Museum City Lights Collection, Seattle, WA Spencer Museum, University of Kansas Tacoma Art Museum, Tacoma Washington Numerous private collections (partial list available on request)
Publications as Author (selected) Author, The Artist’s Guide to Public Art: How to Find and Win Commissions (New York: Allworth Press) 2008. ISBN 158115-501-8
Lynn Basa – CV 1
Selected Lectures, Workshops and Panels American for the Arts, 2016, Public Art Network panel and discussion, How to Engage Community Creative Capital, 2014-16, Webinar, Demystifying Public Art SAIC, 2016, Chicago IL: Career Development SAIC Student Union Galleries Portfolio Review Chicago Department of Cultural Affairs and Special Events, 2016, Chicago, IL: Creating Community panel Salt Lake City Arts Council, 2014, Artists Creating Place: Public Art Commissions Forecast Public Art, 2013, St. Paul, MN: Grant panel, Public Art and Planning Project Grants Broward County, 2013, Public Art and Design Program, Ft. Lauderdale, FL: Workshop, Public Art Training University of Chicago, 2012, Chicago, IL, Cultural Policy Center: Moderator, The Chicago Cultural Plan and Creative Cities El Paso Public Art Program, 2012, El Paso, TX: Workshop, Making the Leap to Public Art LegalArts, 2012, Miami, FL: Workshop, Making the Leap to Public Art New England Foundation for the Arts, 2011, Bridgeport, CT: Workshop, Making the Leap to Public Art The School of the Art Institute of Chicago, 2011, Chicago, IL, Power Tools: Workshop, Writing a Winning Letter of Interest UrbanArts, 2011, Memphis, TN: Workshop, Making the Leap to Public Art MetroArts Program (with Joel Straus), 2011, Nashville, TN: Workshop, Making the Leap to Public Art Chicago Department of Cultural Affairs, 2011, Chicago, IL: Panel organizer, How They Did It Chicago Artists’ Coalition, 2011, Chicago, IL: Workshop, Galleries: What Are They Good For? Art Loop Open (with Tony Tasset, Juan Angel Chavez), 2010, Chicago, IL: Panel, Public Art – A Discussion New England Foundation for the Arts, 2010, Boston: Workshop, How to Find and Win Public Art Commissions Austin Art-in-Public-Places Program (with Joel Straus), 2010, Austin, TX: Workshop, Public Art From A to Z Creative Chicago, 2010: Workshop, Making an Artist’s Living: A Conversation Oklahoma Art-in-Public-Places Program/Oklahoma Visual Artists Coalition, 2010, Tulsa, OK: Mentor Indiana Artists Coalition, 2009, Nashville, IN: Lecture, 10 Ways to Become a Starving Artist New England Foundation for the Arts, 2009, Boston, MA: Workshop, How to Write a Winning Letter of Interest Chicago Cultural Center, Artists-at-Work-Forum, 2009, Chicago, IL: Moderator, Beyond Walls: Nontraditional Ways of Making a Living as an Artist Austin Art-in-Public-Places Program, 2009, Austin, TX: Workshop, Making the Leap to Public Art El Paso Public Art Program, 2009, El Paso, TX: Workshop, How to Find and Secure Public Art Commissions Creative Chicago Expo, Chicago Cultural Center, 2009, Chicago, IL: Lecture, Making the Leap to Public Art UrbanArts, 2008, Memphis, TN: Workshop, Finding and Winning Public Art Commissions Fulton County Arts Council, 2008, Atlanta, GA. Chicago Artists Coalition, 2008: Panelist, The Politics of Commissions and Corporate Sponsorships Tremaine Foundation National Summit, 2008, Chicago, IL: Discussion leader, Professional Practices for Visual Artists Americans for the Arts National Conference, 2008, Philadelphia, PA: Panel leader, What Do Artists Want? Creative Chicago Expo, Chicago Cultural Center, 2008, Chicago, IL: Lecture, Making the Leap to Public Art
Teaching 2013 Visiting instructor, Hyde Park Art Center jointly with University of Chicago, Graham School 2006 – 2012 Instructor, School of the Art Institute of Chicago, Sculpture Dept.
Curatorial 2015 – present Founder and director, Corner Gallery, Chicago
Selected Committees/ Juries 2016 Community representative, 35th Ward participatory budgeting committee Navy Pier Public Art Focus Group, Chicago IL. 2011- 2013 Bloomingdale Trail Mayor’s Design Advisory Committee, Chicago, IL. 2008- 2009 Chair, 1st Ward Milwaukee Avenue Task Force, Chicago, IL. 1999- 2001 Chair, Public Art Committee, Seattle Arts Commission, Seattle, WA. 1996- 1998 Co-Chair, Metro Public Art Committee, King County, WA.
Lynn Basa – CV 2 PETE BEEMAN Portland, OR petebeeman.com [email protected]
Art must engage its viewers. Whether kinetic or static, my sculptures are big and gestural, yet rich and variegated to intrigue on closer inspection. I work most frequently with metals - stainless, aluminum, bronze - and also with wood. As I see the world through an engineer’s eye, my work is rooted in the capabilities of engineering: to make the improbable stand up, to harness the untamed, and to make the static, dynamic. By building useless objects with efficient functionality, I am questioning the meaning of utility and functionality. The characteristics created by the elegant and unexpected motions in my sculpture form a tension with the industrial structures, materials, and scale of the work. This tension is a metaphor for both human experience and human potential: the human machine, with the potential for a state of grace, constantly struggling with its own limitations. To engage in this struggle is to succeed.
In particular, several elements of my background make me well suited to designing and building public art: site- specificity (example, “Alphabet Soup” in Albuquerque connects the various sites of a campus); collaboration: a real strength of mine is coordinating with all stakeholders to satisfy the constraints of the project, while providing one-of- a-kind art; durability: I am well-equipped to deal with technical issues of designing integrated, interactive artwork with a constant eye on longevity; sustainability: incorporating environmental concepts when possible; I have a proven record of meeting budgets and reliability.
The vast majority of my projects involve collaboration with design professionals and community stakeholders.
Top to bottom: Alphabet Soup, 2005, Albuquerque, NM; Star, 2015, Tainan, Taiwan; Runner, 2013, Taipei, Taiwan PETE BEEMAN .pete ee a . o NW Lo ejoy “t. h . . po @pete ee a . o Portla d, OR . .
COMMISSIONS
Orego “tate U i ersity, Te eau Hall e p. o ple o Cor allis, OR $ k Hearst Ele e tary “ a e ger Hu t Washi gto , DC $ k Ha pli e E plora o “ta o s Me phis, TN $ k “tar Na o al Che g Ku g U i ersity Tai a , Tai a $ k Ball i Ha d a d Cro Taipei Physi al Edu a o College Taipei, Tai a $ k NEROF Gears NE Re ote Opera o s Fa ility Raleigh, NC $ k Ru er Xi zhua g “ports Ce ter Taipei, Tai a $ k Da’a Flo er Da’a Forest Park MRT “ta o Taipei, Tai a $ k Ope up the Doors Norfolk HRT Tra sit Fa ility Norfolk, VA $ k Iris Ci i Dri e “ta o , TriMet Light Rail Gresha , OR $ k “pala za i’s Parasol Port of Portla d HQ Portla d, OR $ k Li er Fire “ta o # “ea le, WA $ k “huffleto Ha d Charlo e, NC $ k Wa i g Post TriMet I‐ Light Rail, Portla d, OR $ k Kiosks for ODFW Hat hery Resear h Ce ter Alsea, OR $ k Colla ora o ith ar hite t Yia i Doulis “pala za i’s Ge erator North Caroli a )oo Ashe oro, NC $ k Alpha et “oup E. F. Pu li Li rary Al u uer ue, NM $ k Pod Portla d “treet ar Alig e t Portla d, OR $ k Portla d I ter a o al Airport Proje t Portla d, OR $ k First U itaria Chur h “a tuary Proje t Portla d, OR $ k
SELECTED EXHIBITIONS
Art‐Work, Bar Catalo ia Group Ne York City, NY Orego Art Beat th A i ersary, Peoples Art Gallery Group Portla d, OR “ ulptural i stalla o / Heidi Cody, The La Gallery Ne York City, NY More “i ple Ma hi es, ArtCe tri “olo Cor allis, OR The Vale e E ha ge, Reed College Group Portla d, OR Lo er Colu ia Co u ity College Group Lo g ie , WA Arts Do to ‐ Outdoor i stalla o Lake Os ego, OR Bla kfish Gallery Group Portla d, OR A. N. Bush/Fo us Gallery “olo “ale , OR Perfor a e O je ts, Ke t “tate U i ersity Group Ke t, OH The Art Gy , Marylhurst U i ersity “olo Portla d, OR “outher E posure “olo “a Fra is o, CA
GRANTS & AWARDS & MORE
‐ City of El Paso Pre‐Qualified Ar st Pool El Paso, TX ‐ Orego Arts Co issio Pu li Art Roster “ale , OR ‐ Regio al Arts a d Culture Cou il Desig Tea Roster Portla d, OR ‐ Ar st i Reside e, Produ t Realiza o La “ta ford U i ersity, CA Te h i al Assista e Gra t fro RACC Portla d, OR PETE BEEMAN .pete ee a . o NW Lo ejoy “t. h . . po @pete ee a . o Portla d, OR . .
EDUCATION
M.“. i desig , “ta ford U i ersity Degree o‐spo sored y the Art & Me ha i al E gi eeri g Depart e ts ○ Master’s thesis o e ha i al/ki e s ulpture ○ B.A. i the Visual Arts, ith Ho ors e phasis o “ ulpture , Bro U i ersity B.“. i Ci il E gi eeri g e phasis o “tru tural , Bro U i ersity
PROFESSIONAL EXPERIENCE
‐ Parallel De elop e t I ., Brookly , NY Co tra t olla ora e desig , e gi eeri g, proje t a age e t, a d fa ri a o of art ork, ○ ar hite tural fi tures a d produ ts.
‐ Mi hael Curry Desig , “t. Hele s, OR Desig , e gi eeri g, fa ri a o , a age e t, a d i stalla o of gia t puppets a d ○ e ha i al ostu es. Proje ts for the Oly pi s ope i g ere o y, stage sho s i Las Vegas, as ell as for Dis ey’s the e parks, ruise li es, Broad ay sho s.
Colla ora o ith Gree Works La ds ape Ar hite ts, Portla d, OR Desig olla ora o o i ds ape park i “E Portla d, OR. ○ Arthur Ga so , ar st, Bosto , MA Co tra t fa ri a o of art ork ○ Portla d De elop e t Co issio , Portla d, OR Co sul g ar st o a desig tea ith )GF Ar hite ts a d ar st Tad “a i ar for a $ . illio ○ ur a streets ape redesig . Proje t a elled ith PDC fu di g.
PRESS
Tho as Bailey Jr, Ne s ulptures ador Ha pli e... , The Co er ial Appeal, O to er Meaga Ni hols, Ne Pu li Art Pie es Tell “tory... , Me phis Busi ess Jour al, O to er Marty “ ith, Dr. K o , Willa e e Week, August To Roussey, “huffleto Reside ts “ee Art ork… , Cha el e s, July A dre Ba e , “huffleto Art ork “ rs Co tro ersy , Mou tai Isla d Weekly, July Kyle Odegard, Ki e “ ulpture I stalled , Gaze e‐Ti es, July Fra es a Ate io, Alpha et “oup , Al u uer ue‐The Magazi e, April CNN Ne sNight ith Aaro Bro , CNN, “epte er Best Of the West , “u set Magazi e, “epte er Ro Co a , Art Dete ts Visitors, “ a pers A ay , The “tates a Jour al, July Mi haela Ba ud, Art A hes , The Portla d Tri u e, Ja uary D. K. Ro , The Pod a d the Pe dulu , The Orego ia , No e er Beth Harri gto , Art Beat, OPB Tele isio , O to er Dorothy “hi , group sho re ie , The Akro Bea o Jour al, “epte er Ali ia Miller, re ie , Sculpture, Vol. No. Ju e Ja et Goetze, At Play ith “ ulpture , The Orego ia , April VAUGHN BELL Seattle, WA vaughnbell.net [email protected]
My work looks at the paradoxes and possibilities of our relationships to the places we inhabit. I’m interested in our sense of visceral connection to our surroundings and the materiality of environment: plants, soil, water, concrete, steel, plastic. I ask how we relate through body and senses to our places and to each other, and what our responsibilities are to these ecologies.
My approach to public artwork is to create a response that is very specific to the site and situation the work inhabits, while drawing on the ideas and themes that continually fascinate me. I am interested in creating moments in which we recognize our connection to complex systems, or tune in to a layer of sensory information or detail that normally goes unnoticed. I want to create experiences that are participatory, playful and visceral, while re-framing our place in the local ecology.
Because I develop concepts based on context, my public work has employed diverse media including stone, performance, sound, metal and plastic fabrication, soap, ceramics, native plants and environmental restoration. I approach a project through a phase of research, outreach and exploration, then develop a concept related to the specific context.
I bring to any project an ability to develop fresh creative ideas, communicate them to others and see them through to completion with attention to the details and nuances of site and process. As the resident artist in the Seattle Department of Transportation for four years, I had the opportunity to work as a team member with engineers, planners, designers and project managers on a broad range of projects. I created art plans and artist scope of work for projects ranging from trails and new media projects to multi-million dollar roadway structures. In addition to creating art plans to utilize 1% for art funding, I worked with design teams to seek creative solutions and enhancements that add interest and aesthetic value to projects without going beyond the budget of the capital project.
Top to bottom: Welcome Home, 2013, Schuyllkil Center for Environmental Education, Philadelphia, PA; Mossuments (one of 3), Jordan Woods Natural Area, Beaverton, OR; Land for Adoption with the Cultivation Utility Vehicle, 2006-ongoing, Seattle, WA Vaughn Elizabeth Bell [email protected] www.vaughnbell.net 206.661.7251
EDUCATION Massachusetts College of Art, Boston, MA M.F.A. Studio for Inter-related Media
Brown University, Providence, RI B.A. independent concentration: "Nature and Culture: Human Perspectives on the Natural Environment"
SELECTED PUBLIC ART Artist in Residence and Art Master Plan, Seattle Public Utilities, Seattle, WA, 2016 Being with the River, Duwamish Revealed, funded with a grant from the NEA, 2015 Land For Adoption, Canal Convergence, Scottsdale, AZ, 2014 Mossuments, Jordan Woods Natural Area, commission for the Tualatin Hills Parks and Recreation Department, Beaverton, OR, 2013 FROTH, RINSE, REFLECT, SEND, Brightwater Conveyance Route Public Art Project, commissioned by 4Culture, Seattle, WA, 2013 Welcome Home, Schuylkill Center for Environmental Education, Philadelphia, PA, 2013 Metropolis, commissioned by the Seattle Center Foundation for the Next Fifty, celebration of the 50th anniversary of the World’s Fair in Seattle, 2012 Staff Artist, Seattle Dept. of Transportation: Initiate, facilitate, design and plan public art projects in the right-of-way as the resident artist in SDOT, 2008-2012 IPed, A Low Impact Vehicle Exhibition, public engagement, Seattle WA, commissioned by 4Culture, 2009 Post-colonial, temporary installation in collaboration with Meredith Hall at Carkeek Park, Seattle, WA, 2009 Landscape for Walking, public performance, Oldenburg, Germany, 2009 Again, Life Becomes a River, public artwork created in collaboration with Kamiyama High School Students, Kamiyama, Japan, 2007 Watermark: Seattle's Climate Change Shoreline, collaboration with Sarah Kavage and Nicole Kistler, 2007
SELECTED EXHIBITIONS 2015 Climats artificiels, Fondation EDF, Paris, France Nature of Scale, Peabody Essex Museum, Salem, MA Anti-Grand, University of Richmond Museum, Richmond, VA Rooted in Soil, DePaul Art Museum, Chicago, IL
2014 Home ECOnomics, Wignall Museum of Contemporary Art, Rancho Cucamonga, CA Encounters at the Edge of the Forest, Gallery 400, University of Chicago, Chicago, IL Columbia River Symposium, Spokane, WA
2013 Vaughn Bell, NRDC Booth, EXPO Chicago, Chicago IL Ego|Eco, Begovich Gallery, California State University, Fullerton, CA This Land, Salisbury University Art Gallery, Salisbury, MD Encountering Nature, Towson University, Towson, MD Sensing Change, Chemical Heritage Foundation, Philadelphia, PA
2012 Old ghost ranges, sunken rivers, come again, Cornish College Gallery, Seattle, WA Nurturing Nature, Albright College, PA
Vaughn Bell www.vaughnbell.net [email protected] 2011 Transported Landscapes, Walter E. Terhune Gallery, Owens College, Toledo, Ohio Turf: Ecological Activism and Art, Diablo Valley College Art Gallery, Pleasant Hill, CA Outlandish, Bedford Gallery, Walnut Creek, CA Nurturing Nature, Osilas Gallery, Concordia College, Bronxville, NY Forecast: Communicating Weather and Climate, Washington State Convention Center, Seattle, WA
2010 Thinking Caps, Jack Straw New Media Gallery, Seattle, WA Sustainable Shelter, Bell Museum of Natural History, Minneapolis. MN Signs of the Forest, Arena Gallery, Santa Monica, CA The Illuminated Forest, The Lab, San Francisco, CA Critical Messages: Contemporary Northwest Artists on the Environment, Western Gallery at WWU, Halle Ford Museum at Willamette University, Boise Art Museum
2009 Village Green, Lycoming College Gallery, Williamsport, PA This Land is My/Your Land, Edmonds Community College Gallery, Edmonds, WA Landscape 2.0, Edith Russ Site for New Media Art, Oldenberg, Germany Melt: Vaughn Bell and Sara Osebold, Gallery 4Culture, Seattle, WA Vaughn Bell and Josh Keyes at Swarm Gallery, Oakland, CA Troubles in Paradise, Art and Design Gallery at Missouri State University, Springfield, MO
2008 Three Rivers, Pratt Fine Art Center Gallery, Seattle, WA Badlands, Massachusetts Museum of Contemporary Art, North Adams, MA Cultivate, Berkshire Botanic Gardens, MA Environmental Performance Actions, Exit Art, New York, NY
2007 Becoming A River, Kamiyama, Japan From Sea to Shining Sea, Backspace at SOIL, Seattle, WA
SELECTED GRANTS & AWARDS Fellow, Virginia Center for Creative Arts, 2012 Jack Straw Productions New Media Gallery Residency, 2009-2010 4Culture Special Projects Grant recipient 2007, 2009 Kamiyama Japan International Artist in Residence, 2007 Full Fellowship, Vermont Studio Center, 2006 Nancy Graves Foundation Fellow, Millay Colony, 2006 Artist in Research Grant, Berwick Research Institute, Boston, MA, 2004
SELECTED BIBLIOGRAPHY “Vaughn Bell’s Portable Works” Public Art Review, Issue 54, Spring/Summer 2016 Brown, Andrew, Art and Ecology Now, Thames and Hudson, 2014 Moyer, Tylene and Glenn Harper, The New Earthwork: Art, Action, Agency, ISC Press, 2012 Himmelsbach, Sabine, Ed. Landscape 2.0, Edith Russ Site for Media Art, Oldenburg, Germany Wolff, Rachel, “Turning Over a New Leaf”, Artnews, April 2009, pp. 88-95 Guay, Abigail, “Land Developments”, Arcade Journal 27.03, Spring 2009, pp.6-7 Markonish, Denise, Ed., Badlands, New Horizons in Landscape, North Adams, MA: MassMOCA and Cambridge, MA: MIT Press, 2008 Chase, Alisia G., "Toxic Slurry and Pond Scum," Afterimage: The Journal of Media Arts and Cultural Criticism, September/October 2008, Vol. 36, No. 2, pp. 27-28 2 SITE PAINTERS LAURA BENDER, JOHN EARLY and ARCADIA TRUEHART sitepainters.net [email protected]
It is imperative that art in public places be responsive to core needs for beauty, meaning, and clarity. Towards this purpose we have collaborated for 30 years producing an evolving body of art for diverse clients and sites. Experience has trained us to be resourceful and versatile and taught us how to work in partnership with people of diverse temperaments, values, and professional perspectives.
We intend with each new project to craft art forms that make strong heart and head connections with people. We are committed to work that is rich in metaphors and allusions, stimulates thoughtful reflections, balances complexity with coherence, lets color sing out, pulses with rhythmic patterns, and integrates different media and methods.
Our aesthetic has also been informed and refreshed by vital folk art traditions and many residencies with children. Ideas and energy from our studio painting, collage, and sculpture circulate into site-specific projects. We are inquisitive researchers – discussing ideas, reading, finding relevant visual sources …and doing lots of drawing.
We would welcome opportunities to further explore sculptural low-relief ideas. We have worked with a variety of media (mosaic, laser-cut steel, porcelain enamel on steel, carved clay, linoleum as a wall mural medium) and would like to find more avenues for using these materials and broaden our skills and understanding of how best to incorporate them into our work. Combining new and different ways of working with insights and experience we have already accrued is an on-going endeavor.
We have the many skills needed to be successful design team contributors: reading plans; listening, questioning, researching; crafting art proposals that enhance project goals; producing accurate and informative mockups; realistic budgeting and scheduling; coordinating with fabricators, installers, and job-site contractors.
The pervasiveness and quality of the built environment in our daily urban experience strongly shapes our consciousness and social relationships. Therefore we believe it is essential that what is designed for public places responds to core human needs for beauty, meaning, and clarity.
On the job we have learned the skills needed to be successful design team contributors, including reading plans; listening, questioning, researching; crafting art proposals that enhance project goals; producing accurate Top to bottom: From Here to There, 2007, Charles Jordan Community Center, Portland, OR; Conversation, 2013, Grants and informative mockups; realistic budgeting and Pass, OR; (one of 3), Where In the World, Capital Hill Library, scheduling; and coordinating with fabricators, installers, Portland, OR and job-site contractors. LAURA BENDER 330 SE 52nd Ave. Portland, OR 97215 (503) 788-2064 www.sitepainters.net, [email protected]
EDUCATION: 1978 – California College of Arts and Crafts – Oakland, CA; BFA in painting
PUBLIC ART COMMSSIONS (Juried) 2013 – Capital Hill Library – Portland, OR 2013 – The Bus Stops Here – Grants Pass, OR 2009 – Western Oregon University, Math & Nursing Departments – Monmouth, OR 2008 – Tabor Commons – Portland, OR 2008 – Tualatin Visual Arts Chronicle – Tualatin, OR 2007 – Charles Jordan Community Center – Portland, OR 2005 – TriMet Barbur Blvd Transit Center – Portland, OR 2001 – OHSU Permanent Collection – Portland, OR 1997 – Multnomah County Walnut Park Health Center – Portland, OR 1996 – Brentwood Darlington Community Center – Portland, OR
SELECTED COMMISSIONS 2016 – Salem Hospital, Rehabilitation – Salem, OR 2015 – Dallas Children’s Medical Center, Nephrology Wing – Dallas, TX 2014 – Providence St. Vincent Medical Center, Pediatrics and Postpartum Units – Portland, OR 2014 – OHSU, Mother/Baby Wing – Portland, OR 2013 – Providence St. Vincent Medical Center, Postpartum/PICU – Portland, OR 2012 – Sacramento Elementary School – Portland, OR 2011 – Legacy Emanuel Children’s Hospital, Portland, OR 2011 – Providence St. Vincent Medical Center, Pediatric/Radiology Corridor – Portland, OR 2011 – Hermiston Headstart Center – Hermiston, OR 2011 – Shriners Hospital for Children – Portland, OR 2010 – Mulino Headstart Center – Mulino, OR 2010 – Providence St. Vincent Medical Center, Neonatal ICU – Portland, OR 2010 – Providence St. Vincent Medical Center, Mother/Baby Wing – Portland, OR 2010 – Beaches Restaurant – Vancouver, WA 2009 – Shriners Hospital for Children – Honolulu, HI 2008 – Woodburn High School – Woodburn, OR 2007 – Durham Elementary School – Tigard, OR 2006 – Providence St. Vincent Medical Center, Pediatric In-patient Care – Portland, OR 2006 – Do Jump, Echo Theater – Portland, OR 2005 – Portland Community College, Cascade Campus – Portland, OR 2004 – Providence St. Vincent Medical Center, Pediatric Surgery Center – Portland, OR 2003 – Lewis and Clark College, Cooley House – Lake Oswego, OR 2003 – Salem Hospital, Maternity Wing – Salem, OR 2002 – OHSU, Cardiac ICU – Portland, OR 2002 – Portland Youth Builders, Alternative High School, Lobby – Portland, OR 2002 – Portland Waldorf School, Performance Hall – Milwaukie, OR 2001 – Westin Diplomat Resort – Hallendale Beach, FL 2001 – Kaiser Permanente Clinic – Vancouver, WA 2000 – Oak Creek Elementary School – Lake Oswego, OR
ROSTERS 2012 – 2016 Washington Public Art Roster 2011 – 2016 Oregon Public Art Roster 2010 – 2016 RACC Artist Design Team Roster, Portland, OR
JOHN EARLY 330 SE 52nd Ave. Portland, OR 97215 (503) 788-2064 www.sitepainters.net, [email protected]
EDUCATION: 1980 – California College of Arts and Crafts – Oakland, CA; BFA in painting
PUBLIC ART COMMISSIONS (juried) 2013 – The Bus Stops Here – Grants Pass, OR 2008 – Tigard Transit Center – Tigard, OR 2008 – Tabor Commons Community Center – Portland, OR 2007 – Charles Jordan Community Center – Portland, OR 2005 – TriMet Barbur Blvd Transit Center – Portland, OR 2001 – Outside/In – Portland, OR 2001 – Whitaker Middle School – Portland, OR 1997 – Multnomah County Walnut Park Health Center – Portland, OR 1996 – Brentwood Darlington Community Center – Portland, OR 1995 – OHSU Permanent Collection – Portland, OR 1994 – Operations Center – Beaverton, OR
SELECTED COMMISSIONS 2015 – Dallas Children’s Medical Center, Nephrology Wing – Dallas, TX 2014 – Providence St. Vincent Medical Center, Pediatrics and Postpartum Units – Portland, OR 2014 – OHSU, Mother/Baby Wing – Portland, OR 2013 – Providence Willamette Falls Medical Center, Behavioral Health Unit – Oregon City, OR 2013 – Providence St. Vincent Medical Center, Postpartum/PICU – Portland, OR 2012 – Sacramento Elementary School – Portland, OR 2011 – Legacy Emmanuel Children’s Hospital – Portland, OR 2011 – Hermiston Headstart Center – Hermiston, OR 2010 – Providence St. Vincent Medical Center, Mother/Baby Wing – Portland, OR 2010 – Mulino Headstart Center – Mulino, OR 2010 – St. Vincent Providence Medical Center, Neonatal ICU – Portland, OR 2010 – Shriners Hospital for Children – Portland, OR 2009 – Shriners Hospital for Children – Honolulu, HI 2008 – Providence St. Vincent Medial Center, Radiology Department – Portland, OR 2007 – Durham Elementary School – Tigard, OR 2006 – Providence St. Vincent Medical Center, Pediatric Care Unit – Portland, OR 2005 – WillaKenzie Estate Vineyard – Yamhill, OR 2004 – Providence St. Vincent Medical Center, Pediatric Surgery Center – Portland, OR 2004 – OHSU, Buffalo Café – Portland, OR 2004 – Starbucks – Portland, OR 2003 – Salem Hospital, Maternity Wing – Salem, OR 2003 – Lewis & Clark College, Cooley House – Portland, OR 2002 – OHSU, Cardiac ICU – Portland, OR 2000 – Haggis McBaggis – Portland, OR 1999 – Westin Hotel – Portland, OR 1998 – Doernbecher Children’s Hospital – Portland, OR 1998 – OHSU, Hospital South, Portland, OR
ROSTERS 2011 – 2016 Oregon Public Art Roster 2010 – 2016 RACC Artist Design Team Roster, Portland, OR 2011 TriMet Shortlist Roster for Portland-Milwaukie Light Rail Project CARRIE BODLE Seattle, WA carriebodle.com [email protected]
My work as a sound and visual artist explores our inherent experience of time, site, and material. The central method in my work is to use underlining systems of data translating them into evocative experiences. I am inspired by what art historian and critic Caroline Jones calls “interrogative practice with technology”. She describes this as “ work that repurposes or remakes devices to enhance their insidious or wondrous properties; available data translated into sensible systems”.
Translating inaudible or invisible phenomena into sensible experiences, I create a conversation between scientific research and its extension to the public through art. Buildings speak of scientific practice happening within, speakers become small mouths of histories and technological change, embroidery becomes a tangible, visual residue of spatialized sound derived from oceanographic data.
I have experience working with the public and in curating art experiences in public contexts. I have worked at the scale of architecture specifically for Oscillations and Sonification/Listening Up projects. With my large-scale installation artworks I have experience working with fabricators, structural engineers, and other professionals to realize complex art projects and have worked collaboratively on projects with artists, scientists, designers, and technologists. I feel well suited to work on public art projects in a variety of sizes and complexities.
Top to bottom: Tryon Creek: Walking/Listening/ Recording, September 2006-2007, Portland, OR; Bike Rack, 2013, Cambridge, MA; Waveforms, Harborview Eye Institute, 2010, Seattle, WA Carrie Bodle 187 37th Ave East, Seattle, WA 98112, USA [email protected] 206.369.0841 www.carriebodle.com Education
2005 Masters of Science in Visual Studies (SMVS), Massachusetts Institute of Technology, Visual Arts Program, Cambridge, Massachusetts 2002 Bachelor of Fine Arts with Distinction, The Ohio State University, Art and Technology Program, Columbus, Ohio
Selected Awards, Honors, and Residencies
2016 STart Transit (Washington) Public Art Roster Grand Prize Jury award, Giant Steps: Artist Residency on the Moon Exhibition, Seattle, WA
2015 Finalist, City of Seattle public art commission KEXP New Home Project
2014 City of Seattle Prequalified Public Art Roster
2013 Selected for SF Arts Commission Prequalified Public Artist Pool
2012 Washington State Public Art Roster
2011 State of Oregon Public Art Roster City of Seattle Public Art Roster
2010 City of Seattle 2010 CityArtist Award 4Culture Individual Artist grant Nominated for The Brink Award, Henry Art Gallery, Seattle, WA
2009 4Culture Public Art Roster 4Culture Individual Artist Washington State Arts Commission Americans for the Arts Conference grant
2008 Washington State Public Art Roster Rockefeller Foundation Bellagio Center Fellowship/Residency October 20 - November 20 One month residency with 12 international scholars in Bellagio, Italy. Preparations for “Sonification/Puget Sound”. Nominated for The Brink Award, Henry Art Gallery, Seattle, WA Semi-finalist Creative Capitol Grant
2007 Nominated for Contemporary Northwest Art Award, Portland Art Museum
2006 Henry Art Gallery and 911 Media Arts Center NewWorks artist residency and commission Friends of Tryon Creek State Park, Portland, OR, "Walking/Listening/Recording" commission
2005 MIT Office of the Provost, MIT Vice President for Research and Associate Provost, MIT Associate Provost for the Arts, MIT Department of Architecture, MIT Visual Arts Program, and the MIT Council for the Arts, Cambridge, MA, "Sonification/Listening Up", project funding
2004 MIT Council for the Arts "Oscillations" grant IBM Watson Research Center/Boston Cyberarts, Cambridge, MA, artist residency and commission
Selected Exhibitions, Public Artworks
2016 “Giant Steps: Artist Residency on the Moon”, King Street Station March 3–April 3, group exhibition
2014 “Public Space? Lost & Found”, MIT Media Lab, Cambridge, MA, April 18 – October 30, group exhibition
2013 “Sine Wave Bike Racks”, public artwork in Kendall Square, Cambridge, MA, commissioned by the City of Cambridge Public Art Program “METHODology”, Method Gallery, Seattle, WA, June 21 – August 3, group exhibition “Atmospheric Weather”, City of Settle Muncipal Tower, July 3 – August 13, group exhibition
2012 “Wavelines”, CoCA (Center on Contemporary Art), May 18 – July 14, 2012, solo exhibition “Tangible Competitive Intangibles”, Jacob Lawrence Gallery, University of Washington, School of Art, July 24 - August 4, group exhibition “SPUN: Artist Designed Bike Racks”, Cambridge Arts Council Gallery, Cambridge, MA, January 26 - March 9, group exhibition
2011 “Waveforms”, Indiana University Grunwald Art Gallery, October 14 – November 12, 2011, group exhibition “Forecast: Communicating Weather and Climate”, Washington State Convention Center, January 24 – April 9, group exhibition
2010 “Waveforms”, Harborview Eye Institute, Seattle, WA, October 28 – December 28, solo exhibit
2009 “Sewing Sonifications”, ArtSparks Westlake Park Public Art Initiative, City of Seattle Parks and Recreation Department, City of Seattle Office of Arts and Cultural Affairs, and 4Culture, Seattle, WA, October
2007 “Coupling V: Fifth Annual UW Strange Co. Show coupling UW students with Seattle-based artists”, collaboration with student Elizabeth Buschmann creating wave visualization and sound installation. Ouch My Eye Gallery, Seattle, WA, March 23-31
2006 “Walking/Listening/Recording”, commissioned 10-channel public art sound installation emerging from a trail in the Tryon Creek State Park. Sound layers form a dialogue between the visual and audible experience. Portland, OR, September 2006 - September 2007 “The Flattening and Opening of Space”, collaboration with painter Margie Livingston, 911 Media Arts Center, Seattle, WA, September - October
2005 “Sonification / Listening Up”, temporary 35-channel speaker public art installation across the south facade of I.M. Pei’s Green Building on the MIT campus emitting sounds of the ionosphere, realized in collaboration with MIT Haystack Observatory. Cambridge, MA, September 9 – 16 “Wiki Soundscape”, a system of sonic representations of activity on Wikipedia. Boston CyberArts Festival, DeCordova Museum, Lincoln, MA April 5 - 19 “Sounds from Astereoseismology”, international webcast on radioartemobile: transmissione live, February
2004 “Oscillations”, public art sound installation on MIT building facade, MIT Visual Arts Program Graduate Show, Cambridge, MA May “Oscillations II”, Creative Intelligence: New Work from the MIT Visual Arts Program, Location One Gallery, NYC May “Underground•Subterraneo: Under view of the Tijuana-US border”, collaboration with Lissa Martin, Otra/Another Ver 2.04 Academia, San Diego/Tijuana, April
2002 "Boltworks", video/sound site installation in historical bolt factory. Berry Brothers Bolt Works Factory, Columbus, OH, May 16
Selected Bibliography
2016 Upchurch, Michael. Art Critic. “Shoot the moon: Exhibit at King Street Station imagines art in space.” The Seattle Times (March 8, 2016) Flock, T.S. Art Critic. “Giant Steps’ Wants to Put Art on the Moon, But Should We?” Seattle Weekly (March 15, 2016) “Artists win $10,000 prize with moon ‘Wave Signs’ .“ UWB In the News: Main UWB website (March 9, 2016) 2012 Baumgarten, Mark. “CoCA Settles in the Design Center.” City Arts Magazine (June, 2012) pp. 18 2011 Stricherz, Vince. Science News and Information. “Scientists, artists collaborate to produce new art exhibit in Seattle.” UW Today (January 24 2011). 2006 Hackett, Regina. P-I Art Critic. "Theater, Fine Arts News." Seattle Post-Intellingencer (October 2006). Farr, Sheila. Art Critic. "New Works Lab experiments mix old and new." The Seattle Times (September 22, 2006) Interview. "Sonic Artist Fuses Art and Technology". Open Door, MIT School of Architecture and Planning, MIT Alumni Association. (July 2006) Van Buskirk, Audrey. "Green Living". Portland Tribune (September 12, 2006) Rossing, Thomas. Editor. "Acoustics in the news". Echoes: Acoustics Today Journal Spring 2006 Volume, quarterly. CCRMA Dept. of Music, Stanford University. 2005 "Discoveries: Sound Construction". The Boston Globe. (September 12, 2005). pp. C3 Gleitzman, Benjamin. "Rarefied Air Makes Noise at Building 54". The Tech (September 16, 2005). pp. 1 Lenssen, Anneka. "Sonification/Listening Up @ MIT (Blgd 54)". Big Red and Shiny Online Art Journal. (September 19, 2005) Heinemann, Lynn. MIT Office of the Arts. "Spotlight: Hear Sounds of the Ionosphere". Spotlight: Main MIT Webpage (September 13-16, 2005).
Academic Positions
2010-16 Full-time Lecturer at the University of Washington Bothell (current) 2006-13 Visiting Lecturer at the University of Washington School of Art 2004-5 Teaching assistant with Professor Joe Gibbons, Massachusetts Institute of Technology, Video Art
Publications and Presentations
2016 Glassbox Gallery, This May Not Work lecture series, Seattle WA. Artist Presentation, June 29 2015 Interactive Media Design Program, University of Washington Bothell. Artist Presentation. March 5 2014 MFA in Creative Writing and Poetics Program, University of Washington Bothell, Liveness Symposium. Moderated panel for artist Ann Hamilton. 2013 DxARTS 200 Digital Art and New Media Course, University of Washington, Seattle, WA. Artist Presentation. October 31 Comparative History of Ideas Program Faroe Island Study Abroad Class, University of Washington, Seattle, WA. Artist Presentation. July 6 Method Gallery, Seattle, WA. Artist Presentation. July 2 BISIA 319 Introduction to Interdisciplinary Arts Course, University of Washington Bothell, Bothell, WA. Artist Presentation. April 18 Henry Art Gallery, Seattle, WA. Faculty-led tour of Now Here is also Nowhere: Part II, DxARTS Program, University of Washington, Graduate Studio Class, Seattle, WA. Artist Presentation. April 12 MFA in Creative Writing and Poetics Program, University of Washington Bothell, Graduate Class, Bothell, WA. Artist Presentation. February 5 2012 Surrey Art Gallery, Vancouver, Canada. Sound Art Conference, Artist Presentation, October 21 Cornish College of the Arts, Seattle, WA. Our Creative Society: Beyond Art. Creative Thinking in Contemporary Culture Conference, “Art of Science”, Panelist and Artist Presentation, October 6 2011 ‘Sonification’, Site of Sound: Of Architecture and the Ear, Vol 2, edited by Brandon LaBelle & Claudia Martinho, Errant Bodies Press, Los Angeles/Berlin, Publication date: 2011 2010 Aspect Magazine: Chronicle of New Media Art, Engaged: 20 Years of the MIT Visual Arts Program, biannual DVD publication 2009 MIT Visual Arts Program, Artist Presentation to Graduate Studios 2008 Rockefeller Foundation Bellagio Center Artist Presentation Comparative History of Ideas, University of Washington, Artist Presentation on Sound and Visual Art 2006 Bodle, Carrie (2006): Sonification/Listening Up. Leonardo Music Journal Volume 16, annual. Noises Off: Sound Beyond Music. MIT Press: Cambridge, MA. Design Machine Group Lablunch series at the University of Washington School of Architecture. Artist Talk Visual Codec, Selected artist for “One Shot” Publication, Seattle, WA 2005 Presenter at IBM Research Headquarters, Artist Talk concerning sound as representation. Yorktown Heights, NY School of the Museum of Fine Arts, Sound Art Studio Class, Boston, MA, Artist Presentation
Professional Positions
2010-16 Reviewer for the Rockefeller Foundation Bellagio Center Award/Residency program (current) 2013 Selection Committee Public Art Panelist for 4Culture (King County Arts Organization) 2013 Selection Committee Panelist for City of Seattle Office of Arts and Cultural Affairs 2013-14 Selection Committee Panelist for The New Foundation, Seattle, WA 2009 Co-curator with Ingrid Lahti, ArtSparks Westlake Park Public Art Initiative, City of Seattle Parks and Recreation Department, City of Seattle Office of Arts and Cultural Affairs, and 4Culture, Seattle, WA, June-October 2007 Communications and Development Director, 911 Media Arts Center, Seattle, WA 2003 Artist Assistant, Ann Hamilton Studios, Columbus, OH, 2000-2003
CHRISTINE BOURDETTE Portland, OR christinebourdette.com [email protected]
I am fascinated by the fluidity of public spaces, their daily and seasonal transformations, their activity of interchange as people gather and pass through. Much of my work in the public realm has been comprised of sequences of elements, episodic moments or markers that punctuate time or space as one moves, for instance, down a sidewalk or through a park. I pay careful attention to scale, both in relation to the surrounding context and in the ability of the work to engage with viewers of all ages.
Texture and tactility are important to me aesthetically as well as to encourage hands-on interaction with passersby. These projects in the broadest sense reflect a consideration of the textures of community, taking into account the cultural fabric of neighborhoods, the habitual rhythms of daily commutes, and the forms, materials and metaphors implicit in the surrounding city or landscapes. Primarily a sculptor, I have always drawn from a broad palette of materials and have worked with a variety of fabricators---bronze, stone, mosaic, steel, enamel, and glass---to realize my projects. I enlist whatever materials best fit the context and concept of a project, aiming for public engagement and local resonance.
IMy private studio practice of recent years also addresses ideas of fluidity and transformation, though from a different angle and in less physically durable ways. Metaphorically and literally, it reflects the textures, volatility and vulnerability of the land beneath our feet. Drawing is my main vehicle for these ideas, along with sculptural forms.
In the public realm, I would like to explore some opportunities where 2- and 3-dimensionality can intersect, potentially incorporating drawing, photographic and printing techniques not only as 2-dimensional work alone, but where it can be built up in 3-dimensional ways as well. Conceptually, the fluidity of time and place is an intriguing jumping-off point for thinking about how public spaces work, and has the potential to open up a new approach to materials. Practically, this approach might bring into closer alignment certain modes of practice I employ in my public and private work, still keeping in view the goal of public engagement.
I have a successful track record of working collaboratively with community stakeholders, project managers, architects, engineers and contractors---the nuts and bolts of public art work---and of successfully managing up to six-figure budgets on tight, and often fluctuating, schedules. Top to bottom: Cairns; (1 of 6), 2009, Transit Mall, Portland, OR; Circulations, 2007, Totem Lake Freeway Station, Kirkland, WA; Dust Devil, 2011, Othello, WA Christine Bourdette • Christine Bourdette Studio, LLC 503-550-0595 • 1801 NW Upshur St, Portland, OR 97209 • [email protected]
EDUCATION B.A. Art, 1974, Lewis & Clark College, Portland, OR
FELLOWSHIPS & AWARDS 2012 Caldera, artist residency fellowship (The Ford Family Foundation grant), Sisters, OR 2011 Ucross Foundation, artist residency, Clearmont, WY 2009 Jentel, artist residency, Banner, WY 2007 Caldera, artist residency, Sisters, OR 2001 Visual Artist Fellowship, Regional Arts & Culture Council, Portland, OR 1992 Bonnie Bronson Fellowship Award (first recipient), Portland, OR
SELECTED COMMISSIONS 2016 Towers of Burble, site-specific sculpture (in progress), Yesler Park, Seattle, WA 2015 Swans, site-specific sculpture (on hold), Carpenter Park, Cary, NC 2013 Snails, site-specific sculpture, The Fields Park, Portland, OR 2011 Dust Devil, site-specific sculpture, McFarland Middle School, Othello, WA 2009 Listening Trumpets and Nest, site-specific sculpture, Cooper Mountain Nature Park, Beaverton, OR 2009 Cairns, site-specific sculpture for three light-rail stations, Portland, OR 2008 Points of View, site-specific works for four light-rail stations, Tempe, AZ 2007 Circulations, sequence of eight sculptures along pedestrian walkway, Kirkland, WA 2006 Tree of Life, bronze doors for hospital chapel, Mercy Medical Center, Roseburg, OR 2005 Bloom Cycle, site-specific lobby sculpture for Columbia Center, Seattle, WA 2001 Time Flies, enamel wall panels for Airport light-rail station, Portland, OR 1998 Show and Tell, sculpture series w/ artist Larry Kirkland , Baptist/Nemours Children’s Hospital, Jacksonville, FL 1998 Gathering and Dispersal, site-specific sculptures for light-rail station, Hillsboro, OR 1997 Beside Ourselves, site-specific works for Juvenile Justice Center, Portland, OR 1991 Consumer Reliquaries, Lloyd Center Mall, Portland, OR
SELECTED COLLABORATIVE PROJECTS 2011 Childhood Star, stage design for dance, Oslund+Co. Dance, Portland, OR 2007 SKY, stage design for dance, Oslund+Co. Dance, Portland, OR 2005 Forgotten Memories, stage design for dance, Minh Tran Dance Co., Portland, OR 2003 Design Team, Sound Transit and Totem Lake HOV Access project w/ David Evans Associates and Washington State Department of Transportation, Seattle, WA Nocturnal Path, stage design for dance, Minh Tran Dance Co., Portland, OR 2001 Design Team, intermodal traffic mall w/ OTAK Architects, Portland and Corvallis, OR 1999 Five by Four with Twelve, stage design for dance, Minh Tran Dance Co., Portland, OR ‘98-2001 Design Team, Tri-Met Airport MAX, w/ artist Vicki Scuri, ZGF Architects, Bechtel and Port of Portland, OR ‘96-2007 Consultant, collaborator and muse for Bunnyheads (animated short film), Jim Blashfield Studio, Portland, OR; Jim Blashfield, director 1992 Stage property for Partitio, Kristy Edmunds, director, Portland, OR 1991 Moving Around and Telling It Still, set design & narrative collaboration with Ursula K. LeGuin and Judy Patton, Artquake festival, Portland, OR 1986 Common Nature, installation & performance, music by Dave Storrs and Mike Curtis; curated by Cristina DeGennaro, Portland Art Museum, Portland, OR SELECTED SOLO EXHIBITIONS 2016 Drawing to Planet Earth, Elizabeth Leach Gallery, Portland, OR 2014 Christine Bourdette, Caldera, Portland, OR 2013 Terra mobilis, Elizabeth Leach Gallery, Portland, OR 2010 Chart Room, Elizabeth Leach Gallery, Portland, OR 2008 Birds Eye View, Elizabeth Leach Gallery, Portland, OR Riddles, Bunnyheads, and Asides, The Art Gym, Marylhurst University, Portland, OR 2005 Small Universes, Elizabeth Leach Gallery, Portland, OR 2002 New Work, Elizabeth Leach Gallery, Portland, OR 2001 Fragile Circus, Elizabeth Leach Gallery, Portland, OR 1999 Sustenance, Elizabeth Leach Gallery, Portland, OR 1998 Drawing & Sculpture, Fairbanks Gallery, Oregon State University, Corvallis, OR 1997 Landscape of Desire (installation), Elizabeth Leach Gallery, Portland, OR 1996 Sculpture & Related Studies, Elizabeth Leach Gallery, Portland, OR 1995 Devices, Doohickeys and Thingumajigs, Tyler Museum of Art, Tyler, TX, and Klein Art Works, Chicago, IL 1994 Devices, Jamison Thomas Gallery, Portland, OR, and Kittredge Gallery, University of Puget Sound, Tacoma, WA 1993 Capacity (installation), Hoffman Gallery, Oregon College of Art & Craft, Portland, OR Sequences & Assemblies, Jamison Thomas Gallery, Portland, OR 1991 Vehicles, Jamison Thomas Gallery, Portland, OR 1990 …a thousand words (installation), Jamison Thomas Gallery, Portland, OR 1989 Klein Gallery, Chicago, IL 1988 Northwest Viewpoints, curated by John Weber, Portland Art Museum, Portland, OR 1987 Créatures, Galerie l’Aire du Verseau, Paris, France 1986 Common Nature (installation), Portland Art Museum, OR 1984/85 Since Olive’s Garden: Rites of Passage traveling exhibition: Alexandria Museum, Alexandria, LA; Trisolini Gallery, Ohio University, Athens, OH; Kirkland Gallery, Milliken University, Decatur, IL; The Art Gym, Marylhurst College, Portland, OR; Klein Gallery, Chicago, IL 1984 Installation and Small Works, Traver Sutton Gallery, Seattle, WA Great Expectations and Little Wrinkles (installation), Herron Gallery, Indianapolis, IN 1982 Olive’s Garden (installation), Klein Gallery, Chicago, IL Ex Post Presto (progressive installations) Franklin Bldg, Chicago, IL 1980 Spatial Exercises (installation), Portland Art Museum, Portland, OR Standing Target (installation), Contemporary Crafts Gallery, Portland, OR
PUBLIC COLLECTIONS Baptist/Nemours Children’s Hospital, Jacksonville, Florida Bonnie Bronson Collection, Reed College, Portland, OR City of Portland, OR (portable collection and public sculpture) Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR Milliken University, Decatur, IL Oregon Health & Science University, Portland, OR Portland Art Museum, Portland, OR Racine Art Museum, Racine, WI Sound Transit (Central Puget Sound Regional Transit Authority), Seattle, WA Tacoma Art Museum, Tacoma, WA Tri-Met Transportation Authority, Portland, OR University of Iowa Art Museum, Iowa City, IA Valley Metro Rail, Phoenix, AZ Washington State Schools Art Collection, Othello, WA and Kettle Falls, WA CAROLYN BRAAKSMA Denver, CO braaksmadesign.com [email protected]
As a public artist I design art that is built for the public and belongs to the public. I consider myself to be a designer and maker of practical art since I design for enhancements that are incorporated into the construction process and are built by contractors without extraordinary effect on project schedule or budget.
I manage an inherently collaborative practice of balancing my ideas with the limitations imposed by engineering, architectural and funding concerns. My art-making is much less about the artist as individual and more about the artist as a tool to find the solution for the potential of a public space.
I typically research the history of a community – whether natural or cultural history – and gather input from the community to develop a concept for each public project. Every project is completely unique because of the special consideration of place; each place is specific unto itself.
Finding a practical and elegant way to express my ideas, to satisfy requirements of the specific site of the artwork, and to address budget considerations pushes me to find the perfect balance to bring a project to life.
From the seed of the basic art concept to the evolution of buildable details for those concepts, my role as a public artist centers on the process of problem solving and working within the constraints that fabrication and construction often present. My ultimate goal is to produce elements that engage the public and create a dialogue not only between the artwork and the physical site, but also among those who interact with the enhancements.
I have been a member of many design teams that include architects, engineers, landscape architects, project managers and community leaders, and I enjoy working in this collaborative atmosphere since it often leads to a more comprehensive design. Because most of my past projects have been integrated during the construction stage, it has been especially important for me to work closely with the design team to ensure that the enhancements fit within the constraints of the construction process and budget.
Top to bottom: Untitled, 2008-in progress, Tucson, AZ; Sananda Flores, 2015, Ft. Collins, CO; Silver Spring Gateway, 2009, Silver Spring, MD Braaksma Design Inc. ! Carolyn Braaksma 4444 Utica St., Denver, CO 80212 (303) 433‐1175, [email protected]! www.braaksmadesign.com !
EDUCATION Graduate work in Studio Art at University of Minnesota, Minneapolis, MN, 1987-1989 B.A., Magna Cum Laude, Metropolitan State College, Denver, CO 1980
SITE SPECIFIC AND PUBLIC ART COMMISSIONS In Progress: Bogert Trail Bridge, Palm Springs, CA. Enhancements for remodel of existing bridge includes forming and staining monuments, parapet and sidewalk.
Untitled, Charlotte, NC. Design for wall and bridge treatments integrated with construction for Charlotte Area Transit System LYNX Blue Line Extension project.
Untitled, Cary, NC. Design for monuments, railing and paving for Cary Downtown Park.
2015 University of Colorado at Colorado Springs. Design of terrazzo floor for the Roaring Fork Dining Hall.
2015 Sanando Flores, Ft. Collins Senior Center, Ft. Collins, CO. Design of room screen constructed from water jet cut aluminum sheet metal, mounted into a steel tube frame.
2013 Untitled, La Cañada Road, Tucson, AZ. Design of over 40,000 sq. ft. of concrete and cast concrete sound walls, median paving and railings. Transportation.
2012 Belardo Bridge, Palm Springs, CA. Project for the Agua Caliente Band of Cahuilla Indians. Enhancements include patterns and color for wing walls, tile on parapet and medallions for railing.
2011 En Avant, Minneapolis, MN. Artists’ roles include staining the wall, building trellises from recycled bridge deck, and landscaping.
2011 Basket Bridge, Palm Springs, CA. Project for the Agua Caliente Band of Cahuilla Indians. Includes, fencing for bridge, and bridge pier and slope pavement treatment. *Public Art Network Year in Review.
2011 Untitled, Tulsa, OK. Enhancements for highway sounds walls.
2009 Silver Spring Gateway, Chevy Chase, Maryland. Design of concrete and stone “upholstered” outdoor seating.
2008 The Face of the Community, Northside Aztlan Community Center, Fort Collins, CO. Design collaboration with architect and client for exterior walls, windows and floor enhancements for new community center.
2008 Honey Creek Resort, Appanoose County, IA. Design collaboration with Brad Kaspari, TSP Architects and DNR for indoor and outdoor features such as: fireplace, windows, and tile floor.
2008 Life Tapestries, Florida State University, Life Sciences Teaching and Research Building, Tallahassee, FL. Design of 2,000 ft2 terrazzo floor.
2007 Children’s Hospital at Fitzsimons, Aurora, CO. Collaboration with design team for schematic and final design of 19,000 square foot terrazzo atrium floor.
2006 Route 85 / US 101 Interchange project, City of Mountain View, CA. Artist designed imagery for 10,000 precast concrete facing panels for mechanically stabilized earth (MSE) walls. Collaboration among artist, community members, engineers, and architects.
! "! 2006 TREX, Denver, CO. Surface treatment of retaining walls and sound walls on Denver’s !Transportation Expansion Project of the I-25 Corridor.
2006 Two Ways, Bio-tech, Science and Engineering !(BSE) Building, University of Texas at San Antonio, Texas. Artist designed images for the atrium floor and balustrade panels. ! 2005 The Sky of Humankind, Minnesota State University Moorhead, MN. Artist designed 6,000 square feet terrazzo floor for the Science Building main lobby and central hallways.
2003 There Is No Other, Hollywood International Airport, Ft. Lauderdale, FL. Artist designed 8,000 sq. ft. of floor space in Terminal 1 Concourse B.
2003 What is the Cost of Raising a Child? Why Opportunity Works (WOW) Center in the Extension 4- H Youth Building, Iowa State University, Ames, IA. Design of terrazzo floor with hand-carved bronze inlays.
2003 Vivarium Subterraneum, Fort Collins, CO. Commissioned for design and fabrication of formliners for cast-in-place concrete retaining walls and bronze railing enhancements for bikeway underpass. Artist-artist collaboration.
2002 The Green, Charlotte, NC. Artist designed park centerpiece, a fountain plaza featuring three spouting fish as well as seating and paving.. Artist-artist collaboration.
2001 King Harvest, Frederiksen Hall, Iowa State University, Ames, IA. Artist designed various aspects of interior and exterior design includeing brickwork design of chimney and fireplace, cast stone inset in walls, and terrazzo floors designed in conjunction with Brad Kaspari.
2001 Drifting Beyond Control, San Diego International Airport, San Diego, CA. Twenty-four precast concrete panels below the glass enclosed corridor. Artist-to-artist collaboration.
2000 The Path Most Traveled, Scottsdale, AZ. Infrastructure project for 13 bridges, on/off ramps, bridge piers and eight miles of concrete sound abatement walls. Artist was member of design team, which included architect and landscape architect, to decide surface treatment of concrete sound walls, retaining walls for ramps, bridge piers and bridge abutments.
GRANTS, AWARDS 2012 Public Art Network, Year in Review for Basket Bridge. Fort Collins Urban Design Award for Vivarium Subterraneum. 2008 National Terrazzo and Mosaic Association Honor Award for Children’s Hospital at Fitzsimons 2008 National Terrazzo and Mosaic Association Honor Award for King Harvest. 2002 Crescordia Award for Special Achievement in Environmental Excellence and the President's Award for an art in public places project. Awarded by the Valley Forward Association of the Greater Phoenix Area in partnership with Honeywell for The Path Most Traveled.
PROFESSIONAL ADVISORY POSITIONS 2002-2007 Member of T-REX Art Committee, decision-making body for RTD T-REX Public Art Program, Denver, CO.
ARTIST RESIDENCIES 2013 CATS Artist-in-Residence, McColl Center for Visual Art. Charlotte, NC.
! #! JEAN BRADBURY Seattle, WA jeanbradbury.com [email protected]
My large scale paintings of plants and animals are a celebration of the wonder and diversity of the natural world. I depict emotionally charged environments, often incorporating small and delicate flora and fauna painted to giant scale. My innovative use of metallic gold, aluminum and copper leaf reflects ambient light and can brighten a dark interior or a grey Pacific Northwest day.
My focus is to express a highly localized and specific interpretation of flora and fauna based on research of native plants and animals or on personal requests from clients. Often the resulting landscapes resemble dreams or memories of nature. My depictions of plants and animals have also translated well into the medium of painted and fired stained glass. I have also begun work on pieces to be produced in vitreous enamel for installation out of doors.
My years of experience with public art have left me comfortable meeting deadlines and managing budgets
I frequently work for the United Nations Culture branch (UNESCO) with a team of international development experts to bring art and culture to rural women through an empowerment project using textile design – a project I initiated. I am the founder of Studio Syria, an organization that brings art and education opportunities to Syrian refugees in Jordan and in this capacity I work with teams from many aid organizations and manage classes on the Syrian border as well as conducting outreach and fundraising.
Top to bottom: Seasons of Abundance, 2013, Macrina Bakery, Seattle; Tree of LIfe, 2012, Peace Health Cancer Center, Bellingham, WA; Wild and Tame, 2016, Belleview, WA JEAN BRADBURY www.jeanbradbury.com 1618-10 Ave W, Seattle, WA 98119 206 217 0031 [email protected]
Large Scale Commissioned Art Selected Exhibitions
KIRKLAND ART CENTER, Kirkland WA MURAL (ACRYLIC AND ALUMINUM LEAF) 2014 Group Show Eliot and Vine Restaurant, Halifax, NS, 2016 PORT ANGELES FINE ART CENTER, Port Angeles WA PAINTING (OIL ON CANVAS) 2014 Group Show Washington State Arts Commission Clover Creek Elementary School, Frederickson ADOBE GALLERY, Seattle WA 2014 Solo Show WA, 2014 MILLER’S ART, Carnation WA PAINTING (ACRYLIC AND ALUMINUM LEAF) 2013 Solo Show Macrina Cafe, Queen Anne, Seattle, 2013 LUCIA DOUGLAS GALLERY, Bellingham, WA 2011 Group Show PAINTING (ACRYLIC AND ALUMINUM LEAF) Starbucks, Taiyuan, China, 2013 CONFLUENCE GALLERY, Twisp, WA 2011 Group Show PAINTING (ACRYLIC AND “GOLD” LEAF) Peace Health St Joseph Medical Center, ARTS WEST, West Seattle 2010 AND 2011 Group Shows Bellingham, WA, 2012 WOODSIDE BRASETH GALLERY, Seattle PAINTING (OIL ON CANVAS) 2010-11 Group shows Ballard Pediatric Clinic, Seattle, 2012 ART IN THE ALLEY, Seattle 2009 Group Show MURAL (ACRYLIC AND “GOLD” LEAF) Starbucks, Kuwait City, 2012 EARTHUES GALLERY, Seattle 2007 Solo Show PAINTING (ACRYLIC AND COPPER LEAF) Macrina Bakery, Belltown, Seattle, 2012 INTERCONTINENTAL HOTEL, Amman, Jordan 2000 Group Show
THEATER BACKDROP Seattle Public Theater, 2011 Grants and Awards
THEATER CURTAIN CanCan Nightclub, Seattle, 2011 4CULTURE Individual Artist Project 2011 PAINTING (ACRYLIC AND ALUMINUM LEAF) Private Residence, Kirkland, WA, 2010 ARTIST TRUST Grant for Artist Project MURAL (ALUMINUM AND ALUMINUM LEAF) Macrina Bakery Headquarters, Seattle, 2009 2011
ARAMEX JORDAN SUSTAINABLITY Grant to conduct art workshops with rural women Education in the Jordan Valley. 2011, 2012 (ongoing) BFA (Hons) Queen’s University, Kingston, Ontario, 1985 METHOW VALLEY ARTS ALLIANCE Grant to conduct art workshops at Twisp Elementary School AAS, Graphic Design and Illustration with special needs children. 2011 and 2012 Seattle Central Community College , 2006 KENT ART’S COMMISSION Merrit Award 2011 BELIZE BROTHER Seattle, WA [email protected]
My projects range from artworks that encompass an entire room or environment to those that exist as independent pieces. Many have involved collaboration with public entities, community groups, and design and construction professionals.
I am interested in how an idea or narrative can be expressed using elements of architecture; material, form, color, scale, and how the movement of light through space can be a dynamic and engaging expression of an idea.
My goal is to create artwork that can remain fresh throughout its existence. By responding to the natural changes around us I strive to make artwork that creates a moment in time, not once, but repeatedly throughout its lifespan. Working with light, time of day and change in season an artwork can continue to create a series of unique experiences that can be shared by many and felt personally by each of us.
Knowledge of the site, environmental as well as cultural, attention to the program and needs of the users, and a thorough understanding of the design elements can be the basis for an artwork that will be experienced on many levels.
I have worked on many design team projects and collaborated on many projects with other artists including works for performance, galleries and public art.
Top to bottom: return, 2003, Seattle City Hall; Flow, 2014, Tacoma, WA; Bloom, 2009, Everett, WA
Beliz Brother 3843 South Brandon Street Seattle, WA 98118-6161 206.465.2153 [email protected]
selected public collections & design team projects
2015 Washington State Capitol, 1063 Building, Olympia, WA, in progress
2015 Sound Transit East Link Light Rail Stations, Mercer Island, WA, in progress
2015 Public/Private Downtown Plaza, Palo Alto, CA, in progress
2015 ‘reflected past’ Tri- Met Light Rail, Public/Private Development, HIllsboro, OR, Walker/Macy Landscape
2014 Fort Worth Public Safety Training Center, Fort Worth, TX, in progress, Komatsu Architecture, in progress
2014 ‘flow’ Harned Ceter for Health Careers, Tacoma Community College, Tacoma, WA, NBBJ Architects
2013 ’build’ Arch LaCledes Metro Station, Eads Bridge, St Louis, MO
2013 ‘peloton’ McAlexander Fieldhouse, Oregon Sate University, Corvallis, OR, Yost Grube Hall Architecture
2011 ‘tilt’ Cheney Stadium, Tacoma, WA, sculpture and LED artwork, Belay Architects
2010 ‘pool’ LOTT Alliance Water Treatment Facility, Olympia, WA, sculpture, Miller Hull Partnership
2010 ‘our memory of the season’ Laguna Honda Hospital, San Francisco, CA, artwork for Alzheimer’s floors
2009 Vancouver Community Connector Project, Vancouver, WA. In progress – Collaborative design team with Gustafson, Guthrie and Nichol, Seattle, Allied Works Architecture, Portland, Arup Engineers
2009 ‘bloom’ Everett Community College, Everett, WA, sculpture and light installation. LMN Architects, America for the Arts Public Art Network Best Public Artwork of 2009 Award
2008 ‘bridge’ Harborview Medical Center, Seattle, titanium and LED light sculpture. NBBJ Architects
2008 ‘night blooming garden’ Phoenix Civic Center, light sculpture, Leo Daly Architects
2007 ‘water’ Medina, Washington. Private commission. BUILD Architects
2005 ‘illumine’ Seattle City Hall, glass sculpture created for City Hall, Bohlin Cywinski Jackson Architects, Gustafson Guthrie Nichol Site Design
2003 ‘lure’ University of Texas San Antonio, glass sculpture. Ford Powell & Carson Architects
2003 ‘return’ Seattle City Hall, sculpture and lead design team artist. Bohlin Cywinski Jackson Architects, Gustafson Guthrie Nichol Ltd, Site Design
2003 ‘continuum’ Seattle City Hall, sculpture and lead design team artist, Bohlin Cywinski Jackson Architects, Gustafson Guthrie Nichol Ltd, Site Design
2002 ‘lumen’ Seahawks Stadium, Seattle, light sculpture, Ellerbe Becket Architects and Engineers
1998 ‘origin’ The Tech Museum of Innovation, San Jose, CA, atrium sculpture, Ricardo Legorreta Architect, Mexico City
1998 ‘kao’ Akasaka Gakudo Center, Tokyo, JAPAN, sculpture for new children’s center
1997 ‘harborview pillows’ Harborview Medical Center, Seattle, sculpture for lobby courtyard of new hospital wing. Kaplan McLaughlin Diaz Inc. Architects
1997 ‘whirr’ & ‘aureole’ Bitter Lake Community Center, Seattle, design team & sculpture, Fukui Architects
1996 ‘album of our conscience’ Seattle Opera House, Seattle, site-specific sculpture for lobby
1996 ‘touch’ Swedish Hospital, Seattle, permanent sculpture created for new lobby. NBBJ Architects, Seattle
1996 ‘clock tower’ Rainer Community Center, Seattle - design team & sculpture, Canatsy Architecture
1996 ‘prophet’ & ‘schema’ Meadowbrook Community Center, Seattle - design team & sculpture, Arai/Jackson Architects
1996 ‘culture & agriculture’ Holly Park Housing Community, Seattle, model market garden with residents of Seattle public housing project
1994 ‘kuba grille’ Garfield Community Center, Seattle – design team & sculpture, Miller Hull Partnership
1994 ‘gathering wall’ & ‘trophies’ Delridge Community Center, Seattle – design team & sculpture, Boyle Wagoner Architecture
1992 ‘boushay solarium’ Aids Housing Of Washington, Seattle, solarium design and sculpture in collaboration with artist Mary Ann Peters, Bumgardner Architects
1990 ‘shared site’ Goodwill Games Arts Festival, Seattle, sculpture
1991 ‘lunasphere’ Pier 61, Seattle, sculpture Beliz Brother page 2
awards & honors 2010 America for the Arts Public Art Network Best Public Artwork of 2009 Award 2001 National Endowment for the Arts Millennium Arts Project “Artists & Communities: America Creates for the Millennium” 2000 Distinguished Alumni Award, Prescott College, Prescott, AZ 1998 National Endowment for the Arts Japan Fellowship, Japan - U.S. Friendship Commission Creative Artist Fellowship 1997 Headlands Center for the Arts, San Francisco, Bridge Fellowship 1995 National Endowment for the Arts Visual Arts Grant 1995 Art Matters, Inc. Fellowship Award 1994 Arts International & Lila Wallace Reader’s Digest Fund International Artist Fellowship, Indonesia 1993 Western States Arts Federation Distinguished Work in Sculpture Award 1993 Artist Trust of Washington GAP Grant 1991 Seattle Arts Commission, Northwest Major Works Award 1991 Art Matters, Inc. Fellowship Award 1990 Artist Trust of Washington Design Fellowship Award 1990 Northwest Institute of Architecture & Urban Studies, Rome Fellowship 1990 Adolph and Esther Gottlieb Foundation Award, New York 1989 National Endowment for the Arts InterArts Award 1989 Allied Arts Foundation of Seattle Project Award 1989 Artist Trust of Washington State GAP Grant 1988 Pilchuck Glass Center, John Hauberg Award 1987 National Endowment for the Arts / Rockefeller Foundation Interdisciplinary Project Award selected solo exhibitions 2009 ‘models for recent projects’ Russell Day Gallery, Everett, WA
2001 ‘woven light’ The National Japanese American Museum, Los Angeles, CA, Karen Higa, Curator
2001 ‘new work’ Rockingham Arts and Museum Project, Bellows Falls, VT, artist in residence exhibition
1998 ‘gathering’ The International House of Japan, Tokyo, JAPAN solo exhibition
1998 ‘the face of moriya’ Wacoal Art Foundation, Spiral Building, Tokyo, JAPAN & ARCUS Studio Moriya, Ibaraki Prefecture
1995 ‘witness’ Seattle Art Museum, Seattle, solo exhibition, Patterson Sims, Curator
1993 ‘welling’ Fuel Gallery, Seattle, solo exhibition
1993 ‘plumbum’ Northwest Institute of Architecture and Urban Studies in Italy, Seattle
1992 ‘count’ New Langton Arts, San Francisco, CA solo exhibition, Renny Pritikin, Curator
1992 ’22 adagio’ Artist Initiated Project, Washington DC & Seattle, sculpture installation and series of cello performances to remember war in Sarajevo. 22 public places such as the Holocaust Museum, US Senate Rotunda, Red Cross Headquarters 1991 ‘count’ Center On Contemporary Art Seattle, solo exhibition
1991 ‘trace’ Art Gym, Portland, OR, invitational exhibition, Terri Hopkins, Curator
1991 ‘moving light: seeing and believing’ Kohler Art Center, Sheboygan, Wisconsin, Nathan Braulick, Curator
1987 ‘glance’ 911 Contemporary Media Center, Seattle, sculpture installation selected group exhibitions 2009 ‘box’ Moore Inside Out, Seattle, sculpture installation
1998 ‘citizen’ Global Cultural Center, Tokyo, JAPAN, SOMAR Art Gallery, San Francisco, CA
1998 ‘expanding environment’ Brunnier Art Museum, Ames, IA, invitational exhibition, Ingrid Lilligren, Curator
1991 ‘interactions’ Philadelphia Institute of Contemporary Art invitational exhibition, Judith Tannenbaum, Curator
1986 the distance from my heart to my soul’ Henry Art Gallery, University of WA, Seattle, Chris Bruce, Curator PEG BUTLER Portland, OR [email protected]
My work is integrated, conceptual and often functional. As a systems thinker and artist, I consider and analyze interrelated components to understand how one thing effects the next. I work to understand human behavior in the context of ingrained habits and ways of thinking and often attempt to encourage change and tipping points that lean in the direction of healthier people, places and practices; educating by planting seeds of ideas as opposed to being obvious.
I like to explore subtle ways to acknowledge that people are a part of nature and that feeling a kinship to all life is an act of enlightened self-interest. I’m interested in pursuing more art in urban places that can inspire a sense of connectedness to nature and each other, and am continuing to work on projects that integrate social and ecological principles, processes and issues.
I’m a placemaker. I like to consider how a place works, and how it feels to be there. I’m sensitive to the requirements of sites: environmental considerations, view corridors, circulation and other needs. These practical elements add interesting puzzle pieces that fuel ideas. I’m drawn to reusing and repurposing materials, weaving them with metaphors and utility. The choice of materials for projects is entirely dependent on the place and the conceptual intent. I love the mixing of parameters and inspiration, of connectivity and gritty authenticity, of storytelling, hint- dropping and encouragement. I love the magic of ideas that come out of nowhere once the mixture gets stirring.
And that’s how I’d like to advance my work--I’d like more project opportunities that allow the creative exploration of environmental and social issues in public settings. One of the great benefits of public art is that it’s not in a gallery where only a small group will interact with it. It’s out there being stumbled upon, potentially sowing seeds like our friend the dandelion (a plant that is beneficial as a detoxifier). I like to work both independently and with other people; whether that be with a local community, design team members or other artists; to further the creative, functional and sustainable aspects of projects.
Working in collaboration on public art projects for over ten years and as an associate designer in architecture and landscape architecture offices prior to that, I have played an array of artistic, design and project management roles on diverse complex projects and can relate to the varied perspectives and priorities of people in these fields. I am able to see the big picture as well as understand and attend to details. I’ve worked on art plans and other types of environmental documents Top to bottom: Dekumstruction 2 (with Buster Simpson), 2012, Artists can provide a perspective that leads to innovative Portland, OR; Mountainhood, 2015, Portland, OR; Cradle (with team thinking, I’m interested in representing the varied lot Buster Simpson), 2015, South Waterfront, Portland, OR of us in the early stages of project development. PEG BUTLER
EDUCATION
MLA / BLA La ds ape Ar hite ture, U i ersit of Orego , Euge e BA Geograph /Li guisti s, U i ersit of Massa husetts, Bosto
ART, DESIGN AND PROGRAM MANAGEMENT
ART INSTALLATIONS Mou tai hood / Rai Garde a d Stor ater Art. Portla d, OR, . I tegrated art & do spout dis o e tio /rai garde i stallatio . NE Marti Luther Ki g Jr Bl d & NE Sha er. Co u it Watershed Ste ardship Gra t fu ded. Clie t: Mi ro E terprise Ser i es of Orego .
People Bli d ‐ Prospe t a d Refuge / Portla d Buildi g Te porar I stallatio . Portla d, OR, Fe ‐ Mar h . Co eptual i stallatio pro ides opportu it to o ser e people as ature, fro ehi d a li d. Natural aterials a d repurposed o je ts. RACC fu ded a d a aged.
Ora ge Li i g / Portla d to Mil aukie Light Rail Pu li Art. Portla d, OR, . Te porar a d per a e t alig e t‐ ide i stallatio s. Co‐artist/proje t a ager/ riter, ith Buster Si pso . Materials: ora ge silt fa ri , I dia i k, Co rete, alu i u letter sta ps. Clie t: TriMet. .ora geli i g. et
Cradle / South Waterfro t Gree a Pu li Art. Portla d, OR, . I stallatio ea es ulture, e olog a d site histor . Colla orati g artist/proje t a ager, ith Buster Si pso . Materials: edar trees, o rete, ire rope. Clie t: Portla d Parks a d Re reatio PPR .
HELLO / Te porar I stallatio . Fr e Museu Seattle, WA, . Co eptual i stallatio i tegrati g e ologi al thi ki g a d hu a i tera tio . Materials: fou d a d repurposed o je ts used to i stigate i tera tio et ee useu isitors.
Deku stru tio /Art‐Stor ater‐Bike Corral. Portla d, OR, . Natio al a ard‐ i i g proje t. I stallatio i tegrates e iro e tal o epts a d ulti‐fu tio alit . Co‐artist/proje t a ager ith Buster Si pso . Materials: stai less steel tu i g, hal ed oil arrels, , pla ts, hue‐ ha gi g pai t. Clie ts: Portla d Bureau of E iro e tal Ser i es BES , Portla d Bureau of Tra sportatio PBOT , a d the Regio al Arts a d Culture Cou il RACC .
Bu ket Brigade. Portla d, OR, . Stor ater Art. Stai less steel i stallatio o e s stor ater fro roof do spout to a series of pla ted u kets a d o to a trough a d o stru ted etla d. Co ept relates to the idea of orki g together to ard a o o goal. Co‐ artist/proje t a ager ith Buster Si pso . Clie t: East Mult o ah Soil a d Water Co ser atio Distri t.
The Other Portla d, Art & E olog i the th Quadra t, Portla d Art Ce ter, . Group Galler Sho , Te porar I stallatio . Three o eptuall o e ted i stallatio s, ea h told a d sfu tio al e ologi al stor relati g to the superfu d site alo g the Willa ette Ri er i North Portla d. Materials: fou d alo g the ri er a d other repurposed ele e ts.
Art a d Place aki g with Schools
Jefferso High S hool, Portla d, OR, . Edi le s hool garde de elop e t ith spe ial eeds lass. Visio i g, Tea hi g, o stru tio a d pla ti g. PEG BUTLER
O kle Gree K‐ S hool, Portla d, OR, ‐ . Artist a d proje t a ager. Wrote a d re ei ed ultiple gra ts for s hool proje ts. De eloped proje t support; re i ed s hool’s ati e pla t a d egeta le garde ; produ ed outdoor i stallatio s a d art ele e ts ith stude ts, fa ult a d o u it . Taught after‐s hool garde lass.
Beau o t Middle S hool, Portla d, OR, . Sustai a le Court ard Proje t. Desig tea e er to de elop ultifu tio al, stor ater garde a d ourt ard.
Le is Ele e tar S hool E o‐stru ture, Portla d, OR, . Desig ed a d pro ided o stru tio do u e ts for a outdoor lassroo ith e oroof. Built ith olu teer la or.
DaVi i Middle S hool, Portla d, OR, ‐ . O tea to de elop artisti /i o ati e stor ater garde i old te is ourt at s hool site. Led orkshops o e ologi al/so ial art.
DESIGN AND PLANNING La do a d Asso iates La ds ape Ar hite ture, Portla d OR, to . Asso iate desig er a d proje t a ager.
Eri Llo d Wright Ar hite ture a d Pla i g, Mali u CA, to . Asso iate desig er, gree uildi g spe ialist, proje t a ager.
Sustai a le S ste s Desig , Portla d, OR, . Proje t assista t.
Portla d Parks a d Re reatio , Portla d, OR. to . Trail pla er/ o sulta t.
PROGRAM MANAGEMENT Bla k Dog Art E se le, Portla d OR, Curre t. Progra dire tor of pu li e efit orporatio that e plores o te porar e iro e tal a d so ial issues through the reati e arts produ i g a d supporti g pla e‐ ased art e peri e ts i e olog a d ulture.
Wright Orga i Resour e Ce ter, Mali u, CA, to . Progra dire tor of e iro e tal/art o ‐profit.
HOPES E oDesig Arts Co fere e, U i ersit of Orego , Euge e, OR, ‐ . Co‐fou der, o‐ hair a d oordi ator. ED CARPENTER Portland, OR edcarpenter.net [email protected]
Since 1973 I have participated in more than 100 large collaborative public art commissions in the U.S. and abroad. I try to respond freshly to each circumstance discovering technique and meaning within the context. Recent commissions not only involve many different materials, but also both indoor and outdoor sites, gateway sculptures and towers, pedestrian and freeway bridges, a garden pavilion, fountains, and many types of lighting. All of my projects involve night lighting, sometimes programmed for kinetic effects, to insure a strong 24 hour presence. My real fascination is in the challenge of each new situation, not in any one material or approach.
A common thread running through all my work, whether for indoor or outdoor sites, is that it is simultaneously technological and sentient, engineered and organic, mechanical and botanical. This dualism makes it especially suitable for settings where contemporary aesthetic and humanistic values must be expressed simultaneously. In general, I find myself addressing the heart, the eyes, and the mind, in that order. I believe my most important role is in helping create conditions that can make a site even more compelling than it would otherwise be. At the same time, I pride myself on a high level of technical competence in budgeting, scheduling, and management of large projects.
I am fully involved in every aspect of every phase of each project and am supported by my staff in such a way that we can produce high quality drawings and presentations. We employ a variety of modeling and rendering programs that allow us not only to create documents that are compatible with those of our consultants, but also to produce striking and realistic visualizations. We have extensive experience in collaborating with design teams and managing large projects. We work closely with a variety of consultants and sub-contractors who are committed to helping achieve a very high level of excellence, efficiency, and originality.
Collaborating with designers, planning committees, consultants, and community groups is standard procedure on most of my public work. Successful collaborating calls for an intense state of listening and observation as well as active leadership.
Top to bottom: Ascendus, 2012, Charlotte-Douglas International Airport; Mollie’s Garden, 2014, Forest Grove Library, OR: Foxglove, 2014, University Hospital, San Antonio, TX
ED CARPENTER, ARTIST, 1812 NW 24th Avenue, Portland, Oregon 97210 Telephone: (503) 224-6729; FAX: (503) 241-3142; [email protected] www.edcarpenter.net Born: Los Angeles, California, 1946 Education: University of California, Santa Barbara 1965-66, Berkeley 1968-71
Selected Bridge and Exterior Public Commissions 2016: TAICHUNG NEW CITY PARK, TAICHUNG, TAIWAN, Exterior Sculpture 72' x 20'. 2015: MESA LIGHT RAIL, MESA, ARIZONA, Station sculpture, 35’ x 25’ x 8’ 2012: BROADWAY VIADUCT, COUNCIL BLUFFS, IA, Bridge Gateway, 76’ x 99’ x 34’ 2012: CHARLOTTE-DOUGLAS INTERNATIONAL AIRPORT, CHARLOTTE, NC, Entrance sculpture, 60’ x 16’ x 16’ 2008: FRED HUTCHINSON CANCER RESEARCH CENTER, SEATTLE, WA, Plaza sculpture, 60’ x 39’ x 39’ 2006: PORTLAND STATE UNIVERSITY, MASEEH COLLEGE OF ENGINEERING, Plaza sculpture, 200’ x 40’ x 40’ 2006: REDMOND CITY HALL, REDMOND, WASHINGTON – Exterior/interior entrance sculpture , 170' x 45' x 20' 2005: JOHN A. BURNS SCHOOL OF MEDICINE, HONOLULU, HI – Exterior sculpture, 72’ x 143’ x 31’. 2004: GOLDEN SPRINGS INDUSTRIAL PARK, LOS ANGELES COUNTY, CALIFORNIA - Gateway sculpture, 60’ x 45’ x 10’ 2001: BALLONA CREEK PEDESTRIAN BRIDGE, CULVER CITY, CALIFORNIA (unbuilt) 2000: FISHBIRD PEDESTRIAN BRIDGE for airport light rail station, PORTLAND, OREGON, 155' x 14' x 22' 2000: SAN ANTONIO CONVENTION CENTER PEDESTRIAN BRIDGE, SAN ANTONIO, TEXAS - 12' x 140' (unbuilt) 1998: DEAN SCIENCE BLDG., CENTRAL WASHINGTON UNIVERSITY, ELLENSBURG - Atrium bridge sculpture, 40' x 20' x 20' 1997: CAVE CREEK PEDESTRIAN BRIDGE, PHOENIX, ARIZONA - 220' x 10' x 36' 1992: CITY HALL PLAZA, ORLANDO, FLORIDA - 60' Stainless steel and glass tower
Selected Interior Public Commissions 2015: WICHITA AIRPORT, WICHITA, KANSAS, Interior sculpture, 64’ x 360’ x 25’ 2014: FOREST GROVE LIBRARY, FOREST GROVE, OR, Entry lobby sculpture, 32’ x 24’ x 24’ 2013: ANN ARBOR JUSTICE CENTER, ANN ARBOR, MI, Lobby sculpture, 40’ x 20’ x 12’ 2012: MCCARRAN INTERNATIONAL AIRPORT, TERMINAL 3, LAS VEGAS, NV, West window 70' x 52', skylight 33' x 32' 2011: BRODY HALL MICHIGAN STATE UNIVERSITY, EAST LANSING, MI, Atrium Sculpture, 94’ x 30’ x 30’ 2010: RALEIGH-DURHAM INTERNATIONAL AIRPORT, RALEIGH, NC, Interior sculpture, 86’ x 78’ x 51’ 2006: SKY HARBOR, PHOENIX, AZ - Design consultant for $250,000,000 airport facility, 800’ x 25’ art wall & several skylights of various sizes 2004: U.S. COURTHOUSE, SEATTLE, WASHINGTON - Interior sculpture, 55’ x 98’ x 26’ 2004: UCSD, SCHOOL OF MEDICINE RESEARCH FACILITY – Atrium sculpture, floor, & benches, 28’ x 28’ 50’ 2003: RICHMOND CONVENTION CENTER, RICHMOND, VA – Pedestrian bridge walkway sculpture, 100’ x 16’ x 24’ 2003: DALLAS CONVENTION CENTER, DALLAS, TEXAS - Lobby light sculpture, 60' x 800' 2001: MEMPHIS, TENNESSEE CENTRAL LIBRARY - Atrium sculpture, 60’ x 36’ x 15’ 2001: HOUSTON, TEXAS, GEORGE BUSH INTERNATIONAL AIRPORT, North concourse sculpture, 78’ x 40’ x 15’ 1999: HOKKAIDO SPORTS CENTER, SAPPORO, JAPAN - Entry pavilion sculpture, 52’ x 49’ 1998: SHIHO-SHOSHI LAWYER ASSOCIATION BUILDING, TOKYO, JAPAN - Suspended sculpture, 25’ x 25’ x 10’
Selected Corporate Commissions 2014: UNIVERSITY HOSPITAL, SAN ANTONIO, TX, Lobby sculpture & Terrazzo flooring, 46’ x 30’ x 15’ 2002: WELLS FARGO TOWER, DENVER, CO - Atrium sculpture, 118' x 48' x 90' 2001: SAFECO CORPORATE HEADQUARTERS, REDMOND, WASHINGTON - Lobby sculpture, 46’ x 60’ x 24’ 2000: 520 NORTH MICHIGAN AVENUE, CHICAGO, ILLINOIS - Entry lobby sculpture, 72' x 49' x 37' 1999: STERLING COMMERCE BUILDING, DALLAS, TEXAS - Lobby sculpture, 32’ x 32’ x 25’ 1994: RENAISSANCE TOWERS, LOS ANGELES, CALIFORNIA - Lobby windows, 130 sq. ft. 1993: BOEING CORP., SEATTLE, WA, with Michael McCulloch & John Rogers-Theatre lobby sculpture, 140' x 60' x 30' 1992: 1251 ROCKEFELLER CENTER, NEW YORK CITY, NEW YORK- Lobby transom windows, 7' x 100' each
Selected Church Commissions 1997: ST. MARK'S CATHEDRAL, SEATTLE, WASHINGTON - Monumental screen and rose, 60' x 32' x 4'
1988: CONGREGATION NEVEH SHALOM, PORTLAND, OREGON - Ark doors and aisle windows, 4' x 10'
Selected Publications 2013: FARBLICHTSPIEL, Dichroic Glass in Fine Arts and Architecture, Prinz Optics GmbH 2012: INTERNATIONAL NEW LANDSCAPE, X-Color Publishing International, China, Sept/Oct, #41, Volume 7 2011: INTERNATIONAL NEW LANDSCAPE, X-Color Publishing International, China, Sept/Oct, #35, Volume 6 2011: Public Architecture: The Art Inside, Curtis Fentress, ORO Editions 2009: ILUMINET internet lighting review, Mexico, February 2009: AMERICAN CRAFT, Feb/March 2008: l’ARCA, Milano, Italy, #240, October
Ed Carpenter, page 2 of 2 Selected Publications, continued 2007: DOSSIER LIGHTECH, Italy, April 2006: AMERICAN CRAFT, Aug./Sept. 2005: GLASS MAGAZINE, August 2005: FLARE, Architectural Lighting Magazine, Italy, No. 38, April 2005 2004: THIS SIDE UP!, Autumn 2004 2004: ARCHITECTURAL RECORD, May 2004: l'ARCA, Milano, Italy, #191, April 2003: COLORFULNESS, Beijing, China, March 2003: GLASS ART, January/February 2002: Reflections on Glass, 20th Century Stained Glass in American Art and Architecture, American Bible Society 2002: Designing the World's Best Public Art, The Images Publishing Group Pty Ltd 2001: PUBLIC ART REVIEW, Spring/Summer 2001: Breath of Light, Ed Carpenter, l'Arca Edizioni Publishers
Awards 2007: Americans for the Arts Public Art Network 2007 Year in Review for TECOTOSH 2004: Special Achievement Award for the Seattle US Courthouse, US General Services Administration, Seattle, WA 2001: Architectural Foundation of Oregon Honored Citizen of the Year Award, Portland, Oregon 1999: Federal Highway Administration Excellence in Highway Design for "Grasshopper Bridge," Phoenix, AZ 1994: Design Citation, American Institute of Architects (New England Region), University Center, Rochester, MN 1989: Solomon Schechter Fine Art Award for Congregation Neveh Shalom Ark doors 1989: Governor's Commendation "The Making of Mainstreet: A Design Workshop for Government Camp" 1985: Portland Beautification Association Honor Award for the Justice Center Great Window 1975: E.B. Webster Award, Contemporary Crafts Association, Portland, Oregon 1973: Michael Hattrell Award for study of stained glass in modern architecture, from Burleighfield Association, Buckinghamshire, England
Grants 1984: National Endowment for the Arts Fellowship 1977: Western States Arts Foundation Fellowship 1976: National Endowment for the Arts Master Craftsman Grant 1975: Graham Foundation for Advanced Studies in the Fine Arts, grant for study in Germany with Ludwig Schaffrath
Selected Professional Activities 2007-2014: Member Urban Design Advisory Group, Columbia Crossing Project, Oregon/Washington 2005-present: Board of Trustees, Midland School, Los Olivos, California 2000-2010: Chair, Edelman Lecture Committee, Pacific Northwest College of Art. 1999-2004: Swallowtail School, Hillsboro, OR (k-8), Board Chair. 1985-89: Metropolitan Arts Commissioner, Portland, Oregon. Founder, Public Art Advisory Committee 1983-86: Board of Trustees, American Craft Enterprises, Chairman 1982-86: Board of Trustees, American Craft Council, Vice-President 1975-79: Board of Trustees (Chair of Building Committee during construction of new campus), Oregon School of Arts and Crafts 1972-74: Board of Trustees, Hillside Center Artist's Cooperative
Training 1975: Studied large architectural glass design with Ludwig Schaffrath, Aldsdorf, West Germany. 1973: Studied stained glass design and technique with Patrick Reyntiens, Buckinghamshire, England. 1969, 1973, 1975, 1982, 1987, 1993: Visited factories, installations and artists throughout Europe. 1958-1963: Summer Apprenticeships Neutra & Alexander Architects, Los Angeles, California JEANINE CENTUORI and RUSSELL ROCK Los Angeles, CA urbanrockdesign.com [email protected]
Our works make various connections with their immediate environments, programs, and building functions. Throughout the process, we work with the inter-related threads of form, material, and theme. We perform intensive research and analysis in the initial stage of the project in order to find relevant themes. These themes are often intermixed to create layered conditions. Our approach balances subtlety with whimsy.
Another of our technical strategies is to work with embodied experience. Our public art projects weave perception, narrative, and the meanings of site together with graphics- imbedded materiality. The artwork uncovers alternate meanings through shifts in perception, scale, and imagery. A variety of techniques are employed that are synchronized with the viewer’s speed of movement and/or point of view. Embodied experience linked with ephemeral and invisible dimensions of place yield visceral and continued interest in repeat viewings.
In developing our work, we would like to delve deeper into perceptual strategies with a broad array of material and formal techniques. We also would like to push our three- dimensional form making toward greater impact for place making and field projects that employ multiple components. We see this next phase in our work as exploring a greater range of perceptually charged strategies, testing a wider range of materials, and employing more three-dimensional place making tactics.
The studio has a successful track record of urban-sited and integrated public artworks in multiple cities with municipal, non-profit, and private clients. The studio has also completed public art plans for arts agencies. We have worked with professional teams comprising engineers, landscape architects, architects, urban planners, public arts agencies, and governmental groups. We have worked as design team members with architects and landscape architects from the conceptual stages all the way through installations of projects. We value the interactive nature of design teams and relish working with a range of professionals and communities,
Top to bottom: Conditional Reflections, 2008, Denver, CO; Tunnel Vision, 2016, Los Angeles, CA; Setting the Tables, SBX E Street Corridor Bus Rapid Transit, San Bernardino, CA UrbanRock Design 670 Moulton Avenue, #7 Los Angeles, CA 90031 323 227-0955 (t) 323 227-0446 (f) EDUCATION
Russell Rock MFA, Painting, Wayne State University, 1987. BA, Art & English, Alma College, 1976.
Jeanine Centuori M.Arch, Cranbrook Academy of Art, 1991. B.Arch, The Cooper Union, 1983.
Licenses California Architecture License #C-28180 New York Architecture License #024135 LEED Accredited Professional
UrbanRock Design, founded in 2000, is an interdisciplinary practice focusing on public art and environments. The studio has a practice of both built projects and theoretical publications and that range from discrete environments to linked installations. The studio is registered as a Small Business and a Woman Owned Business with the State of California.
PUBLIC COMMISSIONS
Inside Outside Commission for Public Art façade project located at Nebraska History Museum, Lincoln, NE. Lincoln, NE, 2016 $52,000
City of Calgary, Alberta Comprehensive Public Art Master Plan for future Green Line Southeast Transit Line defining GL-SE Transitway Public Art creative opportunities for artistic expression and overarching context to tie projects together. Master Plan, in progress $30,000
Greensboro Downtown Community engagement charette planning session sponsored by the SmART Initiative Master Art Plan charette, 2014 Steering Committee and ArtsGreensboro, Greenboro, NC. $2750
Setting the Tables, 2014 Public Art for Three Transit Stations. Project involves six art glass panels and concrete pavers. San Bernardino, CA Project in situated in an entertainment zone. The project employs a permanent glass printing $100,000 process.
Grant Road Public Art Plan, 2011 This five-mile Public Art Plan works in conjunction with a major road-widening project. UrbanRock Tucson, AZ Design was the Public Art Plan consultant, and worked with Tucson Pima Arts Council, the City of $40,000 Tucson, the Engineering firm, an Urban Design firm, and a Public Relations Firm.
Across the Market, Below the Sky, This is a plaza design for a downtown redevelopment that has several architectural and image Up the River, 2010 imbedded components referencing the flora, fauna, and culture of Redding. $85,000
Looking through the Past, 2010 A series of six imagery imbedded aluminum panels are strung along the outdoor area of theTempe Tempe, AZ History Museum bringing a snap-shot of the museum collection into the public realm. $75,000
Rethinking Accessibility, 2010 This speculative grants-funded art and design project proposed creative solutions for the integration $20,000 of accessible features in public space. Funded by the National Endowment for the Arts. It resulted in a publication. Conditional Reflections, 2008 This integrated public art façade and courtyard project was closely coordinated with Semple Brown Denver, CO Design (architects) and the landscape architect. The client was the Park Creek Metropolitan District $75,000 for the Stapleton community.
Gateway to Hollywood, 2005 - 15 This public art median island design was commissioned by the Yucca Corridor Coalition, a Hollywood, CA neighborhood association. The Los Angeles Department of Water and Power served as the $150,000 engineering team. In 2015, a neighborhood group raised funds to light the tower sign.
Noguera Educational Garden, 2005 This educational art garden was designed for school children and residents. It was commissioned Hollywood, CA. by the Police Activities League. $90,000
Finding Public Space in the This a speculative grants-funded design project proposed creative solutions for public art Margins, 2003 interventions in tight urban marginal spaces. It resulted in a publication. Funded by the National Hollywood, CA Endowment for the Arts, the Graham Foundation, and others. $32,000
Oasis town plan. 2003 This urban design and public art plan was a 40-acre development in association with Integrated Coachella Valley, CA Infrastructures, Inc. for the Desert Area Community Empowerment. (architects). $20,000
Faux Grove, 2001 This temporary public art installation was installed as an entry feature for Angel’s Gate Cultural San Pedro, CA Center. $4000
EcoStations, 2002 This series of public art educational stations were commissioned by the non-profit organization Los Angeles, CA TreePeople, and were located along the trail system in Coldwater Canyon Park. $90,000
Formation, 2000 This public art demonstration element doubled as a retaining wall for Coldwater Canyon Park. It Los Angeles, CA was done in conjunction with a design/build educational program for at-risk youth. $15,000
Scopes, 1998 This temporary exterior billboard installation was a competition commissioned for the gallery Ferndale, MI Revolution. $1000
Art Master Plan, 1998 This master plan was created for a series of permanent installations for Cleveland School of the Cleveland, OH Arts. Coordinated and oversaw the design and implementation of several public art projects for $2000 this Middle School.
Temporary Urban Garden, 1998 This temporary project for the Cleveland School of the Arts was completed in conjunction with a $1500 workshop that was offered to middle school children. It helped to garner funds for the permanent Garden that was installed on the site.
Doughboy Plaza, 1996 This plaza was designed for the siting of a monument in front of Stow City Hall. Stow, OH $10,000
Neighborhood Initiative,1996 This project was commissioned by Cleveland Public Art and was funded by an Ohio Arts Council Cleveland, OH grant. It was a series of public art proposals for urban spaces by a group of invited artists. $2500 SUSAN CHORPENNING Altadena, CA susanchor.com [email protected]
My main work has been creating site-specific installations using light, often classified into two groups, Light Rooms and Dark Rooms. Even though they are called "Rooms", many of these pieces have taken place outdoors. The Light Rooms are shaped by architectural elements such as doors and windows. Daylight moves across these elements, creating an image of the light, which I delineate in different materials, fixing one moment in time. The delineated images of light don't move while the actual light does move across the space each day as the sun moves. Entering one of these pieces late in the day, many times people have made comments such as, "It feels like morning in here." These pieces can be made with temporary materials such as paint or carpet, but also with more permanent materials, such as brick, stone, or ceramic tile.
The Dark Rooms are about the glow of colored lights at night; some glow in the dark, others glow from inside windows, and some dazzle with flashes and afterimages.
I approach new opportunities to make spaces for people to connect, through light and shadow, color, or the sheer joy of the experience of noticing. I have completed one large public commission as well as numerous smaller ones, coming in on time and on budget, proving that I can administer larger, more extensive pieces. My direction is now toward permanent light works which allow for the play of natural and/or electric light in response to particular sites.
My past experience working on various other projects has informed my own art. I had a design/contracting business for years where I drew architectural plans, managed budgets, hired subcontractors, and supervised jobs, always coming in on time and on budget.
I've completed numerous public pieces, mostly large-scale installations working with light, submitting proposals, plans and budgets, working effectively with curators, lighting and exhibition designers, funders and community members on these projects.
Top to bottom: Day In, Day Out, 1999, The Kunstmuseum Heidenheim, Germany; Light Drawers, 2012; February 30, 2004, Dangerous Curve, Los Angeles Susan Chorpenning 370 West Loma Alta Drive Altadena CA 91001 (626) 398-8816 Curriculum Vitae [email protected] Education MFA, Art, University of California, Berkeley 1979 MA, Art, University of California, Berkeley 1978 AB, Art, University of California, Berkeley 1973
Website: www.susanchor.com Selected Solo Shows and Siteworks “One Hundred Gifts” Los Angeles CA, mail project (documented on website) 2013-current "Fiat Lux IV", Phantom Galleries, Long Beach CA, (sitework) December, 2009 - March, 2010 "Granite Lookout", permanent public work, Firehouse 4, 450 E.Temple, Los Angeles CA October, 2009 "Fiat Lux III", Phantom Galleries, City of Long Beach, CA (solo) January - March, 2008 "Fiat Lux II", Phantom Galleries, Pasadena CA (sitework) December, 2006-January, 2007 Dangerous Curve, Los Angeles CA (solo) May 8 - 29, 2004 Arnaud Lefebvre Gallery, Paris, France (solo) January 9-February 7, 2004 "Fiat Lux", Jim Kempner Fine Arts, NYC (solo) December 18, 2003 - January, 2004 Two Siteworks, Chinati Foundation, Marfa TX (solo) June, 2001 "Drawings", The Locker Plant, Marfa TX (solo) June, 2001 Installation, Masonic Building (concurrent w/Flavin Symposium at Chinati), Marfa TX (solo) May, 2001 Gail Gates, NYC (sitework) September-October, 2000 Arnaud Lefebvre Gallery, Paris, France (solo) September, 1999 Florence Lynch Gallery, NYC (solo) June, 1999 Kunstmuseum Heidenheim, Germany (sitework) May-July, 1999 Städtische Galerie Würzburg, Germany (sitework) February,1999 - 2001 Brian Gross Fine Arts, San Francisco CA (solo) July-August, 1998 2 Siteworks, ART/OMI, Omi NY July, 1997 Sitework, 476 Broadway, NYC June, 1995 Nancy Driscoll Gallery, Sea Cliff NY (solo) September, 1992 Sitework, Fulton Ferry Landing State Park, NYC April - May, 1990 Performance, Dixon Place, NYC April 26, 1990 Performance, The Knitting Factory, NYC March 12, 1990 Sitework, 55 Central Park West, NYC (commission) March, 1988 Performance, BACA Downtown, NYC April, 1987 Windows on White, NYC (solo) December, 1984 - January, 1985 Installation, Proarts Gallery, Oakland CA (solo) July, 1982 Selected 2-4 Person Shows Arnaud Lefebvre Gallery, Paris, France May-July, 2005 Arnaud Lefebvre Gallery, Paris, France February-March, 2001 P.S. 122, New York NY (with Elena Berriolo) November, 2000 Bellevue-Saal, Wiesbaden, Germany (with Thorsten Goldberg) September, 1998 Dedicated Space, NYC February, 1994 Financial Guaranty Ins. Co. Corporate Headquarters, NYC May - October, 1993 Boathouse, Prospect Park, NYC August -September, 1990 Performance, Claremont College, Los Angeles CA November, 1986 Performance, The Painted Bride, Philadelphia PA March, 1986 Installation, The Women's Interart Center, NYC April, 1984 Selected Group Exhibitions "Sketchbook Project 2015", Brooklyn NY March, 2015 “2012 World Tour”, Co-Lab-Austin, Painted Bride-Philadelphia, Gladstone-Toronto, etc 2012 “After Darkness, I Hope for Light”, Godine Gallery, MA College of Art & Design, Boston MA Jan-Feb, 2012 "Turtle Show", Galerie Arnaud LeFebvre,, Paris October, 2011 "Expo Retrospective", Galerie Arnaud LeFebvre & Galerie Ivana de Gavardie, Paris Sept-Oct, 2011 "The Value of Water", St. John the Divine, New York NY (electronic show) September, 2011 "The Canvas Project", Brooklyn Art Library, Brooklyn NY December, 2010 "The Sketchbook Tour", Chicago Art Source Gallery, Chicago IL May-June, 2009 "The Sketchbook Tour", Museum of Design, Atlanta GA April, 2009 "The Sketchbook Tour", MOCA, Washington DC (9 venues in all) March, 2009 "A Language More Powerful Than Words", 2nd City Art Gallery, LA April 16 - May 26, 2005 Arnaud Lefebvre Gallery, Paris, France January-March, 2003 8 Invited Artists: Proposals for Public Work, Bergkamen, Germany October-November, 2002 "Faculty Exhibition", Fullerton College, LA September, 2002 "The Magic of Light", Hudson River Museum (catalogue) February-May, 2002 "Out of Site", Pasadena City College Art Gallery November, 2001 "Minimal 2000", Jim Kempner Fine Arts, NYC March, 2001 "Light as Object", Gail Gates, NYC Sept-October, 2000 "Blurring the Line", RareArt, NYC April, 2000 "Generations: A Survey of Women Artists at the Millenium", AIR Gallery, NYC February, 2000 "FarbLicht", Kunstmuseum Heidenheim, Germany May-July, 1999 "FarbLicht", Städtische Galerie Würzburg, Germany February-April, 1999 "25th Anniversary Invitational", A.I.R. Gallery, NYC October, 1997 "Drawn Conclusions", Riverside Art Museum, Riverside CA Sept-October, 1996 Group Show, City College of NY, NYC October, 1996 Kölnischer Kunstverein, Cologne, Germany September, 1996 Bedford Gallery, Lesher Center for the Arts, Walnut Creek CA (invit) April, 1996 "Mass Exposure", NYC December, 1994 "Wall to Wall", Art Initiatives, NYC December, 1993 "The Other Landscape", Art Initiatives, NYC October, 1992 Installation, The Arsenal Gallery Annex, NYC March, 1982 Installation, Southern Exposure Gallery, San Francisco CA February, 1981 Installation, S. F. Airport, San Francisco CA (invitational) February - April, 1981 Grants and Awards 2015 Art Slant Sculpture Prize Showcase October, 2015 Los Angeles DCA Award: Public Sculpture at Firehouse #4, 450 Temple St. LA January, 2008 Chinati Foundation Residency, Marfa TX May-June, 2001 Artist in Residence, City of Wiesbaden, Germany June-September, 1998 ART/OMI International Residency, Omi NY 1997 Gottlieb Foundation Fellowship 1989 Artists' Fellowship, NYC 1989 Selected Publications/Press http://www.fineartsla.com/tag/lights (photo) December 29, 2009 http://www.huffingtonpost.com/2009/12/18/your-weekend-to-do-list_n_396662.html December 18, 2009 "Fiat Lux", CD by Doug Tornquist, images from "Fiat Lux II" on cover & as inspiration for CD 2009 "Fourteen Saturdays at Dangerous Curve", gallery publication 2008 LA Times Calendar, "Ungallery", by Cindy Chang December 28, 2006 ArtScene, "It's About Time", by Suvaan Geer December, 2004 also at: http://artscenecal.com/ArticlesFile/Archive/Articles2004/Articles1204/SGeer1204.html LA Weekly, "Art Picks of the Week", by Peter Frank May 28, 2004 Florence Lynch Gallery Presents: A Site-Specific Installation, catalogue 2002 The Magic of Light, catalogue, Hudson River Museum 2002 New York Times, review, Grace Glueck March 1, 2002 "Show Turns a Spotlight on Light Itself in All Forms", New York Times, W. Zimmer February 17, 2002 Alpine Observer, Alpine TX, Kate Hunt July 4, 2001 Mudfish 12, New York, ed. Jill Hoffman May, 2001 kunsttermine.de magazine, Germany, photo/caption May-June-July, 2000 TV Interview, KSW, Ute Hoffarth, Germany May 19, 1999 Radio Interview, SWR 2, Kultur, Petra Mauwir, Germany May 17, 1999 "Kunst unter Strom", Actuell Kunst, Nicole Bubenzer May, 1999 Heidenheimer Zeitung, "Dem Leben auf der Spur", Bettina Schmid May 7, 1999 Heidenheimer NP, "Wie der Fleck vors Museum kan", bes May 7, 1999 Bayerische-Staatzeitung, "Asthetische Electroschau" Thomas Senne April 16, 1999 Front page w/photo, Stadt Würzburg, ake March 23, 1999 Front page w/photo, Volksblatt Würzburg, Rö March 10, 1999 DAY CHRISTENSEN Highland, UT [email protected]
Over the past thirty years, I have developed a variety of public art projects that have involved interior and exterior pieces for libraries, light rail stations, airports, state capitol buildings, recreation centers, medical facilities, and public parks.
These projects range from fabricated and cast bronze sculpture, formed glass, murals, paving designs, benches, light sculpture, and earthworks, to suspended sculptures. Materials have included, bronze, glass, stone, laser cut metals, wood, and stainless steel.
My primary interest has been that each project is site specific and addresses the activities, history, and uses of each site. These projects therefore vary in scale, materials and concept, but have a common clarity of design and quality of execution
I especially enjoy working on a team with the client, other artists, architects, and community members in developing concepts and ideas for public art. My experience with collaborative projects, have been very positive and creative, resulting in more innovative and integrated public artwork
Top to bottom: Arc, 1999; Nevada State Capitol, Carson City; Dairy Cats, 2007, Salt Lake City, UT; Windscreens, 2011, West Valley City, UT DAY CHRISTENSEN 11222 Gambol Oak Highland, Utah 84003 801 763 9444 [email protected] ______
EDUCATION MASTER in LANDSCAPE ARCHITECTURE Harvard Graduate School of Design, Cambridge, MA B.A. ART and DESIGN Brigham Young University, Provo, UT ______
PUBLIC ART COMMISSIONS 2016 ASPEN Salt Palace Convention Center, Salt Lake City, Utah
2015 PERCHING BIRDS Fleet Management Building, Salt Lake County, Utah
PAVILION ARTWORK Julia Davis Park, Boise, Idaho
2013 SPRING GRASS Salt Lake Clinic, Salt Lake City, Utah
2012 WILLOW CREEK Draper Senior Center, Draper, Utah
2011 HIGH WATER Popperton Park, Salt Lake City, Utah TREES Yalecrest and Westmoreland Place, Salt Lake City, Utah WINDSCREENS TRAX Light Rail Stations, West Valley City, Utah TURNING PAGES Magna Library, Magna, Utah 2010 HISTORY CHAIRS Sorenson Recreation Center Plaza, Herriman, Utah LEAVES Public Works Building, Salt Lake County, Utah 2009 DAYLILIES UTA Bus Rapid Transit, West Valley City, Utah 2008 GAME PLAYS Holladay Lions Recreation Center, Holladay, Utah SHOVELS UTA Frontrunner Commuter Rail, Roy, Utah FLORA The Metro Condominiums, Salt Lake City, Utah 2007 DAIRY CATS Steenblik Park, Salt Lake City, Utah GARDEN South Main Health Clinic, Salt Lake City, Utah 2005 RIVER South Jordan Library, South Jordan, Utah 2003 SUGAR BEETS Sugar House Business District, Salt Lake City, Utah 2002 SHARDS Salt Lake City Library, Salt Lake City, Utah 2001 GLASS WALLS Salt Lake City Sports Center, Salt Lake City, Utah 2000 WINDBREAK Salt Palace, Salt Lake City, Utah 500 WEST PARK BLOCKS Salt Lake City, Utah 1999 CITY CENTER and TEMPLE SQUARE STATIONS TRAX Light Rail, Salt Lake City, Utah ARC / Capitol Mall Amphitheater Carson City, Nevada
1996 KIT CARSON TRAIL MARKERS Carson City, Nevada
1995 THE LAKE Salt Lake City International Airport 1993 WILDLIFE WALL Gallivan Utah Center, Salt Lake City, Utah
1992 STORY WALL Gallivan Utah Center, Salt Lake City, Utah
1988 FLYING FISH PROJECT Utah Arts Festival, Salt Lake City, Utah
1982 COPPER WALL Utah State Capitol, Salt Lake City, Utah ______
SELECTED EXHIBITS 2008 INDIVIDUAL ARTIST SHOWCASE *Artist Grant Rio Gallery, Salt Lake City, Utah 2005 THE ART OF THE BOOK The City Library, Salt Lake City, Utah 2002 JUXTAPOSITIONS: THE ARTIST AND THE ENVIRONMENT Finch Lane Gallery, Salt Lake City, Utah
1995-98 DRESSING THE TEXT National traveling show 1995 PYRAMID ATLANTIC BOOK ARTS EXHIBIT Corcoran Gallery of Art, Washington D.C.
1989 UTAH 89: WORKS ON PAPER *Juror’s Purchase Award Utah Museum of Fine Arts, Salt Lake City, Utah
1986 UTAH 87: WORKS ON PAPER *Juror’s Purchase Award Salt Lake Art Center, Salt Lake City, Utah
1983 SCULPTORS OF UTAH Springville Museum of Art, Springville, Utah ______
DESIGN CONSULTING 2006-14 FLYING OBJECTS PROJECT CONSULTING Salt Lake City Design Board 2010 GUEST CURATOR Utah Museum of Fine Arts 2007 300 SOUTH ARTISTIC LIGHT DESIGNS Salt Lake City Engineering
2005 9TH & 9TH STREETSCAPE CONSULTING Salt Lake City Engineering 1998 COMMUNITY DESIGN COMMITTEE Salt Lake City International Airport 1992-98 VISUAL ARTS ADVISORY PANEL Utah Arts Council
1987-95 CONSULTANT for DESIGN and HANDPRINTING Red Butte Press, University of Utah
JOHN CHRISTENSEN Austin, TX christensen-oko.com [email protected]
For three decades I have designed for public, private and theatrical arenas - completing 17 large scale public and private commissions and making environments for 27 productions of modern dance presented worldwide. I seek design solutions that are poetic, integrative and surprising. I have considerable experience working with other design professionals, engineers, subcontractors, community stakeholders and administrators.
For projects in public spaces I often take cues from a site's physical and thematic contexts that have both grand and intimate aspects providing iconic presence and rewarding close encounters. My intent is disruptive and optimistic – that we may effectively re-imagine personal and communal ambitions.
I adapt natural forms and make spatial constructs. In recent installations I have plotted motifs in irregular patterns to create visual fields that evoke interdependent organic systems - branching rhizomes, biotic colonies, neural networks, african frets, polymers - clustered works with perceptual and philosophical subtexts that make structural and poetic connections between phenomena in disparate fields. It excites me to adapt biotic forms. I often make works that - in their making - require discovery, and that - in their viewing - reward curiosity.
Some of these projects were guided by conversations with engaged stakeholders, resulting in iconic works that communities proudly own, that invigorate a shared identity and that focus a distinct sense of place
I have worked closely with project architects, landscape architects, engineers and others to coordinate our efforts and mutually achieve our goals. In private, commercial and theatrical realms - in over a hundred projects - I have often collaborated with other designers (architectural, lighting, etc.), artists (choreographers, directors, costumers, etc.), and technicians. I work graciously with others to develop an inclusive communal vision and to realize success.
Top to bottom: Go There, 2011, Pima County Psychiatric Hospital, Tucson, AZ; Guerrero Park – Turtle Plaza, 2013, Austin, TX; 2906 Screen, 2015, private residence, Austin, TX C o m m i s s i o n s / A w a r d s Historic Handley Village commission, Fort Worth, TX, 2015 Scouters Mountain Nature Park commission, Happy Valley, OR, 2014 Apache Corporation commission, Houston, TX, 2013 Fire Station #50 commission, Dallas, TX, 2011 Behavioral Health Pavilion commission, Tucson, AZ, 2009 Robertson architectural screen commission, Houston, TX, 2007 Bathhouse Art Center commission, Dallas, TX, 2006 Robertson wall commission, Houston, TX, 2006 Overton-Turner-Roberts Memorial, Austin TX, 2004 J O H N C H R I S T E N S E N Florida International University commission, Miami, FL, 2004 i n f o @ c h r i s t e n s e n - o k o . c o m Roy C. Guerrero Colorado River Park design team project, Austin, TX, 2003 5 0 0 W S t E l m o University of New Mexico Health Sciences commission, Albuquerque, 2002 A u s t i n , T e x a s 7 8 7 4 5 Dallas Area Rapid Transit - Park Lane Station commission, Dallas, TX, 2000 5 1 2 . 4 6 2 . 3 3 4 2 Hermann Children’s Hospital commission, Houston, TX, 1999 Austin-Bergstrom International Airport commission, Austin, TX, 1995 Art Matters Grant, New York, NY, 1995 E d u c a t i o n Waller Creek Plaza commission, Austin, TX, 1993 M.F.A., The University of Texas at Austin, 1988 City of Austin Cultural Contract - Interdisciplinary Program, 1992 B.A., Harvard University, 1977 City of Austin Cultural Contract - Interdisciplinary Program, 1991 S e l e c t e d P r e s s Connemara Grant, The Connemara Foundation, Plano, TX, 1988 Aaron Seward, "Campsite Rules", Artist in Residence, Ossabaw Island, GA, 1981 Texas Architect, March/April 2016, pp. 32- 37. S o l o E x h i b i t i o n s Fred Bernstein, “House of the Rising Son”, John Christensen - sculptures, Wild ower Center, Austin, TX, 2014 Metropolitan Home, November 2007, pp.128-137. John Christensen - screens, Ginko Studios, Austin, TX, 2013 Heather Brand, “Place View Thought”, Push down the dark water, Gremillion & Co., Houston, TX, 2011 Tribeza, January 2003, pp. 24-26. John Christensen - Projects, Texas Lutheran University, Seguin, TX, 2007 J.C. van Ryzin, “Sculptor, collagist make winning pair”, Di cult Loves, Gremillion & Co., Houston, TX, 2005 Austin American Statesman, 22 January 2000, p. D7. Unquiet Garden, Linda Fairchild Contemporary Art, San Francisco, CA, 2004 Rebecca Levy, “John Christensen...Public Perceptions“, Asana, Gremillion & Co., Austin, TX, 2000 The Austin Chronicle, 20 January 1995, p. 34. no kings no boxes no numbers, Wyndy Morehead Fine Arts, New Orleans, LA, 1998 Saundra Goldman, “Sculpture Inspires Contemplation”, Ekstasis, Gremillion & Co., Houston, TX, 1997 Austin American Statesman, 16 July 1994, p. XL11 Substance, Helm Fine Arts Center, Austin, TX, 1996 Jack Anderson, “Dance in Review”, Sculpture and Documents, Dougherty Arts Center, Austin, TX, 1995 The New York Times, 14 December 1992. Awkward Simple Volumes, Third Street Gallery, Austin, TX, 1993 Patricia Hendriks & Becky Duval Reese, Studio Intrusion, Texas Lutheran University, Seguin, TX, 1993 A Century of Sculpture in Texas 1889-1989, p. 108. Idas & his Brother, Installation, The Amarillo Art Museum, TX, 1991 Johanna Drucker, “Connemara: Spring 1988”, John Christensen - Sculpture, The Blue Collar Gallery, San Antonio, TX, 1987 Dallas Arts Revue #26, Spring 1988. P r o f e s s i o n a l A c t i v i t i e s Designer and fabricator of furniture, architectural details and spaces. Production designs for Brink Design International, 1989-present. Commercial spaces include seven By George clothing stores. Designer of Theatre sets, lighting, inter-active props, and media projections in twenty-six productions with choreographers - Andrea Beckham, Yacov Sharir, and Jose Luis Bustamante - performed in the Americas, Europe and Asia. 1999-present. Recent theatre projects include: Faith in Unknowing, performed with the World Dance Alliance at the Centre national de danse comtemporaine, Angers, France 2014, Light-Night / Bike-Light Dance Project, performed at the LBJ Library Plaza, Austin, TX, 2012, Blurred Boundaries – Section2: Gate, performed by Dance Repertory Theatre, Austin, TX, 2011. Civic Engagement - I served on the City of Austin Art in Public Places Panel 2005-2009, chairing that panel in 2007 and 2008. During my tenure we built a progressive City collection, funded temporary installations and new media, and increased community participation. R e s u m e P a g e 2 J O H N C H R I S T E N S E N i n f o @ c h r i s t e n s e n - o k o . c o m 5 0 0 W S t E l m o A u s t i n , T e x a s 7 8 7 4 5 5 1 2 . 4 6 2 . 3 3 4 2
S e l e c t e d P r o j e c t s & P r o j e c t R e f e r e n c e s
Handley Train - Completed 2015, commissioned for Historic Handley Village, Fort Worth, TX Painted steel place-maker with illuminated panels. Project budget $55,000 Contact: Anne Allen, Public Art Project Manager, Fort Worth Arts Council 817 298 3028 [email protected]
Habitat - Completed 2014, commissioned for Scouters Mtn. Nature Park, Oregon 5 installations of mixed media on benches of salvaged timber. Budget $23,000. Contact: Elizabeth Klein, Program Manager, Clackamas County Arts Alliance 503 341 7833 [email protected]
Go There - Completed 2011, commissioned for the Behavioral Health Pavilion, Tucson, AZ. Bronze sculpture and concrete pedestal on a campus of health facilities. Budget $200,000. Contact: Mary Ellen Wooten, Public Art Program Manager, Tucson Pima Arts Council 520 624 0595 [email protected]
Leaf, Pod & Samara - Completed 1999, commissioned for the Austin-Bergstrom Intl. Airport, Austin, TX. Cast concrete sculptures and landscaping. Project budget $54,000. Contact: Megan Crigger, Director of Creative Services, Kansas City O ce of Culture and Creative Services 816 513 2659 [email protected]
Cloud/Rift - Completed 2002, commissioned for the UNM Health Sciences Center, Albuquerque, NM. Fabricated bronze and concrete sculpture with site integration and landscaping. Budget $138,000. Contact: Kathryn Minette, former Public Art Program Manager, New Mexico Arts 505 983 7663 klm [email protected]
Whirl - Completed 2008, commissioned for the Bathhouse Arts Center, White Rock Lake, Dallas, TX. Bronze sculpture on concrete pedestal with landscaping. Project budget $80,000. Contact: Kay Kallos, Ph.D., Public Art Program Manager, Dallas O ce of Cultural A airs 214 670 3281 [email protected]
Roy G. Guerrero Colorado River Park - Completed 2013, Austin, TX. Designs for a high-use area of a municipal park - a pavilion, memorial grotto, children’s play-scape and plaza - involved collaboration with Parks Department Designers. The artist took a leading role in the design of signature elements, structures and hardscape. Original artist’s budget $110,000; project budget $2.6 million. Contact: Julie Lipton, former PARD Park Development Coordinator 512 974 6727 [email protected] TED CLAUSEN Cambridge, MA [email protected]
Each of my public art works integrates form, space, and story into a narrative journey. I create sculptural forms and spaces which are sometimes intimate, sometimes monumental, each of which becomes a vehicle for the stories and histories of the theme of the work. Each work is specifically and meticulously crafted for its site and theme.
My belief in the power of stories to remind, educate, and inspire is at the core of my work. I begin by working with the local community and schools to gather the public histories and personal stories which are specific to the project. I have an established curriculum for this aspect which I tailor to each project. Whether the theme of the work is the daily life of a soldier on the Korean front, or the first 100 years of a town’s life, the final texts are chosen for their ability to vividly capture and explore the theme from a variety of points of view: they inform; they are often personal and emotionally moving; they can be humorous or intellectually provocative, poetic or inspiringly everyday.
I often underscore the meanings of the text by using evocative objects which encourage the visitor to touch: a draped, life-size firefighter’s coat and hat in bronze; a life- size cast metal plow used by the first settlers to a region; a bronzed, pocket-sized prayer book carried by an American prisoner of war in Korea.
The resulting works are layered and interactive: visitors attention is alternately focused on text, on form and on space, each interaction furthering the sense of journey. The works are multi-sensory: inspiring visual and intellectual curiosity, touch, and movement. They capture the particular feel, texture, and meanings of the theme. They invite and encourage further visits.
One of the intriguing and compelling aspects of using text as an element in public art is that it can be seamlessly integrated in a variety of different ways into the architecture, the landscape and in stand alone works. Whenever I work with other professionals and community members on a project, I view my work as collaborative. In addition to researching, gathering, editing and proposing texts for a work we ask such questions as: how do these words fit into the structure, the place, the environment? What size are these texts? What materials will give them more substantive meaning? Are they typefaces or handwritten? Are they discovered or in plain sight? The collaborative research and the answers to these questions Top to bottom: provide insight and fuel for the final design. Centennial Words (2000), Twin Falls, ID; Needham Cares, 2015, Needham, MA; The River Speaks, 2001, Reading, PA 617-974-4566 tedclausensculpture.com [email protected] 46 Cogswell Avenue,Cambridge, MA 02140
T E D C L A U S E N
RESUME
EDUCATION
1974 B.A., Anthropology, Psychology, University of Redlands, Redlands, CA 1982 Graduate Certificate: Design, Kunstgewerbeschule, Basel, Switzerland
PUBLIC ART COMMISSIONS
2015 Needham, MA; Friends of Needham Coalition for Suicide Prevention ($200,000)
2012 Cambridge, MA; Prince Hall Memorial ($100,000)
2010 Gaithersburg, MD; Montgomery County Public Safety Officers Memorial ($425,000)
2009 Hartford, CT; State of Connecticut, A.I. Prince Regional Vocational Technical School, ($380,000) Boston, MA; State of Massachusetts, Irish Immigration Memorial ($250,000)
2006 Holliston, MA; Holliston Public School
2002 Beverly, MA; Landmark School
2000 Twin Falls, ID; Artists & Communities: America Creates for the Millennium ($125,000) Reading, PA; 250th Anniversary Sculpture; installed 2001; ($175,000)
1999 Somerville, MA; Korean War Memorial ; installed 2000; ($55,000+ $55,000 In-kind.) Cambridge, MA; Cambridge City Arts Council, Massachusetts Arts Council: 'Visible Voices' Brockton, MA; Fuller Art Museum, Outdoor Sculpture Installation Boston, MA; Parkarts: 'Hidden Words of the North End', Outdoor Sculpture Installation
1998 Lake Oswego, OR; Cook's Butte Memorial Boston, MA; Boston City Library, 'The Space of Speech'; 'Under the Covers'
1996 Boston, MA; Vendome Firefighter's Memorial. Installed 1997; ($200,000) Providence, RI; Convergence IX, International Sculpture Conference, Public Installation Lowell, MA; The Brush Art Gallery; 'A Mill Woman's Day', Public Installation Cambridge, MA; 'Work Talks ' One person Installation Boston, MA; The Invisible Cities Group; Public Installation Massachusetts Cultural Council Grant: 'Our Own Stories': Cambridge's Teenage Closet'
1994 Ogunquit, ME; Town of Ogunquit, Permanent Sculpture Installation Boston, MA; Urban Arts, Public Art Project : ' Youth Works/Art Works: In Our Own Words' Cambridge, MA; Performance piece commissioned for 'The Cambridge River Festival'
1993 Providence, RI; Roger Williams State Park, Commission: Sculpture Installation Topsfield, MA; Bradley Palmer State Park, Commission: Sculpture Installation Attleboro, MA; Attleboro Museum, Commission: Sculpture Installation Massachusetts Highway Department, Central Artery Tunnel Project, Public Art Commission
PUBLIC ART COMPETITIONS: DESIGNATED FINALIST
2016 The Jewish Community Foundation of Greater Hartford Aim Chai Public Art Project, Hartford, CT
2013 City of Boston, Vince Droser Tribute, Boston, MA
2010 Brighton Public Library, Boston, MA
2006 Babi Yar Memorial Park, Denver, CO State Police Headquarters Public Art Project, Kansas City, MO
2005 State of Delaware, W.W.II Memorial, Dover, DE State of Connecticut, Fitch Home for Veterans, Darien, CT.
2004 September 11th Memorial, Rockville, MD
2003 Massachusetts State Firefighters Memorial, Boston, MA Fire Station No 14 Public Art Project, Tampa, FL 9-11 Memorial, Rockaway, NY
2002 State of Massachusetts Police Memorial, Boston, MA Eggleston Square Library, Public Art Project, Boston, MA
2001 Veterans Memorial, Mercer Island, WA
2000 Mount Auburn Cemetery, New Grotto Proposals, Cambridge, MA
1994 Vietnam Women's Veterans Memorial, Washington, DC
WHY WORDS WORK Integrating text and form are powerful components of public art:
They take you there. Real voices, of real people, bring the experience to life.
You can identify. You read the words of a real person you can identify with.
You participate. You read and think about what you have read.
They offer complexity and diversity. They allow for the inclusion of many roles, persons, attitudes, experiences, and places.
They involve you on many levels. They educate, they remind, they inspire, they generate curiosity. Powerful texts help you feel AND think.
Each visit brings a new experience. You may reinterpret a quote you read on an earlier visit, or you may relate the words to another text or to the sculptural form in a new way. BÉATRICE CORON New York, NY beatricecoron.com [email protected]
For the last 20 years, I have been exploring visual storytelling in artist books, paper cutting and public art. Collecting memories from individuals and communities, I stage narrative allegories in silhouette to create a dialogue with the viewer in playful fantasies. .
I have installed public art projects in the U.S. and France. From free-standing to architectural elements, these installations are created in metal, glass, stone or mixed media. I am working closely with a South Bronx developer to conceive concepts and fabrication of ironwork (railing, balconies, fences, sitting areas). Four buildings have been completed and we are working on a new project in Brooklyn. In most of these projects there is a community participation.
My process of creation is to capture stories about what is unique to the place. First I research. I read books, look at websites, and when possible organize workshops to understand the wishes and concerns of people who know the place.
Then I research a concept that can be accessible to all commuters. My goal is to invite the public to pause and bring their own ideas finding personal interpretation to reclaim their imaginative powers. Each design can be “read” on several different levels, and can be enjoyed by children and adults alike.
My experience in public art has taught me to approach each creation in a practical way, and to be very careful about materials and budget. Attention to detail ensures safety and low maintenance. I am accustomed to coordinating a project with multiple agencies and meet deadlines.
Each project is unique and follows its own path. However, my past experiences taught me to keep an open mind as to how to process information and keep the dreams of my inner vision balanced with the reality of fabrication and budget. My recent projects have reinforced my interest in metaphors and collected memories shared with the public.
Top to bottom: A Sense of Directions, 2016, Lancaster, PA; Tree of Knowledge, 2009, San Jose, CA; Bronx Literature: Nicholasa Mohr, 2006, NYC www.beatricecoron.com printed April 2016 online update at www.beatricecoron.com/CV.html Resume Public Art 1 of 2 “A Sense of Directions” Martin Luther King swimming pool, Lancaster, PA, 2016 Budget $ 35,000 19 metal fences depicting different locomotions, gates with a quote of Martin Luther King “On the Right Track” 104th St station, A train, New York, 2015 stainless steel and hand soldering Budget $ 140,000 A giant deck of 24 cards that represents positive and uplifting moods that passengers might choose to endorse for their day.
“Dreams”, Harbor Gateway Silver Line Subway Station,Los Angeles , 2015 Budget $ 7,000 Vinyl applied on existing canopy- Looking up and upward with Los Angeles’ angels.
“Cultivate your Mind in the Orchard of Knowledge” 2009, Santa Teresa Public Library, San Jose, CA, Budget $220,000 Antique Blown glass, flamed granite and Stainless steel. Commissioned by the City of San Jose, California. An allegorical environment composed of: - “Fruits of Knowledge Walk” , which are 27 pages (10 x 8”) and a mat of granite and stainless steel embedded in walkways - “BiblioTree” a 10’ x 6‘ stainless steel tree composed of writing systems and library materials. - “Tree of Knowledge” 3 concentric glass rings depicting San Jose’s history and growth, one 80” diameter, two 40” diameter “Floating Memories” 2008, Bell Tower, 7380 E. 2nd Street, Scottsdale, AZ Budget $ 5400 cut Tyvek. Commissioned by the City of Scottsdale. Eight papercut banners (45” x 10‘) with 24 iconic scenes from the region are hanged at the top of the Bell Tower from Sept to Dec2008.
“Tell Me A Story” 2008, Aurora, CO, Metal bench -the Ruley Building- 53” x 22” x 40”- Budget $ 2,500 commissioned by “The Intersection of Art and Function” program, Aurora, Colorado
“Energie” 2007 Sport facility, Tigery, France, Stainless steel and LED- 16’ x 3‘ Budget $ 18,300 A curved ramp with sport silhouettes. LED animation has different programs animated by motion sensors. Commissioned by the City of Tigery.
“Postcards From North Carolina” -2007, Douglas Intl Airport. Charlotte, NC Budget $105,000 cut aluminum- three murals 20’ x 6’, and three 10’x 6’ The must-see of the region with Charlotte skyline, the mountains and seascape sceneries, while the trees reference the many historical roots of the region. Commissionned by Arts & Science Council
“Patterns of Life” 2006, Chelsea House 130 West 19th Street, New York City - stainless steel & mirrors Budget: $ 90.000 shadow boxes (9’6”x18”) at street level on the building façade and etched mirrors( 10‘ x 5’) with the same motif on each floors Commissioned by Suzanne Randolph Fine Arts for the Clarett Group.
"Bronx Literature" 2006, Burke Station, line 2, The Bronx,, New York: 164 square feet of faceted glass Budget: $ 105,500 Commissioned by New York Metropolitan Transportation Authority. Location: Burke Avenue, line 2, The Bronx, New York A subway station about Bronx and Bronx-inspired writers: Edgar Allan Poe, Sholem Aleichem, James Baldwin, Nicholasa Mohr.
“Seeds of the Future are Planted Today” 2004, Kostner Station, Chicago, 2004 Four stainless steel fences (two 10 ’x 6’, 6’ x 6’ and 7’ x 6’) Commissionned by CTA - Budget: $ 81,000 Connections in commuting and in states of mind are illustrated in four decorative fences (cut by water-jet technique) Working with a structural engineer, and CTA architect I modified my drawing several times for new security requirements
"Working in the Same Direction" 2003, Staten Island, New York City, 2003, 16’ x 9’ stainless steel sculpture with 2 working weathervanes Budget: $ 81,000 Commissioned by the New York City Fire Dpt, the Dpt of Design & Construction, and the Department of Cultural Affairs & for the Arts A free-standing stainless steel open book with 2 working weathervanes emphasizes the common goal of both agencies and celebrates the first merger station of firemen and EMS workers in New York City. Architectural Work “Graffiti”, 2016, cut windowguards and metal screens for lobby, 2016, commissioned by BlueSea Development budget $80,000 “On the Move”, 2013, Oak Park, Illinois, cut stainless steel fences. “Arbor House”, 2013, 770 East 116th St, The Bronx, 2013, cut metal panels, windowguards, fences budget $ 250,000 “Books”, 2011, Book conservation, Metropolitan Museum, architectural railing, commissioned by the Metropolitan Museum “The Melody” 2011 Macy place, South Bronx, New York . Garage openings, windowguard, rubber mat, vinyl sets, lobby mural, balconies for an affordable housing commissioned by BlueSea Development budget $ 250,000 “Twirls” 2010, Fox-Leggett building, South Bronx, New York . Garage opening, windowguards and fences for an affordable housing “Wild Flowers” 2009, Melrose Commons 5, 429 East 156th Street, South Bronx. Fences and windowguards for a low income housing “Rue des Prairies” 2009, Paris, France, stainless steel fences and gates for a residential property “Have a Ball” -2006, Kent, Washington: entrance sign for the baseball field. Powder-coated aluminium 20’ x 5‘- Béatrice Coron Llc 372 Central Park West #20D, New York, NY 10025 Studio: 392 Central Park West #3T New York, NY 10025 [email protected] tel 718-737 5571 www.beatricecoron.com printed April 2016, online update at www.beatricecoron.com/CV.html Resume
Testimonials 2 of 2
Testimonials videos from David Mc Fadden, chief curator at the Museum of Arts & Design, Lydia Bradshaw, project manager at Arts for Transit and Les Bluestone, reak estate developer at : www.youtube.com/cutstories other weblinks of interviews, videos and podcasts at www.beatricecoron.com/press.html
Other Commissions and invitations:
TED Speaker, Long Beach, CA 2011 TEDx Cape May 2013 Hugo Boss Meatpacking district Windows, June 8- Aug 3, 2010: 2 cut & painted papercuttings 110 x 45” The Mannequin Collective, Santa Monica, CA August 2010, commissioned by Hugo Boss “All Around Town”, 2010, artcard poster for line 6, E, F, W, Q commissioned by New York Metropolitan Transit Authority
Pre-qualified Artist Pool for Public Art :
Los Angeles, Santa Cruz, California; Iowa Art in State Buildings Program ; Washington State; Evanston, Illinois; Tucson, Arizona; MTA, Maryland; Richmond, British Columbia, Canada
Collections Museums and Collections
Metropolitan Museum of Art, New York, Prints and Drawings; Walker Art Center, Minneapolis; The Getty, Los Angeles; MOMA , New York; Achenbach foundation, San Francisco; National Gallery of Art, Washington, DC; Museum of Fine Arts of Boston, Hunt Library; New York Historical Society; National Museum of Women in the Art, Washington, DC; Museum of the City of New York; Musée Saint-John Perse, Pointe-à-Pitre Guadeloupe; Brooklyn Museum Musée de la Miniature, Lyon, France; Musée de l'hospice Saint-Roch, Issoudun France; City of Phoenix, Portable Works Collection; Musée Baron Gérard, Bayeux, France; AGO, Toronto, Canada Monaco Public Library San Francisco General Hospital, Intensive Care Children Unit St Mary’s Children hospital, Queens, New York Principauté de Monaco Princess Haya of Jordania’s collection Fidelity Investments Collection, USA Libraries and Universities
Atheneum la Jollia, California. Brown University, Rhode Island. Connecticut College. Columbia College Library, Illinois. Florida Atlantic University, Arthur Jaffe collection. Louisiana State University, Baton Rouge. Mills College, California. Otis College of Art and Design, Los Angeles. Occidental College, Mary Norton Clapp Library, Los Angeles. Stanford University, California. Princeton University Firestone Library, New Jersey. U.C.L.A., California. Rutgers University Libraries (Newark, Dana library, Jazz collection; New Brunswick, Roebling Collection) New Jersey. University of Connecticut. Oberlin College, Ohio. University of Louisiana, Lafayette. University of Louisville, Kentucky. University of Minnesota. Burton Barr Library, Phoenix, Arizona. Temple University, Pennsylviana. Yale University, New Haven, Connecticut. University of Miami, Richter library, Florida. University of Toronto, Canada. Toronto Public Library. Swarthmore College, Pennsylvania. The Boston Athenæum. Topeka Public Library, Kansas. University of Delaware. Washington University, St Louis, Missouri.
French cities libraries: Albertville, Albi, Amiens, Annecy, Antibes, Aurillac, Auxerre, Bayonne, Becherel, Besançon, Bézier, Boulogne-Billancourt, Brest, Chalon en Champagne, Chalon-sur-Saône, Chambéry, Cherbourg, Clermont-Ferrand, Dijon, Douai, Dunkerque, Grasse, La Rochelle, Le Havre, Issoudun, Issy-les-Moulineaux, Lille, Limoges, Lourdes, Lyon, Metz, Montauban, Montpellier, Mulhouse, Nantes, Narbonne, Nice, Niort, Oullins, Quimper, Rennes, Riom, Royan, les Sables d'Olonne, Saint-Brieuc, Saint-Priest, Saumur, Sens, Sète, Strasbourg, Toulouse, Vannes
Béatrice Coron Llc 372 Central Park West #20D, New York, NY 10025 Studio: 392 Central Park West #3T New York, NY 10025 [email protected] tel 718-737 5571
TIM DE JONG Wimberly Glassworks San Marcos, TX wgw.com [email protected]
Our studio’s vision is to create dynamic, engaging, three dimensional glass art installations that welcome visitors by provoking the imagination and creating a sense of awe and excitement. Creating artwork in glass captures the emotional influence of color, liveliness of light, and dynamism of form. The captivating nature of art glass will continually be fascinating to all members of the public.
We believe in being present throughout the entire project, for a truly unique and well situated installation. We take into account the feeling of the space, the scale, and the emotion we are endeavoring to evoke from the surrounding architectural elements. These ideas are then developed into renderings and models to understand how the piece will function in the intended space. Physical mockups will ensure the project is up to engineering standards as well as meeting our artistic intention. Technical drawings and instructions are created for all teams involved in execution. The glass is created to defined, specific standards, while at the same time maintaining the character of hand-blown glass. Finally, the project will be delivered on time and installed with the utmost respect for safety, the art and the space.
Wimberley Glassworks has worked for over eleven years to create some of our largest and most prestigious projects throughout the United States. By investigating multiple artistic approaches and recommending a design option that fits both the vision and budget of each project, we are confident we can devise an approach that exemplifies the particular project’s goals, while exceeding the requirements for safety and function.
Our in-house creative team includes four glass artisans, led by Tim de Jong, and a lighting designer who makes our artistic projects a reality. We have collaborated extensively with designers, architects, builders and other artists. One of our most fruitful partnerships has been with Granite Properties with whom we have collaborated with on many of our largest projects. In the words of David Cunningham, Granite Properties Director of Development and Construction, Wimberley Glassworks “has been a vital creative partner in helping Granite to ‘brand’ our new buildings with stunning one of a kind lobby lighting ensembles…[i}t’s been fun, thought provoking and fulfilling to have been able to work with a true artist who can think outside the box.”
Top to bottom: The Jewel, 2011, Texas Children’s Hospital, Plano, TX; Soft Motion, 2009, Dallas, TX; Sea and Sky, 2014, Glendale, CA TIM DE JONG Wimberley Glassworks Gallery & Studio 6469 Ranch Road 12, San Marcos, Texas 78666 512-213-0923 Gallery 512-415-6135 Cell [email protected]
PROFESSIONAL EXPERIENCE Wimberley Glassworks – Wimberley, Texas. President 1992 – present Carriage House – Philadelphia, Pennsylvania. Owner and Head Gaffer 1986- 1992 Art Park - Lewiston, New York. Swedish Glassblowing Apprenticeship 1983
EDUCATION Temple University’s Tyler School of Art, Philadelphia. Bachelor of Fine Arts - Glass Alfred University, New York. Emphasis in ceramics, sculpture, and glass.
AWARDS & RECOGNITIONS Business of the Year – Wimberley Chamber of Commerce 2006 Texas Commission of the Arts Award 2006 Distinguished Achievement Award-Alfred University 2009 ADEX Platinum Awards 2015
PROFESSIONAL AFFILIATIONS Wimberley Chamber of Commerce San Marcos Chamber of Commerce Wimberley Merchants Association Texas Society of Architects, AIA
COMMISSIONS
• Texas Star Chandelier 2000, Sam Houston Memorial Museum, Huntsville TX • Oak Tree Chandelier 2004, BOKA Powell - Architect Granite Park III, Plano, TX • Art Glass Lighting 2003, Staffelbach - Interior Architects Granite Park III Offices, Plano, TX • Falling Embers 2004, Interprise Design - Interior Architects Spectrum Center, Addison, TX • Sunrise at Matagorda Bay 2006, Kirksey Architecture Westchase II, Houston, TX • Soft Motion 2009, Good Fulton & Farrell Architects, Park 17, Dallas, TX • River of Glass 2013, PGAL - Granite Briarpark Green, Houston, TX • Sea & Sky 2014, CBRE – Granite North Brand, Los Angeles, CA • The Jewel 2011, Pavilion for Women. James O’Neill, AIA, Inventure Design, Texas Children’s Hospital, Houston, TX • Riverstone Ensemble 2012. Whitney Harris & Mark Smith, ESPY Corporation, Dripping Springs, TX • Custom Chandeliers 2012. Whitney Harris & Mark Smith, ESPY Corporation, Dripping Springs, TX • Riverstone Ensemble 2011. Olutola Adetona MD & Omolola Adetona DDS, Practical Approach Pediatrics • Sculpted Glass Cross 2014. Spring Cypress Presbyterian Church, Spring, TX • Abundance 2015. BOKA Powell – Architect, Granite Park IV Offices, Plano, TX • Over 11,000 private collections
MOLLY DILWORTH Brooklyn, New York mollydilworth.com [email protected]
My projects are built from the ground up, beginning with research about a particular site, with an emphasis on things that have an effect on our daily lives but exist below the level of conscious experience. The work is always drawn from site data – historical, geological, sociological – so the resulting piece is relevant and engaging to the community in which it is made.
I have partnered with government agencies, green building and climate change activists, arts organizations and community organizations to make public art pieces that offer viewers an opportunity to reflect on their surroundings.
I have been a member of an artist collective (Red Shoe Delivery Service), worked in a advisory capacity to plan public art in Jackson Hole, WY, and to help with programming in artist residencies in New York, Vermont, Kansas and Oklahoma. I've worked closely with several communities to produce temporary and permanent public art in New York, Colorado, Kansas, Oklahoma and Washington
Top to bottom: Field Test,; 2011, New York, NY; Fort Industry, 2015, Toledo, OH; Cool Water, Hot Island, 2010, Times Square, New York, NY Molly Dilworth [email protected] 117 Dobbin #205, Brooklyn, NY 11222 646.515.5161 mollydilworth.com
EDUCATION MFA 2003 New York University, New York, NY BFA 1999 University of Washington, Seattle, WA
AWARDS/FELLOWSHIPS/GRANTS 2016 Tulsa Artist Fellowship, George Kaiser Foundation 2014 Third Culture Conversations, University of Oregon Art & Science Fellowship 2013 Brooklyn Arts Council Community Arts Fund Grant 2012 Pollock-Krasner Foundation Grant New York Foundation for the Arts Painting Fellowship Vermont Studio Center Fellowship supported by the Pollock-Krasner Foundation 2011 Van Lier Fellow in the Art & Law Residency Program 2010 Rema Hort Mann Foundation Award nominee
SOLO EXHIBITIONS AND PROJECTS 2016 Time Present, Sculpture for the 40th and Airport light rail station, Denver, CO 2015 2421 Miles, Garden design for All-Rise, public programming for a city block, Seattle, WA 2015 Fort Industry, Mural and community artist project, Toledo, OH 2014 International Sign Language, Cedar Crest College, Allentown, PA 2013 Sans Souci, David B. Smith Gallery, Denver, CO Ghost Acre, The James Hotel Urban Garden, New York, NY 36°30’, Michigan State University School of Law, East Lansing, MI 2012 All Night Forever, exhibition and public artwork, Salina Art Center, Salina, KS 36°30’/WFC, World Financial Center Winter Garden, New York, NY 2011 Paintings for Satellites/LIC, Commissioned by Seek Art, Queens, NY Field Test (NYC), Site-specific Painting for Pulse Projects, Pulse Art Fair, New York, NY 2010 Paintings for Satellites/350, rooftop painting in conjunction with 350.org and NYC CoolRoofs Cool Water, Hot Island, commissioned by The Mayor’s Fund/DOT, Times Square, NYC 2009 Dispersion, Feldman Gallery, PNCA, Portland, OR
GROUP EXHIBITIONS 2015 Fluid, Newhouse Center for Contemporary Art, Staten Island, NY, curated by Jesse Hamerman Use Values, Spring Break Art Fair, New York, NY, curated by Sarah G. Sharp RESPOND, Smack Mellon Gallery, Brooklyn, NY (co-organizer and exhibitor) 2014 Offline, Radiator Gallery, Queens, NY 2013 The Cartography of the Unseen, Holon Institute of Technology, Holon, Israel 2013 6 Years In: The Warehouse, Salina Art Center, Salina, KS 2013 Brooklyn Utopias: In TRANSITion, The Old Stone House, Brooklyn, NY 2013 We Know Not Exactly Where or How, Open Source Gallery, Brooklyn, NY 2012 Spontaneous Interventions: design actions for the common good, U.S. Pavilion, 13th International Venice Architecture Biennale Group Exhibition, David B. Smith Gallery, Denver, CO Happy Birthday: A Celebration of Chance and Silence, Feldman Gallery at PNCA, Portland, OR 2011 Art and Law Residency Exhibition, SculptureCenter, New York, NY Selections from the Cultural Corridor VI, Storefront Artist Project, Adams and Pittsfield, MA Group Exhibition, David B. Smith Gallery, Denver, CO Lodge 441, New Museum Festival of Ideas, New York, NY The Open Daybook Exhibition, LACE, Los Angeles, CA Habitat, Foothills Center for the Arts, Golden, CO Speculative Topographies, BADCAT Mobile 1 Gallery, NYC 2009 Architecturally, Hendershot Gallery, New York, NY Suddenly: Where We Live Now, Seattle, WA, Pomona College Museum of Art, Claremont, CA, Cooley Gallery, Reed College, Portland, OR Exquisite Corpse, Paul Robeson Galleries, Rutgers, NJ Pure Intangibles, Mandrake Bar, Los Angeles, CA Visionary Drawing Building, Mass MOCA La Superette, Eyebeam, Deitch Projects, Participant, Inc., New York, NY (2003-2009) 2007 Psychaedelis Domesticus in collaboration with Marina Zurkow,Contemporary Baroque – Extreme Excess, BM-Suma Contemporary Art Center, Istanbul, Turkey 2005 Red Shoe Delivery Service, Melbourne International Arts Festival, Melbourne, Nottdance Festival, Nottingham, Swiss Institute of Contemporary Art, NYC, Time Based Art Festival, Portland, OR, (2003-2005)
RESIDENCIES AND PROFESSIONAL EXPERIENCE 2016 Featured Artist, Volunteer Lawyers for the Arts Benefit, New York, NY 2014 Artist in Residence, Smack Mellon Residency, Brooklyn, NY 2014 Visiting Artist, Low-res MFA Program, Pacific Northwest College of Art, Portland, OR 2014 Visiting Lecturer, Drawing Class, Queensborough Community College, Queens, NY 2014 Third Culture Conversations Conference presenter, University of Oregon, Eugene, OR 2013 Artist in Residence, LMCC Workspace Program, New York, NY Artist in Residence, Catwalk, Catskill, NY 2012 Artist in Residence, Recess at the Pioneer, New York, NY Artist in Residence, Vermont Studio Center, Johnson, VT Artist in Residence, Salina Art Center, Salina, KS 2011 Visiting Lecturer, Christies Education, New York, NY Resident, AAl Lower East Side Studio Program, New York, NY Visiting Lecturer, School of Visual Art, New York, NY Foothills Center for the Arts Residency, Golden, CO Volunteer Lawyers for the Arts Residency, New York, NY 2010 Visiting Lecturer, Cardozo Art Law Society, New York, NY 2009 Visiting Artist, Pomona College Museum of Art, Claremont, CA 2008 Visiting Artist and Lecturer, Reed College, Portland, OR Visiting Instructor, MFA Seminar, BFA drawing and studio mentor, Pacific Northwest College of Art, Portland, OR Visiting Lecturer and Curator, The Searchers, Pacific Northwest College of Art, Portland, OR Assistant/Performer for MK Guth, Ties of Protection and Safekeeping, Whitney Museum of American Art, New York, NY. 2006 Curator, The Searchers, Elizabeth Foundation Gallery, New York, NY (traveling exhibition with catalog.) Curator, The Great American Store(age), Spring Gallery, Brooklyn, NY 2004-2005 Curator, Mobile Home for Red Shoe Delivery Service, TBA Festival, Portland OR, Nottdance Festival, Nottingham, Melbourne Festival of International Art, Melbourne 2004 Visiting Lecturer, Pacific Northwest College of Art, Portland, OR
PRESS Wired Magazine, Vision Quest: Doug Aitken’s tech-fueled, all-night… Clive Thompson, September 2013 Brooklyn Daily Eagle, Greenpoint artist’s mural is the talk of SoHo, Paula Katinas, May 13, 2013 Salina Journal, Integrated designs, Gary Demuth, June 1, 2012 The Atlantic Monthly, Satellite Art: One Woman Tries to Create Google Earth… Rebecca Greenfield, March 24, 2011 The Denver Post, Mural on Foothills center ceiling elevates artistry, Kyle MacMillan, January 23, 2011 The Telegraph, 350 Earth: Art that can be seen from space…, November 29, 2010 Artforum, 500 Words, Molly Dilworth, Stephanie Snyder, August 28, 2010 WNYC, The New Times Square Unveiled, Andrea Bernstein, May 23, 2010 Fast Company, Times Square Set for Colorful Makeover Before Summer's Tourist Rush, Jill Singer, May 24, 2010 Huffington Post, Molly Dilworth's "Cool Water, Hot Island" Makes A River In Times Square, May 25, 2010 Wall Street Journal, Artist to Paint The Great White Way Blue, Alexandra Cheney, May 26, 2010 Italian Vogue, Times Square: The "land art" of Molly Dilworth that will refresh New York…. Alice Capiaghi, May 31, 2010 El Pais, Pintando para los satellites, R. Bosco/C. Caldana, April 15, 2010 L’espresso, Opere d'arte da cogliere al volo, Filippo Brunamonti, March 2, 2010 Gizmodo.com, Paintings For Satellites: Rooftop Art Targets a Google Earth Audience, Brian Barrett, March 1, 2010 Inhabitat.com, Stunning Rooftop Paintings Visible from Satellites, Moe Beitiks, February 27, 2010 NY Daily News, Work’s outta this world, Erica Pearson, February 8, 2010 La Repubblica, Molly l'artista che dipinge sui tetti vista dal satellite, February 8, 2010 Artcat, Architecturally at Hendershot Gallery, November 17, 2009 New York Times, Exquisite Corpse at Rutgers, November 22, 2009 Pdxart.blogspot, Interview with Molly Dilworth, September 26, 2009 Afterall, 'suddenly: where we live now' at the Pomona College Museum of Art, Mia Locks, 27th May 2009 The Oregonian, "Suddenly" at Reed College, Brian Libby, September 23, 2008 Art Lies, The City, Naked, Stephanie Snyder, Summer 2008 New York Times, Art In Review, The Searchers, Martha Schwendener, December 22, 2006
PUBLISHED WORK fillip Magazine, Lightly Illegal, Winter 2009 Tricycle Magazine, Pour Painting/Rorschach #3 (illustration p. 128), Fall 2010 Faesthetic, Dumb Luck, Fall 2010 Outer Horizons, Paintings for Satellites, Winter 2011 SUSAN DOWELL Charlotte, NC sharondowell.com [email protected]
I firmly believe that creative placemaking communicates distinctiveness and generates connections across communities. Having completed several public art works in North and South Carolina, I am interested in expanding my work in other regional areas.
Intertwining themes course through my layered and vibrant paintings and public artworks. Interested in the documentation of memory and place, I strive to find beauty in often overlooked structures and spaces. At times, commentaries on the changing environment or social references surface. I incorporate the vigor, tension, and perceptions of an environment, often reflecting a sense of locality and history.
Additionally, my background in arts administration lends me a unique perspective and capacity for creating impactful and engaging public art. I enjoy the challenge of working within set parameters to find creative solutions, melding my artistic and business skills together. Community and location are key in creating visually stimulating spaces. Thus my process often includes historical research and feedback gathering. I am accustomed to managing large- scale budgets, sub-contractors, and installations.
I enjoy collaboration and the melding of different areas of expertise. I am currently working with Juan Logan Studios and Groundworks Studios, hand-painting the mural portion of their design for Rock Hill, SC's large-scale civil rights themed public walkway. I am also accustomed to working with sub-contractors to fabricate my designs into site- specific public art spaces
Top to bottom: Halcyon Idyll, 2016, CATS Transit, Charlotte, NC; Central Avenue Mural, 2009, Charlotte, NC; CATS Transit 30% Schematic Design, 2017 S H A R O N D O W E L L 2115 Dalehurst Dr. Charlotte, NC 28205 . 704.502.6880 . sharondowellgmail.com . sharondowell.com ------RELATED EXPERIENCE * full experience upon request Painter and Public Art Commissioned Artist, 2002 - present Sharon Dowell Art, LLC, Charlotte, NC • Design, create, and install projects, ranging from paintings, murals, mosaics, glass windscreens, laser-cut metal, powder coated metal, & digital media • Manage large budgets, sub-contract with designers, work closely with architects, city planners, and arts administrators to bring projects to successful fruition o Contractors collaborated with: Moonshadow Etchers, Daltile American Olean, TPM Printing, Colossal Media Murals • Project budgets range from $10,000 to $300,000 Arts Empowerment Workshop Instructor, 2016 Community School of the Arts, Charlotte, NC • Teach art workshops to youth impacted by violence and abuse • Work with the Art Empowerment program on curriculum and strategies Rowe Galleries Manager + Adjunct Professor (part-time), 2012 - 2015 College of Art and Architecture, University of North Carolina at Charlotte Corporate Art Consultant + Social Media Coordinator (part-time), 2011-2012 RedSky Gallery, Charlotte, NC Gallery Director, 2004 - 2010 Center of the Earth Gallery, Charlotte, NC PUBLIC ART COMMISSIONS • CATS Transit 11th St. and I-277 murals, light rail expansion, Charlotte, NC, Jan 2016 • Woolworth Walkway Mural, Rock Hill, SC, Summer 2016 • United Buddy Bear sculpture (with Berlin residency), Main Library, Charlotte, NC, 2014 • Piano Project painting commission, ASC + Charlotte Center City Partners, 2014 • ArtPop! Billboard, ASC + Adams Outdooor, 2014 • News Rack Art Initiative, ASC + Charlotte Center City Partners, 2014 • Mural, digital media on vinyl, Cornelius Arts Center, Cornelius, NC 2014 • History of Concord Walkway Mural, digital media on metal, City of Concord, NC, 2013 • Friends of the Library Gala, mural, Main Public Library, Charlotte, NC, 2013 • CATS Transit, 25th St Station art design, Blue Line light rail, Charlotte, NC, 2011-2017 • Triangle Transit Bull City Connector bus shelters, Durham, NC, 2010-2016 • CATS Transit TPSS, signal houses, & cc’s design, Blue Line light rail, Charlotte, NC, 2009 • Arts & Science Council public mural on vinyl, Central Avenue, City of Charlotte, 2008 Collections * full list upon request • Pricewaterhousecoopers, BLT Steakhouse (Ritz Carlton), Carlisle & Gallagher Consulting, Duke Energy, Federal Reserve Bank, Fidelity Investments-Raleigh, Marriott- Chicago O'Hare, Renaissance Hotel-DC, SPX Corporation, UNC Charlotte, Parker & Poe Selected Solo Exhibitions • Sharon Dowell: Re, Gallery Seventeen, Greenville, SC, 2014 • Sharon Dowell: Against The Tide, Water Works, Salisbury, NC, 2013 • Pendulum, University of North Carolina at Charlotte Student Union Gallery, 2010 • Sharon Dowell: Substrata, Duke University, Louise Brown Gallery, 2010 • Swing, Cone Center Gallery, University of North Carolina at Charlotte, 2002 Selected Exhibitions * full list upon request • Art Faculty Biennial Exhibition ’14, UNC- Charlotte, Rowe Galleries, 2014 • Forged Landscapes, Sharon Dowell + Ahmad Sabha, Ross Gallery, CPCC, 2013 • CATS Blue Line Extension Exhibitions, Storrs Gallery & McColl Ctr for Visual Art, 2013 • The Green Shadow, McColl Center for Visual Art, Charlotte, NC, 2012 • Tram Bui, Sharon Dowell, & Francisco Mora, Davidson Galleries, Seattle, WA, 2010 • Kantry Days, NES, Skagastrond, Iceland, 2010 • Crash: Sharon Dowell, Sean Richards, & Derek Toomes, Flanders Art, Raleigh, NC, 2010 • Converging Trajectories, Modified Arts, Curator: Ted Decker, Phoenix, AZ, 2010 • KiptonART silent auction, Friends of the Arts Benefit, Christies New York, 2009 S H A R O N D O W E L L 2115 Dalehurst Dr. Charlotte, NC 28205 . 704.502.6880 . sharondowellgmail.com . sharondowell.com • Elements: Sharon Dowell & Susan Poindexter, Thomas Deans Gallery, Atlanta, 2008 • Seen & Unseen: Sharon Dowell & Patrick Glover, Center of the Earth Gallery, NC, 2008 • Winter Show Invitational, Green Hill Center, Greensboro, NC, 2006 • New & Hot North Carolina, Lee Hansley Gallery, Raleigh, NC, 2006 • Generations 04, A.I.R. Gallery, Chelsea, New York, NY, 2004 • Prevailing Human Spirit, Society of Illustrators Museum, New York, NY, 2001 • Recycled Art juried exhibition, Tampa Museum of Art, Tampa, FL, 2000 Lectures • TEDxCharlotte, Sharon Dowell: Anxiety as Fuel for Artistic Creativity, 2014 • Sharon Dowell on Public Art: An Artist’s Perspective, Mint Museum, Charlotte, NC, 2014 • Leadership Charlotte Panelist Speaker, Foundation of the Carolinas hosted panel, 2013 • East Mecklenburg High Guest Art Lecturer, Bechtler Museum Summer Art Camp, 2012 Grants • Project Art Aid/Knight Foundation Matching Grant, 2014 • Arts and Science Council Regional Individual Artist Project Grant, 2011 • Seventh Street Windows, McColl Center for Visual Art Grant, 2011 • Arts and Science Council Regional Individual Artist Project Grant, 2009 Artist Residencies • United Buddy Bear Artist, Berlin, Germany, 2014 • Julia and David Artist’s Colony, Ciudad Colón, Costa Rica, June 2013 • Tyrone Guthrie Center, Annaghmakerrig, Ireland, April 2012 • McColl Center for Visual Art, Summer Affiliate, Charlotte, NC, April-September 2011 • NES Artist Residency, Skagastrond, Iceland, July 2010
COMMUNITY ENGAGEMENT Regional Individual Art Grants Panelist, ArtsGreensboro, 2015 Condom Couture Fashion Show Fundraiser Planning Committee, Planned Parenthood, 2015-2016 Community Supported Art Grants Panelist, Arts and Science Council, 2014 Exhibition Program Committee Member, McColl Center for Visual Art, 2013-present Cultural Project Grant Panelist, Arts and Science Council, 2009 DNC Project Public Art Committee Member, 2012 Mayor’s Legacy Village Artist, Democratic National Convention, Charlotte, NC 2012 YMCA Exquisite Corpse Art Project, McColl Center for Visual Art, 2011 PRESS & PUBLICATIONS * full list upon request Charlotte Observer, Front Page: “Art Comes to the Blue Line,” Jan 2016 Charlotte Observer: “Charlotte City Council Oks artists for light rail,” Jan 2015 Charlotte Viewpoint Magazine, “Capturing The Energy Of Place In Paint,” Feb 2014 QC Exclusive Magazine, “The Exclusives: Meet The Artists,” Jan 2014 Made In The Carolinas: Sharon Dowell, TWC News video feature, 2014 Creative Loafing, Cover with John Love, Jr., Thanksgiving 2013 issue WFAE Interview-Julie Rose: “New Take On Collecting Gives Donors A ‘Taste’ of Local Art,” 2013 Charlotte Business Journal, Cover, Dec 2012 WCNC News, Sonja Gantt interview of Sharon Dowell and John Hairston, Jr., Sept 2012 Charlotte Observer: “Sharon Dowell: Painter and Public Artist,” Nov 2011 Charlotte Magazine: “Who’s Next?” Cover and feature article, Sept 2011 McColl Center for Visual Art Youtube: “Sharon Dowell: 2011 Open Door Interview” Studio Visit Magazine-Volume 10, featured artist Art Business News, Preview, Cover, March 2005 EDUCATION MAAA degree candidate, Winthrop University, projected graduation May 2016 BFA degree, Cum Laude, University of North Carolina at Charlotte, 2002 AA degree, Cum Laude, Florida College, 2000 TALLMADGE DOYLE Eugene, OR tallmadgedoyle.com [email protected]
My public art projects have been fueled by my love of the natural world and the weaving together of its flora and fauna into a unifying whole. More recently I have come to appreciate the magic of visualizing and conceiving images that tell a story. I see public art as a vehicle for bringing to light cultural, natural, historic, and other unique aspects of a community into a graphic and dynamic visual narrative. For me this is an opportunity to integrate art in a highly visible and historical context that will affect the everyday life of our community's citizens in a meaningful, positive manner.
My initial foray into permanent public art installations was at the University of Oregon’s Ford Alumni Center where I installed twenty one etched and painted copper plates representing a sampling of the native flora and fauna of Oregon. I am interested in continuing this fabrication method of etched panels that allows for a unique, detailed, and painterly approach to image making which can be applied to permanent installations.
I enjoy the creative collaboration necessary to generate architecturally scaled, community owned art. I thrive on the challenge of creating imagery within public art that will provide both varying degrees of subtlety and graphic impact at a given viewing distance while successfully integrating with each project’s architectural elements. I relish opportunities to work with teams of architects, designers and fellow artists to create public art which expands my art practice and knowledge base as well as teaches me the benefits and pleasures of the collaborative process. I have created and negotiated budgets, organized fabricators, and participated on committees to develop solutions for design and planning issues within site specific public art.
Top to bottom: Contemplari Natura, 2011, Eugene, OR; University Beacon Day, 2012, Eugene, OR; Seed Pods, 2015, Corvallis, OR TALLMADGE DOYLE www.tallmadgedoyle.com [email protected]
EDUCATION Bachelor of Fine Art – Drawing, Silversmithing - Cleveland Institute of Art, Cleveland OH Masters of Fine Art – Printmaking, Painting - University of Oregon, Eugene OR
SELECTED SOLO EXHIBITIONS 2016 Davidson Gallery - Shifting Migrations - Seattle WA upcoming 2015 Augen Gallery - Shifting Migrations - Portland OR 2014 Karin Clark Gallery - After the Storm - Eugene OR 2012 Davidson Gallery, Contemplari Natura - Seattle WA 2012 Linn Benton Community College, North Santiam Gallery - Albany OR 2011 Karin Clarke Gallery, Contemplari Natura - Eugene OR 2010 Museum of Natural History and Culture, University of Oregon - Eugene OR 2009 Art Center Gallery, Umpqua Community College - Roseburg OR 2008 Davidson Gallery, Celestial Menagerie - Seattle WA 2008 Augen Gallery, Celestial Menagerie - Portland OR 2008 Jacobs Gallery, Celestial Menagerie - Eugene OR 2007 Eugene Downtown Public Library - Eugene OR 2006 Chase Gallery - City Hall - Spokane WA 2005 Augen Gallery – Mysterium Cosmographicum – Portland OR 2003 Newport Visual Arts Center - Origins of Medicine - Newport OR 2002 Lane Community College Art Department Gallery - Eugene OR 2002 John and Betty Greay Gallery – Northwest Print Council - Portland OR 2000 Cambell Gallery - Inside OutsideViews of Nature - Western Oregon University – Monmouth OR
PUBLIC ART PROJECTS 2016 Courtyard Enclosure Fence, Driver Relief Building, EmX Transit - Laser cut powder coated steel Lane Transit District - in process - Eugene, Oregon 2016 EmX Transit West End Stations – Laser cut steel railings – in process – Eugene, OR 2015 Oregon State University - Strand Hall Renovation 2015 – Oil Paintings commission for large scale reproduction - Administered by OSU Planning and Development 2011 University of Oregon Ford Alumni Center - Contemplari Natura - 1% for the Arts, administered by Oregon Arts Commission - Copper panel installation on 30 foot hearth wall, Eugene, OR 2003 Life Out of Balance - Lead artist for community based temporary installation project funded through Oregon Arts Commission/Lane Arts Council - Art Builds Community Grant PUBLIC COLLECTIONS City of Seattle Portable Works Collection - Seattle WA Hubei Institute of Fine Art Collection, Hubei China Jingdezhen Ceramic Art Institute Permanent Collection - Jingdezhen City, Jiangxi China Museum of Castiglione, Abruzzo, Italy University of Hawaii at Hilo Permanent Collection – Hilo HI Dedalo Center for Contemporary Art - Abruzzo Italy University of Amman Applied Sciences Collection, Amman Jordan Loyola University Permanent Collection, Chicago, IL Regional Arts and Culture Council Portable Works Collection - Portland Oregon Portland Art Museum - Gordon Gilkey Center for Graphic Arts - Portland OR Multnomah County Central Library Special Collections - John Wilson Special Archival Portfolio – Portland OR Lane Community College Center Building Collection - Eugene - OR Pacific Northwest College of Art – Portland OR Southern Graphics Council International Archives McHenry College Print Collection, Crystal Lake, IL Umpqua Community College Permanent Collection – Roseburg OR Tweed Museum of Art, University of Minnesota - Duluth MN University of Oregon Erb Memorial Union Permanent Collection - Eugene OR University of Oregon Straub Hall Permanent Collection Oregon State University College of Agriculture Science, Art About Agriculture, Corvallis The Cleveland Art Association, Cleveland, OH Pacific Source Corporation – Springfield OR Lane Community College Health Building Collection University of Alaska, Anchorage, Print Collection RECENT AWARDS and RESIDENCIES 2016 Ford Family Foundation Mid Career Residency Award 2016 Playa - Artist Residency 2015 Printmaker's Hand - Corvide Press, Northwind Arts Center, Port Townsend WA – Juror's award 2014 Northwest Art Annual - Purchase Award - Eugene, OR 2013 Honorary Award, Larry Sommers Fellowship for Research of non-toxic printmaking 2011 Hallie Ford Foundation Golden Spot Residency Award – granted through Sitka Center for Art & Ecology 2011 Mayors Art Show - Jacobs Gallery, Eugene, OR – Best in Show 2010 Sitka Center for the Arts and Ecology – Artist's residency 2009 Mayors Art Show - Jacobs Gallery, Eugene OR – Jurors Award 2005 Los Angeles Print Society 18th National - Armory Art Center, Pasadena - Juror’s Award 2004 Loyola University of Chicago Biennial - Crown Center Gallery - Purchase Award 2004 Pacific States Biennial National Print Exhibition – University of Hawaii, Hilo - HI - Purchase Award 2004 4th Minnesota Print Biennial - Wiesman Art Museum, Minneapolis, MN Purchase Award RECENT JURIED EXHIBITIONS 2016 Biennial International Miniature Print Exhibition - Vancouver British Columbia 2016 Artworks Northwest Annual - Umpqua Valley Art Center 2016 A-6 Small Prints 2016 - Bend OR 2016 Whitaker Printmaking National Juried Exhibition - Eugene OR 2015 35th Cadaques International Mini Print Traveling Exhibition – Barcelona, Spain 2015 Printmaker's Hand - Corvide Press - Northwind Arts Center Port Townsend WA- JurorsAward 2015 Parkside National Small Print Exhibition – Parkside Gallery, University of Wisconson, Kenosha WI 2015 Delta National Print Exhibition - Bradbury Gallery – State University, Jonesboro AZ 2015 Artworks Northwest – Hallie Ford Gallery, Umpqua Art Assoc.– Roseburg OR 2015 Pacific Northwest Art Annual - Erb Memorial Union Gallery – Eugene OR 2014 Pacific States Biennial Print Exhibition - University of Hawaii, Hilo, HI 2014 Northwest Art Annual - Erb Memorial Union Gallery – Eugene OR - Purchase Award 2013 34th Bradley International Print and Drawing Exhibition - Bradley University, Peoria, IL 2013 LA Printmakers and California Printmakers Exchange Exhibition - LA Print Space, Hollywood CA HEIDI DUCKLER Los Angeles, CA heididuckler.org [email protected]
Heidi Duckler Dance Theater (HDDT) creates innovative dance experiences in non-traditional places and provides learning opportunities in diverse neighborhoods. We invite our artists and audiences to engage with one another and connect with their community in ways they have never experienced before.
Artistic/Executive Director, Heidi Duckler, takes dance outside of its usual context and creates a brand new, inter- disciplinary style. This approach has been widely acclaimed for changing the way in which audiences are exposed to and experience dance. The site-specificity of HDDT's projects has fostered greater awareness for architecture in our communities - giving new breath into otherwise overlooked spaces. With the help of the Oregon Art in Public Places Roster, HDDT plans to broaden its audience and continue creating exceptional experiences in the public realm
Heidi Duckler’s practice is unique in its exploration and activation of often overlooked spaces. Duckler has over thirty years of extensive experience collaborating with visual artists, designers, architects and musicians in cities and communities around the world. Notable projects include site-specific performances on an international scale in storefronts, found spaces, construction sites, abandoned buildings and parking lots – among many others. Duckler’s arts education program in public schools, Duck Ed, is truly collaborative in spirit and has forever affected the lives of teaching artists, students and participants in our most vulnerable communities
Top to bottom: Iragnarok, 2014, performance; Table of Contents, 2015, performance; Governing Bodies, 2010, performance [email protected] | (818) 784-8669
HEIDI DUCKLER ARTISTIC DIRECTOR/CHOREOGRAPHER
LIST OF RECENT CHOREOGRAPHY & PERFORMANCE (SINCE 2010)
143 Days Historic Southwest Museum, Los Angeles, CA 2016 Parts and Labor Santa Palm Car Wash, West Hollywood, CA 2016 Siá Kará Habana Vieja: Ciudad en Movimiento, Havana, Cuba 2016 Outpost: a Sign of the Times Shaw Building, Sun Village, CA 2016 Fish Eyes Estrella Park, Los Angeles, CA 2016 A Blessing in Disguise Fowler Museum, UCLA, Los Angeles, CA 2015 Table of Contents Centrl Office, Portland, OR 2015 Sophie & Charlie Central Wholesale Produce Market, Los Angeles, CA 2015 King’s Road Park, West Hollywood, CA Semi-Vacant Hospital, Crenshaw, CA Beyond Baroque, Venice, CA Unitarian Universalist Church of Studio City, Studio City, CA Urban Sustainable Northwest Wood, Portland, OR 2015 Governing Bodies Ventura City Hall, Ventura, CA 2015 Brush Up Brand Library & Art Center, Glendale, CA 2015 Chinatown Blues 837 N Spring St. Los Angeles, CA 2015 Space Opera Thom Mayne’s Morphosis office, Culver City, CA 2015 Miss Fire Canal Convergence, Scottsdale, AZ 2015 Parts and Labor Redux Los Angeles Contemporary Exhibitions, Hollywood, CA 2015 Southern California Institute of Architecture, Los Angeles, CA Well Worn White Box Gallery, University of Oregon, Portland, OR 2014 The Way She Wears the World Rexel/Taylor Electric Supply Building, Portland, OR 2014 Ocean’s Skin Queensland Cultural Centre, Brisbane, Australia 2014 Dancing at Dunbar Dunbar Hotel, South Los Angeles, CA 2014 Off the Top of My Head Kunstakademie Dusseldorf, Dusseldorf, Germany 2014 Bowling Blues Mission Bowling Club, San Francisco, CA 2014 From Time to Time…At the Oasis Fresno State University, Fresno, CA 2014 California State University-East Bay, Hayward, CA California State University-Dominguez Hills, Carson, CA California State University-Los Angeles, Los Angeles, CA Skyline Festival Cooper Design Space, Los Angeles, CA 2014 Ragnarok Rexel/Taylor Electric Supply Building, Portland, OR 2014 The Groundskeepers Linda Vista Hospital, Boyle Heights/Los Angeles, CA 2013 The Sound of Falling Flux Night, Atlanta, GA 2013 Bowling Blues Darling Bowling Alley, Montreal, Canada 2013 L’esprit de l’escalier Reed College Performing Arts Center, Portland, OR 2013 Something to Declare! Custom House, Portland, OR 2013 Three Ducks in a Row East Los Angeles Civic Center 2013 At the Oasis West Hollywood Park, West Hollywood, CA 2013 Downtown Culver City, Culver City, CA Krispy Kreme, South Los Angeles, CA East LA Civic Center, Los Angeles, CA [email protected] | (818) 784-8669
Santa Monica Museum of Art, Santa Monica, CA Art Night, Pasadena, CA Expulsion A vacant lot in Boyle Heights, Los Angeles, CA 2013 Catch Your Breath Barlow Respiratory Hospital, Los Angeles, CA 2012 Kiss N’Ride Van Nuys FlyAway Terminal, Van Nuys, CA 2012 Expulsion River Street Studios, Portland, OR 2012 Laundromatinee La Brea Coin Op, Los Angeles, CA 2012 Expulsion Koreatown/Little Ethiopia, Los Angeles, CA 2012 Cleopatra, CEO. 51st Floor, Paul Hastings Tower, Los Angeles, CA 2012 Oh, Cosmonaut! Boston Court Performing Arts Center, Pasadena, CA 2011 Expulsion A vacant lot in Glendale, CA 2011 A Gallerina’s Guide Los Angeles County Museum of the Arts, Los Angeles, CA 2011 Phoenix Art Museum, Phoenix, AZ Laurel Hardware Space, West Hollywood, CA Off the Top of My Head Indigo Building, Portland, OR 2011 A Trace of Lipstick [spf:a] Gallery, Culver City, CA 2011 Governing Bodies Los Angeles City Hall, Los Angeles, CA 2010 Oh Cosmonaut! 9th International Festival on the Volga, Yaroslavl & Kotroma, Russia 2010 Expulsion A vacant lot in Cambodia Town, Long Beach, CA 2010
AWARDS & HONORS (SINCE 2010) 2016 • Lester Horton Award, Artist Appreciation 2015-2017 • Call for Wall Artist, LA Department of Cultural Affairs, Public Art Program 2015 • TedxUCLA speaker 2016 • Panelist, Santa Monica Artists Fellowship 2014 • Los Angeles County Art Commission Civic Artists Prequalified List 2013 • Dance/USA and the Doris Duke Charitable Foundation’s Engaging Dance Audiences 2013 • Los Angeles Women’s Theatre Festival Emerald 20th Anniversary Recipient of the Maverick Award 2012 • Distinguished Dance Alumna, University of Oregon, School of Music & Dance 2011 • Curator of Bootleg Dance Festival 2010 • NEA American Masterpiece for the choreography of Laundromatinee
EDUCATION 1988 M.A. in Dance Choreography; University of California, Los Angeles, California 1976 B.S. in Dance; University of Oregon, Eugene, Oregon RYAN FEDDERSEN Seattle, WA ryanfeddersen.com [email protected]
I primarily focus on creating large-scale interactive work and site-specific immersive installations that invite the viewer to engage intellectually and creatively. I investigate ways of creating content through the intrinsic and connotative properties of materials paired with imagery and action. As a multi-cultural artist, I draw on the indigenous traditions of performance, communal practice, storytelling and metaphor, and the western traditions of printmaking, painting, sculpture, and installation. I challenge myself to find new ways of utilizing and blending these traditions to explore content. While my work often encourages the audience to transcend the typical role as a spectator to engage creatively, I also believe that there is an important role in society for artists to be culture bearers. I see it as the artists responsibility to not only carry on cultural traditions but to also be active in generating the culture that reflects and analyzes who we are today.
I create work through an historical, cultural, and contemporary urban lens. I see art as a way that we get to know the world around us, and how we orient ourselves within our culture and society. I find this to be especially true of art-making and the creative process. When I dedicate my creative energy to a project, it becomes a meditation on the subject. I walk away not only knowing more, but with a contextual understanding of my relationship to the subject and how my ideas around it have been constructed.
I approach each project as a new investigation, with it's aesthetic, material, and scale dependent on the content. I begin my process by investigating a site or topic, seeing every project as an opportunity to learn and apply new strategies to illuminate existing content presented by the site. I provide experiences where participants are able to personally investigate their relationship to culture and society. By pairing superficially light-hearted activities with underlying challenges to the status quo, participants are enabled to have a non-threatening experience that invites personal introspection. Through the investigation of new approaches to the uses of artistic traditions, materials, cultural ideas, and relationships between the artist and audience, I hope to help drive our culture in directions that will benefit communities.
I have a strong interest in collaborating. I believe that the highest form of collaboration is a type of alchemy, that there are ideas that only emerge from creative interaction with others. I am an active team player who knows how to listen to and recognize people’s aspirations, build off group momentum, and to see obstacles as creative problem- solving opportunities. I also know how to lead. My work Top to bottom: 900* Horses, 2015, Spokane, WA; Sky River, often encourages the audience to transcend the typical role 2016, commission by Museum of Northwest Art, Anacortes, WA; Bumper by Number, 2011, commission for Bumbershoot as a spectator to engage creatively, becoming a contributor in a work that I am actively orchestrating. CURRICULUM VITAE a. 7300 19th Ave S.W. Seattle, WA 98106
EDUCATION FEDDERSEN RYAN! 2009 Bachelors of Fine Arts, Cornish College of the Arts, Seattle, WA 2008 Summer Programs, Pilchuck Glass School, Stanwood, WA 2005 Institute of American Indian Arts, Santa Fe, NM
COMMISSIONED WORK 2016 Giantess, (upcoming), Mini-Maker Faire, Experience Music Project, Seattle, WA 2016 White Out, (upcoming), Put Art in Parks, Office of Arts and Culture, Seattle, WA 2016 Skyriver, 35th Anniversary and Auction, Museum of Northwest Art, La Conner, WA 2015 900* Horses, Spokane Arts, Spokane, WA 2015 Coyote Now, Northwest Native Celebration, Tacoma Art Museum, Tacoma, WA 2011 Bumber By Number, Bumbershoot, Seattle, WA 2010 Creative Feast, Benefit Gala, The Henry Gallery, Seattle, WA
SELECTED EXHIBITION
*Solo e. 2016 *Resistance, (upcoming), Missoula Art Museum, Missoula, MT [email protected] 2016 Not Vanishing, Contemporary Expressions in Indigenous Art 1977-2015, Missoula Art Museum, Missoula, MT 2016 Sgwigwial?txw@20: Building Upon the Past, Visioning Into the Future, The Evergreen Galleries, Olympia, WA 2016 Not Vanishing: Ever-Present Indigenous Art 1977-2015, Heritage University, Toppenish, WA 2016 Contemporary & Traditional Works, The Lucia Douglas Gallery, Bellingham, WA 2016 Coyote Now: Connecting with Nature, Healing Through Art, Peacehealth St Joseph Medical, Bellingham, WA 2015 *Disconnected Towers, Seattle Municipal Gallery, Seattle WA 2015 Terrain: Plateau Native Art & Poetry, Missoula Art Museum, Missoula, MT p. 2015 Not Vanishing, Contemporary Expressions in Indigenous Art 1977-2015, Museum of 509.393.1124 Northwest Art, La Conner, WA 2014 Extended Terrain, The Evergreen Galleries, Olympia, WA 2013 Staff Exhibition, Cornish College of the Arts, Alumni Gallery, Seattle, WA 2012 Joe Bar Retrospective, Joe Bar, Seattle, WA 2012 Strange Coupling, Object Gallery, Seattle, WA 2012 *TAG! You're it, Joe Bar. Seattle, WA 2011 i. Emerging Indigenous Voices, San Francisco University, San Francisco, CA
2009 *Glitter, Grey Gallery & Lounge, Seattle, WA www.ryanfeddersen.com 2009 Suspension of Disbelief, Cairo Gallery, Seattle, WA 2009 CCA Alumni Exhibition, Fred Hutchinson Cancer Research Center, Seattle, WA 2008 Fire at the Dell, Youngstown Arts & Cultural Center, Seattle, WA 2006 Red Shirt Art Project, Red Shirt Gallery, Los Angeles, CA 2005 Winter Annual, Institute of American Indian Arts, Santa Fe, NM
ROSTER 2016-17 ArtScapes, Tacoma, WA 2016-19 Artist Roster, Sound Transit, WA 2015-18 Public Artist Roster, ARTSWA, Washington State Arts Commission, WA 2014-15 Emerging Public Artist Roster, Office of Arts and Culture, Seattle, WA CURRICULUM VITAE a.
SELECTED AWARD & RESIDENCY 7300 19th Ave S.W. Seattle, WA 98106 2016 Visiting Artist Research Grant, Bill Holms Center, Burke Museum, Seattle, WA FEDDERSEN RYAN! 2011 Emerging Indigenous Voices Residency, Kua’ainaa Assoc, San Francisco, CA 2010 American Indian Artist Residency, Montana Artist Refuge, Basin, MT 2008 Pilchuck Glass School Scholarship, Stanwood, WA 2007,08 Krielshiemer Award, Cornish College of the Arts, Seattle, WA 2007,08 Presidents Art Scholar, Cornish College of the Arts, Seattle, WA
COLLECTION 2014 Seattle Art Museum, Seattle, WA 2014 Portland Art Museum, Portland, OR 2014 Missoula Art Museum, Missoula, MT 2014 Museum of Art and Culture, Spokane 2014 Washington State History Museum, Tacoma, WA 2014 Hallie Ford Museum, Salem, OR 2014 Heard Museum, Phoenix, AZ
2011 San Francisco State University, San Francisco, CA, School of Ethnic Studies. e.
2009 Cornish College of the Art, Seattle, WA, Mary Alice Cooley Print Collection. [email protected]
SELECTED PRESS & PUBLICATION 2015 Aljazeera America, National, Kevin Taylor, Native American artist brings 900 horses back to life in Spokane. 2015 The Spokesman Review, Spokane, WA, Carolyn Lamberson, Mural project honors tribes, slaughtered horses. 2015 Pacific Northwest Inlander, Spokane, WA Mike Bookey, Community Commemoration. 2015 The Spokesman Review, Spokane, WA, Chad Sokol, Chalk mural to commemorate horses slain by U.S. Army. 2012 OFF PAPER, The Project Space, Seattle, WA, Guest Writer, Quest(ion) What's the p. First Thing You Ever Made, Ryan Feddersen? 2011 Seattle Weekly, Seattle, WA, Brian Miller Triumph of Crowd-Sourcing. 509.393.1124 2011 The Stranger, Seattle, WA Jen Graves, Touch The Untouchable. 2011 BoingBoing, National, David Pescovitz, Artists Alter Paint by Number for Exhibit. 2010 Missoula Independent, Missoula, MT Skylar Browning Postcard from Basin: The future of American Indian Art. i.
SELECTED EXPERIENCE 2014-16 Public Art Program Assistant, 4Culture, Seattle, WA www.ryanfeddersen.com 2010-14 Art Department Coordinator, Cornish College of the Arts, Seattle, WA 2006-10 Studio Assistant, Norie Sato, Seattle, WA 2008 Studio Assistant, Ginny Rufner Studio, Fremont, WA
DEVIN FIELD Portland, OR devinlaurencefield.com [email protected]
Over the last twenty years I have specialized in large-scale site specific, fabricated metal public art. My work has been commissioned for the Olympic Games, National Governments and Museums around the world ranging in scale from 10 feet to more than 60 feet in height.
Built in painted, cor-ten or stainless steel, my sculptures combine subjects mined from local site history, cultural traditions in the community, archetypal iconography of human belief systems and my own personal form vocabulary. The result is art that is poignant to the community, builds a sense of place and creates way-finding landmarks. The art becomes an engaging focal point that prompts an on-going dialogue about what we as societies are doing and how it relates to the world around us.
My art has evolved in recent years to include more glass, light, color, and interactivity. Designs recently installed have orbiting kaleidoscopes, color changing LED lighting, solar power, touch sensitive color changing surfaces, musical instruments and sound activated interactive lighting. Children and adults alike are delighted with the sense of discovery and connection provided in such designs
I have worked with and on committees in states across the US and overseas as well as lectured on public art in China, Korea and Sweden. My projects always involve working closely with design team members, community stakeholders, city officials, engineers, urban planners etc. I have been instrumental in planning and organizing international sculpture parks and traveling exhibitions of group sculpture shows.
Top to bottom: Heaven’s Lantern, 2012; McKenzie Drift, 2010, Springfield, OR; Hybrid Circle, 2010, Taizhou, China D e v i n L a u r e n c e F i e l d
19003 N.W. Columbia Street, Portland, Oregon 97231 • (503) 309 2443 Ph • [email protected] www.devinlaurencefield.com
EDUCATION
1993 Master of Fine Arts, University of Oregon 1991 Bachelor of Fine Arts, Summa cum Laude, University of Oregon 1981-96 Apprenticeships and private instruction with renowned artists in Christchurch, New Zealand, Toyota City, Japan, and Banyuls-sur-Mer, France.
SELECTED EXHIBITIONS
2008 Beijing Biennale, China National Art Museum, Beijing, China Tai Miao Temple, Forbidden City, Beijing China 2007 Waterstone Gallery, Portland, Oregon 2004 Represents USA at Macay Museum /US Embassy outdoor sculpture exhibit, Merida, Mexico 2003 Four Museum tour of One Man Exhibition: State Museum of Art, Chetumal, Mexico Museum of the Island, Cozumel, Mexico Museum Playa Kukulkan, Cancun, Mexico Cultural Center, Carillo Puerto, Mexico 2002 Wildlife Experience Art Museum, Denver, Colorado 2001 Longview Museum of Fine Arts, Longview, Texas Outdoor Sculpture Invitational, City of Lake Oswego, Oregon 2000 D'Adamo/Hill Gallery, Seattle, Washington 1999 Cleveland Museum of Natural History, Cleveland, Ohio Maryhill Museum of Art. Goldendale, Washington Sebastian Foundation, México City, México Galeria Sebastian Internacional de Arte, Cancún, México Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin Genesee Country Museum, Mumford, New York Big Rock Garden Sculpture Park, Bellingham, Washington 1998 National Academy Museum, 173rd Annual Exhibition, New York, N.Y. Northwest Regional Outdoor Sculpture Invitational, Clackamas, Oregon Waterstone Gallery, Portland, Oregon 1997 Cuauhnauac Museum Palacio de Cortez, Cuernavaca, México Galeria Oscar Roman, México City, México Regional Museum of Guadalajara, Jalisco, México Hiram Blauvelt Art Museum, Oradell, New Jersey Loveland Sculpture Invitational, Loveland, Colorado Contemporary Crafts Gallery Sculpture Invitational, Portland, Oregon Chetwynd Stapylton Gallery, Portland, Oregon
DISTINCTIONS
2006 International Juror, Beijing 2008 Olympics Sculpture Competition, Beijing, China 2003 Evelyn & Peter Haller Distinguished Young Artist Award, Society of Animal Artists, N.Y. 1999 Published in Millenium edition of Who's Who in America 1998 Helen Foster Barnett Award for sculpture, National Academy of Design, N.Y. Sebastian Prize, Mexico City, Mexico. 1996 Regional Arts and Culture Council grant recipient for work in Japan 1989 Joseph Kinsman Starr Scholarship Recipient 1988 David McCosh Scholarship Recipient 1986 Ina McClung Scholarship Recipient
PROJECTS AND COMMISSIONS
2015 Monumental sculpture commissions for the cities of Kansas City, KS, and Springfield, Oregon (62’ tall) 2012-14 Monumental sculpture commissions for city of Arboga, Sweden, Hangaram Art Museum, Seoul, Korea and the Cities of Bend, Beaverton, Monmouth and Hillsboro, Oregon Monumental sculpture commission for Interstate 5 Bridge, ODOT, Eugene, Oregon 2010 Monumental sculpture commission for the cities of Tangshan and Taizhou, China 2009 Monumental sculpture commission for the cities of Urumqi, China and Ordos, Inner Mongolia Monumental sculpture commissions for Lane Transit District and Lane Community College, Oregon 2008 Monumental sculpture commission for 2008 Beijing Olympic Games, Olympic Park, Beijing, China 2007 Monumental sculpture commission, North Clackamas Park, Milwaukie, Oregon 2004 Monumental sculpture commission for city of Klamath Falls, Oregon 2003 Monumental sculpture commissions for cities of Chetumal and Colima, Mexico Monumental sculpture commissions for cities of Bend and Lake Oswego, OR 2002 Monumental sculpture commission for the State of Oregon, Salem, Oregon Monumental sculpture commission, Isla Mujeres. Cancuun, Mexico 2000 Monumental sculpture commission Corvallis Commemorative Park, Oregon 1999 Monumental commission for St. Louis University Sculpture Park, Louisiana, Missouri. 1998 Corvallis City Hall, Corvallis, Oregon main entry sculptures, public art commission. City of Eugene, Oregon percent for art project, ten cast bronze sculptures. 1997 Co-organizer of 11x11 International Sculpture Exhibition, traveling museum show between Mexico and Oregon. Instructor, Northwest Stone Sculpture Symposium, Silver Falls, Oregon. Work on Tom Hardy's Franklin D. Roosevelt Memorial for the U.S Capitol, Wash D.C
COLLECTIONS
Portland Art Museum, Portland, Oregon City of Arboga, Sweden Jin Tai Art Museum, Beijing, China City of Beijing, Olympic Park, China Yidong Museum of Sculpture, Beijing, China City of Urumqi, Xinjiang, China Maryhill Museum of Art, Goldendale, Washington City of Ordos, Inner Mongolia Isla Mujeres International Sculpture Park, Cancun, Mexico City of Monmouth, Oregon Hangaram Art Museum, Soeul, Korea City of Springfield, Oregon State Museum of Art & Culture, Chetumal, Mexico City of Klamath Falls, Oregon International Sculpture Park, Chetumal, Mexico City of Corvallis, Oregon State of Oregon, Salem, Oregon City of Vancouver, Washington National Museum of Sculpture, Colima, Mexico City of Bellingham, Washington Fundación Sebastian, Mexico City, Mexico City of Lake Oswego, Oregon St. Louis University, Lay Sculpture Park, Missouri City of Bend, Oregon University of Oregon Knight Library. Eugene, Oregon City of Eugene, Oregon Oregon Health Sciences University. Portland, Oregon City of Milwaukie, Oregon Clackamas Community College, Clackamas, Oregon City of Salem, Oregon Central Oregon Community College, Bend, Oregon City of Tangshan, China Juan Soriano Intl Sculpture Park, Colima, Mexico Colima City of Taizhou, China Multnomah Athletic Club City of Shijiazhuang, China Chemeketa Community College City of Beaverton, Oregon Oregon Dept of Transportation City of Hillsboro, Oregon Lane Transit District, Springfield, Oregon BILL FITZGIBBONS San Antonio, TX billfitzgibbons.com [email protected]
I believe that public artwork takes possession of the unique potential in a space and inspires an artist to wed the practical and functional with the transcendent. Successful public art informs its environment with a spirit that transforms a place into an aesthetic and engaging experience. When I develop an idea for a project, the site is critical to how the work will manifest itself. In addition, the needs and desires of the individuals that will experience the space are crucial to the formative process. Site-specific art pieces are successful only to the extent that they can engage the viewer in a compelling and/or sublime way.
Overall, my ideas often incorporate LED lighting systems in a way that engages the project site and provokes the feeling of traveling through the art. It is my intent to humanize the experience between the viewer and the art, and to create a space of beauty out of sites that are otherwise unnoticed. It is my hope that my art provides an experience that will remain with the viewer long after leaving a space behind. Through the incorporation of light interventions, I transform sites into an experience that continually distinguishes itself.
I have the capability and experience necessary to generate interactive art installations, allowing visitors to engage in memorable experiences at various sites. In addition, it is important to note that my history working with reclaimed and environmentally conscious materials will complement the intent of each project and the current environmental requirements of the area. My focus on using recycled materials supports sustainability and allows for important collaboration within the community.
Throughout my career, I have completed many successful public art commissions in more than five countries. I have also worked as part of numerous design teams, as well as with architects, engineers, landscape engineers, general contractors, and county/city/state governmental agencies. The majority of my projects are site specific, and have all been completed on time and on budget. I am certain that my unique experience and ability to engage multiple perspectives will provide both unity and innovation to your project.
Top to bottom: Light Channels, 2007, San Antonio, TX; Light Rails, 2013, Birmingham, AL; Woodlawn Bus Stop, 2010, San Antonio, TX Bill FitzGibbons 205 Sheffield Place San Antonio, TX 78213 E-mail: [email protected] Website: www.billfitzgibbons.com Cell: (210) 723-3048
Bill FitzGibbons received his BFA in Sculpture and Art History from the University of Tennessee, and his MFA in Sculpture and Multi-Media from Washington University in St. Louis. Bill has received over thirty public art commissions in five countries. In 1979 he became the first curator at Laumeier Sculpture Park in St. Louis, Missouri. From 1985 until 1988 he was appointed as the Director of Sculpture at the Visual Art Center in Anchorage, Alaska. In 1988 he became the Department Head of Sculpture at the San Antonio Art Institute. In 1991 he was selected as a Fulbright Scholar for the Hungarian Art Academy in Budapest, Hungary. Bill has also been on the adjunct faculty at Trinity University in San Antonio. FitzGibbons is the former Executive Director of Blue Star Contemporary Art Museum 2002-2013 and in 2012, was selected by the Texas State Legislature as The Texas State Artist (sculpture).
Public Art Masterplans
1996-97 Public Art Masterplan, San Antonio International Airport Expansion Project 1987-88 Public Art Masterplan, Anchorage International Airport renovations and new parking garage.
Public Art Commissions
2016 El Paso Airport Design Team, design and help implement a new entrance for the El Paso International Airport including landscaping, public art, and a master lighting plan. 2016 Kinetic Skyline, a site-specific computerized LED light sculpture installed on the Bank Of America Plaza Building in downtown San Antonio 2016 Centro Chroma Tower, site-specific interactive, computerized LED light sculpture located at the new Westside Intermodal Transit Center in San Antonio, Texas. 2015 Current Drift, a bridge project in Allen, Texas in collaboration with George Schroeder. 2014 Culebra Plaza, environmental plaza with LED light sculpture, San Antonio, Texas. This artwork is collaboration with the neighborhood association and school. 2013 LightRails, site-specific computerized LED light sculpture under the 18th Street viaduct, Downtown, Birmingham, Alabama 2013 San Antonio Colorline, a permanent site-specific LED light sculpture for the Robert B. Green University Health System Clinic, Downtown San Antonio, Texas 2012 Chinook Lights, Site-specific LED light installation for the King County Office, Seattle, Washington. 2010 Knoxville Colorline, a light sculpture installation for the Knoxville Museum of Art, Knoxville, Tennessee. 2010 Öndvegissúlur, Poem of Light, a light sculpture installation on the City Hall of Reykjavik, Iceland as part of the Museum Night celebration. 2005-2008 Woodlawn Ave. Bus Stop Design Team with Pape-Dawson Engineers, streets and drainage project for the city of San Antonio. 2006 Light Channels, Site-specific public art project consisting of aluminum sculptures and hundreds of LED lights installed at the I37 underpasses at Houston and Commerce Streets, San Antonio, Texas. 2003-2005 Skywall Intercontinental Airport, Houston, Texas. 2005-2008 Woodlawn, 6 ’ Ave. long Bus sculpture Stop Design with LED Team lights with located Pape-Dawson at the Bush Engineers, streets and drainage project for the city of San Antonio. 2001 Duck Pond plaza Design Team with Groves and Associates, redesign of a neighborhood park with public art for the city of San Antonio. 2000 Millennium Plaza, a site-specific sculpture for the University of Houston at Victoria, Texas. 1999 Day Star Archway International Airport, San Antonio, Texas. 1996-1997 Design Team, aParticipant 4 ’ tall archway, San Antonio and walkway Airport at Expansionthe San Antonio Project Parking Garage. 1996 Rhode Island Lights, exterior neon sculpture for the Rhode Island Convention— Center, Providence, Rhode Island. 1995 The Epiphany of Five Rivers, commissioned by the River Pierce Foundation, located on the banks of the Rio Grande, San Ygnacio, Texas. 1994 Olaf, commissioned by the Hampshire Sculpture Trust to commemorate the millennium of the Viking visits, Hampshire County, England. 1992 Homage to Balder, commissioned by the Millesgarden Museum and Sculpture Garden to celebrate Swedish mythology, Stockholm, Sweden. 1991 Literary Garden, chosen for the Main Library in Gainesville, Florida (funding was not realized). 1990 Lemon Creek Plaza, Lemon Creek Correctional Facility, Juneau, Alaska, 1% commission-State of Alaska. 1988 Fifth Ave. Reflections, an interior and exterior neon sculpture for the 5th Ave. parking facility, Anchorage, Alaska. 1988 North Star Plaza, an environmental sculpture for the Fairbanks Youth Facility, Fairbanks, Alaska. 1987 Solar Path, an environmental sculpture for Spring Hill Elementary School, 1% commission, Anchorage, Alaska.
Awards/Appointments
2014 CODAaward Winner, LightRails winner in transportation category 2012 Texas State Artist (sculpture) for 2012, selected by the Texas State Legislature. 2011 Board Member, Texas Sculpture Group, Chapter of the ISC 2010 Outstanding Alumni Award, University of Tennessee, Knoxville, Tennessee. 2006-2012 International Sculpture Center, Member of Board of Trustees 1993 Fulbright Scholar, Hungarian Academy of Art and Design, Budapest, Hungary 1999-2000 Blue Star Contemporary Art Center, President, Board of Directors 1991 USIA, Artist Fellowship, Helsinki, Finland
Exhibitions (selected) Bill FitzGibbons has had sixteen solo exhibitions and has been in over sixty-five group exhibitions over the past twenty-five years.
2015 Texas!, Lalit Kala Akademi (National Academy of Art), New Delhi, India 2014 Bill FitzGibbons, International Museum of Art and Science, McAllen, Texas 2012-13 Western Sequel, Art from the Lone Star, Athens School of Fine Arts, Athens Greece/ Mimar Sinan Fine Arts University, Istanbul, Turkey. 2011 The New Old San Antonio, Spencer Museum, Lawrence, Kansas 2010 Fire Drawings, G Gallery, Houston, Texas 2010 Filament, the work of Bill FitzGibbons and Creighton Michael, Ewing Gallery, University of Tennessee, Knoxville, Tennessee 2006 Eellight, The Lab Gallery, a collaboration with Creighton Michael, New York City, New York 2000 Earth and Fire, San Antonio Museum of Art, an exhibition of ceramic sculpture, San Antonio, Tex 1996 Northern Lights, Fruitmarket Gallery, Edinburgh, Scotland 1993 Out of the Fire, Laredo Arts Center, Laredo, Texas 1993 Jansen-Perez Gallery, San Antonio, Texas 1993 Carrington-Gallagher Gallery, San Antonio, Texas 1992 Millesgarden Museum, Stockholm, Sweden 1991 Otso Gallery, Helsinki, Finland 1991 Hochsule fur Bildende Kunste, Brunschweig, Germany 1991 Blue Star Art Space, San Antonio, Texas 1988 Searching for the Balance, Anchorage Museum of History and Art, Anchorage, Alaska 1983 Light Motifs, St. Louis Art Museum, St. Louis, Missouri 1982 Pratt Manhattan Gallery, New York City, New York 1981 City Museum, Stoke-on-Trent, England 1980 Electrosculpture, Midland Art Centre, Birmingham, England
Sculpture Conference Speaker
SCALE: a Gathering of Sculptors (organizer) sculptors included: Alice Aycock, James Surls, Gudjón Bjarnson (Iceland), Ivano Vitali (Italy), Jesús Moroles, Joan Hall, and Phillip “ King (UK), Blue Star Contemporary Art Museum, San Antonio, Texas. 2010 Out of Darkness, Light as Public Art , 22nd Annual Sculpture Conference, International Sculpture Center, London, England. 2007 "Art in the Public Realm", Mid South Sculpture Alliance, Chattanooga, Tennessee 2005 Leading the Charge, Americans for the Arts, national annual conference, Austin, Texas 1997 “Beyond Site-Specific Sculpture, Mid America College Association Conference, panel chair (participants were Robert Hobbs, Chris Janney, Richard Hunt), Richmond, Virginia 1994 The Artist as Urban Designer, Art Point, Milton Keynes, England 1993 Central European Public Sculpture Conference, Magyar Iparmuveszet, Budapest, Hungary 1992 Spirituality in Sculpture, panel International Sculpture Center, Philadelphia, Pennsylvania 1991 Public Art in a Multi-Cultural Society: On Common Ground, Santa Fe Arts Commission, Santa Fe, New Mexico 1988 Alaska and its Effect on Environmental Sculpture, Irish Sculpture Society, Dublin, Ireland 1988 Public Sculpture Dialogue with sculpture Nancy Holt, Mid South Sculpture Conference, Little Rock, Arkansas 1986 Sky Art Sculpture Conference, The Center for Advanced Visual Studies at the Massachusetts Institute of Technology, Cambridge, Massachusetts 1986 Art in Public Places—A Public Forum, Anchorage Museum of History and Art, Anchorage, Alaska 1984 Art in the Environment Conference, Edinburgh College of Art, Edinburgh, Scotland 1983 Environmental Sculpture Panel, Mid America Art Conference, St. Louis Missouri 1983 Public Art for the Eighties, St Louis Art Museum, St. Louis, Missouri 1981 Public Art in the US, Richard Demarco Gallery, Edinburgh, Scotland
Visiting Artist
2010 The University of Tennessee, Knoxville, Tennessee. 1995 Rhode Island School of Design, Providence, Rhode Island. 1994 Winchester School of Art, Winchester, England. 1991 Hochschule für Bildende Künste, Braunschweig, Germany. 1991 Kuvataideakatemia, Helsinki, Finland. 1990 Virginia Commonwealth University, Richmond, Virginia. 1986 Center for Advanced Visual Studies, M.I.T., Cambridge, Massachusetts. 1981 University of Sunderland, Sunderland, England. 1981 Bath Academy of Art, Bath, England.
FUTURE CITIES LAB Nataly Gattegno and Jason Kelly Johnson San Francisco, CA future-cities-lab.net [email protected]
Future Cities Lab is an experimental design studio, workshop and urban think tank operating globally out of San Francisco, California. We have a proven record of award-winning experience, creating work at the intersection of architecture, sculpture, and public digital art. With every new work we attempt to leverage cutting-edge fabrication processes with insightful analysis of a work's urban context to produce art that materially and spatially enriches the lives of its viewers.
Future Cities Lab is able to deliver world-class artwork on time and on budget. We recognize there are a number of challenging aspects to public art: developing durable and low maintenance strategies and making sure that the local community is part of the process and feels ownership of the outcome. Future Cities Lab has deep experience working with complex teams of designers, community members, contractors and fabricators to design and fabricate dynamic indoor and outdoor installations. Our work explores several key, contemporary ideas: making poetry of data, creating interactive experiences, and pushing the envelope of craft, as can be seen in the following works:
Future Cities Lab is passionate about creating ground- breaking artworks that excite viewers while provoking thinking about their relationship with technology, data, society, and place. We have deep experience bringing teams of fabricators, engineers, scientists, arts commissions and the public together to create ground- breaking works of art.
Top to bottom: Lightswarm, 2014, San Francisco, CA; Datagrove, 2012, San Jose, CA; Data Lanterns, 2015, San Francisco, CA OREGON ART IN PUBLIC PLACES RESUME 25 JULY 2016
FUTURE CITIES LAB Nataly Gattegno + Jason Kelly Johnson 2325 3rd St. #229, San Francisco, CA 94107 t: 415.255.4879, c: 434.466.6507, e: [email protected], e: [email protected] w: www.future-cities-lab.net
+ References Jaime Austin Curator and Director of Programs ZERO1 Art and Technology Network, San Jose, CA [email protected], (415) 269-0191
Betti-Sue Hertz Director of Visual Arts Yerba Buena Center for the Arts, San Francisco, CA 94103 [email protected], (415) 321-1321
Kelly Allman Personal Assistant to the President OPPIDAN Investment Company, Excelsior, MN 55331 [email protected], (952) 294-0151
+ Education Nataly Gattegno: 2002 Master of Architecture, MArch, Princeton University 2000 Master of Arts, MA, Cambridge University, St Johns College, UK 1998 Bachelor of Arts, BA Honors, Cambridge University, St Johns College, UK
Jason Kelly Johnson: 2001 Master of Architecture, MArch, Princeton University 1995 Bachelor of Sciences, BSc, University of Virginia
+ Current / Forthcoming Public Art Installations 2016 Anemone: Shade Canopy Sculpture, Albany, CA [forthcoming] 2016 Lightweave: Interactive Public Art Installation, North Union Station Underpass, Washington, D.C. [forthcoming] 2016 Hyposwarm: Graphic Crosswalk Pattern, Yerba Buena Community Benefit District, San Francisco, CA [forthcoming] 2015 Murmur Wall: Interactive Public Art Installation, Yerba Buena Gardens, San Francisco, CA [currently on view] 2014 Lightswarm: Interactive Façade Installation, Yerba Buena Center for the Arts, SF, CA [currently on view]
+ Recent Public Art Installations 2016 Chronoscope 1, Soundwave Festival, Fort Mason, San Francisco, CA 2015 Data Lanterns: Interactive Public Art Installation, Market Street Prototyping Festival, San Francisco, CA 2014 Datasprayer, Swiss Pavilion, Venice Biennale, Italy 2013 Hydraspan, Yerba Buena Center for the Arts, San Francisco, CA 2012 Datagrove, ZERO1 Biennial, San Jose, CA and artMRKT, Fort Mason, San Francisco, CA 2012 Hydramax, San Francisco Museum of Modern Art, San Francisco, CA 2011 Trilux Pavilion, Museum of Craft and Design, Hayes Valley, San Francisco, CA 2010 Xeromax Envelope, Pratt Gallery, New York, NY 2010 AURORA, Van Alen Institute, New York, NY
Page 1 of 2 OREGON ART IN PUBLIC PLACES RESUME 25 JULY 2016
+ Recent Private Art Commissions 2016 Untitled, Survey Monkey, San Mateo, CA [forthcoming] 2015 Bitstream, Bitly, New York, NY
+ Recent Public Art Awards 2016 MTA Arts + Design, Sea Beach Line Station Public Art, New York, NY [finalist, ongoing] 2016 Montgomery Street Public Art, Fort Worth, TX [finalist, ongoing] 2016 Assen Railway Integrated Public Art, Assen, Netherlands [finalist, ongoing] 2016 Metropolitan State University of Denver, Aerospace & Engineering Sciences Building, Denver, CO [finalist, ongoing] 2016 Clemson University Lee III Interior Public Art, Clemson, SC [finalist, ongoing]
+ Recent Community Engagement / Thought Leadership 2016 Our City: Oakland, Oakland, CA: Advisory Committee 2015 Market Street Prototyping Festival, San Francisco, CA: Planning Committee / Neighborhood Captain 2014 Audi Innovation Research/California College of the Arts: Beyond Mobility Workshop, San Francisco, CA: Organizers
+ Group Exhibitions 2015 Data Clay, Musuem of Craft and Design, San Francisco, CA, Curators: Joshua G. Stein & Del Harrow 2013 Dissident Futures, Yerba Buena Center for the Arts, Curator: Betti-Sue Hertz 2012 Hydramax, in Utopian Impulse, San Francisco Museum of Modern Art, Curator: Jennifer Fletcher
+ Fellowships / Awards 2016 Americans for the Arts ‘Top 50 Public Artworks’ for Murmur Wall 2016 Community Contribution Award, Robots in Architecture, Sydney, Australia 2013 Americans for the Arts ‘Top 50 Public Artworks’ for Datagrove 2011 New York Prize, The Architectural League of New York
+ Select Lectures/Presentations/Conferences 2016 Rob|Arch 2016, Keynote Speaker, Robots in Architecture, Sydney, Australia 2015 Wired City Conference Keynote, Wired Magazine, Tokyo, Japan
+ Select Authored Publications 2016 Nataly Gattegno + Jason Johnson, Foreword: Towards a Robotic Ecology, in Responsive Landscapes, ed. Bradley Cantrell + Justine Holzman, Routledge. 2015 Nataly Gattegno + Jason Johnson, The Hydramax Trilogy, in Architectural Design, AD 2050, Wiley Press. 2014 Nataly Gattegno + Jason Johnson, Interview, in eVolo: Digital Parametric Architecture, ed. Carlo Aiello.
+ Select Publication of Design Work 2016 Michael Fox, Interactive Architecture: Adaptive World, Princeton Architectural Press. 2016 Bradley Cantrell + Justine Holzman, Responsive Landscapes, Routledge. 2014 Installation Art Now, Sandu Publishing, Ginko Press.
+ Select Press, Interviews, Commentary 2016 What could the world of sports look like in 20 years?, USA Today. 2015 Illuminate SF, SF Travel. 2015 A Light Sculpture Is Harvesting San Francisco’s Secrets, The Creators Project. 2015 Writers, Scientists, and Climate Experts Discuss How to Save the World from Climate Change, VICE. 2014 Best of #Light, Domus.
Page 2 of 2 MATTHEW GELLER New York, NY matthewgeller.com [email protected]
I'm particularly drawn to overlooked or underutilized environments, from private imaginary worlds within brick walls, to back alleys, to sprawling open public spaces. It is in these environments that I tease out small fragments of narrative by augmenting or amplifying the raw materials of a given locale. I ask the viewer to engage both with what was always there as well as with what might be.
As with all of my public artwork, I set out to engage the public and foster a sense of community. The works are spirited, accessible—and very often unexpected. By using disparate elements—including everything from swings, to showers, to wind—in surprising and interactive ways, my artwork aims to encourage engagement with the work and among viewers themselves.
For the past dozen years, I’ve often worked with a visual vocabulary that doesn’t immediately telegraph its status as art. As my starting point, I like to use blemishes, sites, and vernaculars that have been marginalized in some form: the controlled chaos of industrial infrastructure (“Open Channel Flow” and “Chroma Booster”), the abandoned limb of an amusement park ride (“Greenway Blueway Byway Skyway” and “Nautical Swing”), or the aging tree in a public park (“Woozy Blossom” and “Anticipator”). I take these abject artifacts and retrofit them to create a ready-made public square, often incorporating more evanescent media as a beckoning device. The idea is to surprise while fostering a sense of community around an unlikely object or site.
I’d like to have opportunities to do interior works that are functionally and visually integrated with the site’s architecture. I’d also like to have additional opportunities to address all of the aspects of an exterior public site as a means of expanding on Dutch architect and playground designer Aldo Van Eyck’s ideas about citizenship based on social engagement and his theories on play and urban life.
Community, stakeholder, and design team engagement has taken many forms in my projects, and input from these stakeholders always informs the development of the initial concept. Direct feedback is critical to the process of refining the idea as it moves from preliminary sketches to a final proposal.
The initial idea is also often developed in conjunction with input from the site architects and design teams. Once I have developed the initial idea, the process of bringing it from concept to completion is a collaborative process between a fabrication partner, engineers, and myself.
Top to bottom: Open Channel Flow, 2009, Houston; Triple Pasture, 2016, Ashland, OR; The Huddle, 2013, Albuquerque, NM Matthew Geller / Hutabut LLC www.matthewgeller.com [email protected] 917.804.0118 4 White Street, New York, NY 10013
PUBLIC ART 2018 Waterloo Falls, Cleveland Public Art, Land-Studio, Cleveland Water Department, Cleveland, OH, $150K 2018 TBD, Art in Public Places, Norfolk, VA, $121K 2017 TBD, Office of Arts & Culture, Seattle, Seattle Public Utilities, Seattle, WA, $200K 2016 Cypress Landing, Miami-Dade Art in Public Places, Zoo Miami, Miami, FL, $940K 2016 One Puck Hollow, Calgary Public Art Program, Great Plains Recreation Center, Calgary, Alberta, CA $150K 2016 Formosa, Percent for the Arts, New York City Department of Cultural Affairs, Myrtle Avenue Plaza, $117K 2016 Woozy Blossom II, 21c Museum Hotel, Oklahoma City, OK 2016 Triple Pasture, Oregon Arts Commission, Southern Oregon University, Ashland, OR, $165K 2015 Nautical Swing, Hunters Point Shipyard, San Francisco, CA, $135K* 2015 Chroma Booster, Museums & Cultural Affairs Department, , Downtown Pedestrian Pathway, El Paso, TX, $350K* 2013 Anticipator, Florence Griswold Museum, Old Lyme, CT, $50K 2013 Greenway Blueway Byway Skyway, North Carolina Arts Council, Happy Valley Byway, Lenoir, NC, 2010, $75K 2012 The Huddle, New Mexico Arts, New Mexico School for the Blind & Visually Impaired, Albuquerque, NM, $78K 2010 Woozy Blossom (Platabus nebulosus), Katonah Art Museum, Katonah, NY, $40K 2009 Open Channel Flow, Houston Arts Alliance, Sabine Street Water Pump Station, Houston, Texas, $150K* 2006 Awash, NYC Dept of Parks, Lower Manhattan Cultural Council, Collect Pond Park, Downtown Manhattan 2006 Babble. Pummel & Pride, Evergreen House at Johns Hopkins University, Baltimore* 2005 Whether you love me or not, Wave Hill, The Bronx, NY 2004 Sixty Weak Knees, Arthouse, Austin, TX 2004 Little white pearls in a puddle, Summer Palace Garden, Düsseldorf, Germany 2003 Foggy Day, Cortland Alley, NYC, Lower Manhattan Cultural Council, a project of Creative Capital, NYC* 2002 Feed for a fine line, Church Street, Downtown New York City, Lower Manhattan Cultural Council 2002 Six permanent installations, Long Island Children's Museum, Garden City, NY 1999 Failing to seek shelter, they…, Witte de With Center for Contemporary Art, Rotterdam 1997 Longer Island, Projects 97, Islip Art Museum, Long Island, NY 1995 Steps, Biography Memorials at Woodlawn Cemetery, Bronx Council on the Arts HONORS, AWARDS & GRANTS Year in Review*—Best Public Art in 2016 (2 projects), 2010, 2006, 2003, Public Art Network, Americans for the Arts Foundation for Contemporary Art, 2006 Grants for Art in Public Places, Lower Manhattan Cultural Council, 2006 New York Foundation for the Art Artists' Fellowship in Sculpture, 2005 Fund for Creative Communities, 2001 Creative Capital Foundation, 1999-2000 The Greenwall Foundation, 2000 Milton & Sally Avery Arts Foundation, 2000 Artslink, a program of CEC International Partners, 1997-8 Rome Prize Fellowship in Visual Arts, American Academy in Rome, 1991-1992 National Endowment for the Arts, Visual Arts Fellowship, 1989, 1987 Jerome Foundation Film/Video Grant, 1989 Art Matters Grant, 1988 New York Foundation for the Arts Artist's Fellowship, 1988 WGBH/WNET “New Television” Finish Funds Grant, 1987, 1985 New York State Council on the Arts, TV/Media Production Grant, 1986, 1984, 1982 National Endowment for the Arts, Media Arts Production Grant, 1987 Creative Artists Public Service (CAPS) Fellowship, 1984 SOLO EXHIBITIONS & SCREENINGS 2013 Anticipator, Florence Griswold Museum, Old Lyme, CT 2012 Woozy Blossom (Platabus nebulosus), Vero Beach Museum of Art, Vero Beach, FL 2010 Woozy Blossom (Platabus nebulosus), Katonah Art Museum, Katonah, NY 2005 Almost. Again. Almost. One more time. Maiden Lane Exhibition Space, NYC 1998 Basements, Hans Knoll Gallery, Budapest, Hungary 1998 Continuously harder forever, U.F.F. Gallery, Budapest, Hungary 1996 Stories contrary to the way they appear, Revolution, Detroit, MI 1995 Reciprocal Discovery, Revolution, Detroit, MI 1991 The Activity of Watching Television, Urban Institute for Contemporary Arts, Grand Rapids, MI 1990 From Receiver to Remote Control: The TV Set, The New Museum of Contemporary Art 1988 Split Britches, New Television Series, PBS 1987 Bees & Thoroughbreds, New Television Series, PBS 1985 Everglades City, The Kitchen at Squat Theater, NYC; Hallwalls, Buffalo, NY; UC Video, Minneapolis, MN 1982 October New York Post, Printed Matter, NYC 1982 Or run to ground zero, “Messages to the Public”, Spectacolor Board, Public Art Fund, NYC 1981 Difficulty Swallowing, Printed Matter, NYC 1980 Last War III, Mudd Club, NYC; Time Square Show, NYC
1980 Times Square Show, WNEW-TV GROUP EXHIBITIONS & SCREENINGS 2014 “Learn To Read Art”, Print Matter, NYU’s 80WSE Gallery, NYC “The Real Estate Show”, James Fuentes Gallery, NYC “RESx (Real Estate Show Extended)”, ABC No Rio, NYC 2013 “VFR STN”, New Museum, NYC 2012 "Times Square Show Revisited", Hunter College Art Gallery, NYC “The Worldly House”, dOCUMENTA (13), Kassel, Germany “Forecast”, Architecture Center Houston and AIA Houston, Houston, TX “Chalk the Block Festival”, San Jacinto Plaza, El Paso, TX 2011 Grange Gardens Sculpture Commission Proposals, Galerie8, London, England "A Show About Colab (and Related Activities)", Printed Matter, NYC 2010 “Summer Shorts”, Electric Arts Intermix, NYC 2009 “Looking at Music: Side 2”, Museum of Modern Art, NYC “Civic Duty: Building Art, Building Houston”, 125 Gallery, Houston Arts Alliance, Houston, TX 2008 “Art in the Public Sphere: Singular Works, Plural Possibilities”, University Gallery, U of Massachusetts 2007 “For Being Open: A Celebration of 30 Years”, Urban Institute for Contemporary Arts, Grand Rapids, MI 2005 "The Downtown Show: The New York Art Scene 1974-1984, Andy Warhol Museum, Pittsburg "Meteorologic Phenomena", Wave Hill, NYC 2004 “The Duce: (Nearly 100 Years of Times Square, Ocularis, NYC 2003 "Summer Repertory: Everglades City", MOMA, NYC 2001 "The Hagie C", Kunst Kanaal, Amsterdam 2000 “Video Time”, Museum of Modern Art, NYC 1999 “Space”, Witte de With, Rotterdam 1996 “No Wave Cinema, 1978-87”, Whitney Museum of American Art, NYC 1995 “Boxes”, The Sculpture Center at Roosevelt Island 1994 “The Future of the Book, the Book of the Future”, Florida State U. Gallery 1993 “Good and Plenty”, Art in General, NYC “Aides Project”, Museum of Modern Art, NYC “Artists' Books”, Smithsonian Institute 1990 “Learn to Read Art: Artists’ Books”, Art Gallery of Hamilton, Canada “New Narratives”, Whitney Museum of American Art, NYC 1989 “New Narratives”, International Center for Photography, NYC 1988 “21 Years of Independents”, Museum of Modern Art , NYC; Rotterdamse Kunst Stichting 1987 “Selections from the Video Study Center”, Museum of Modern Art, NYC “Video Discourse: Mediated Narratives”, La Jolla Museum, California 1986 “Resolution: A Critique of Video Art”, Los Angeles Contemporary Exhibitions “MASS”, Group Material, The New Museum of Contemporary Art, NYC “TV’s Impact on Contemporary Art”, Queens Museum 1984 “Mediated Narratives”, Institute of Contemporary Art, Boston “The Second Link”, Long Beach Museum of Art, CA, Institute of Contemporary Art, London 1983 “1983 Biennial”, Whitney Museum of American Art, NYC “The Second Link”, Museum of Modern Art, NYC; Stedelijk Museum, Amsterdam; A Space, Toronto “1984”, Ronald Feldman Gallery 1982 “New Imagery”, Museum of Modern Art, NYC “New Work, New York”, Long Beach Museum of Art “Return/Jump”, The Kitchen Center “A.More Store”, Collaborative Projects, Barbara Gladstone Gallery, NYC “Fashion Moda Store”, Documenta, Kasel, Germany “Ola De Calor”, Museum del Bario 1981 “Kitchen Presents”, Museum of Modern Art, Jerusalem “Colab Two Suitcase Show”, And/Or, Seattle “Page as Alternative Space”, Franklin Furnace 1980 “The Times Square Show”, Collaborative Projects EDUCATION Connecticut College, 1976, BA University of Delaware, 1978, MFA BRAD GOLDBERG Dallas, TX bradgoldberg.com [email protected]
From the beginning, earning duo degrees in Sculpture and Landscape Architecture, I have been passionate about exploring a holistic approach toward art and place. My goals are to continue to create work that is site-specific, timeless, and exemplary in use of material, craftsmanship, and scale.
I find that each project has its own unique undiscovered challenges and that uncovering and answering these challenges is part of the excitement in doing this work. My inspiration comes from the journey of discovery in researching the history, culture, aspirations of the community and creating an artwork that becomes integral to the place, as if it had always been there. Artists are accustomed to working on projects far advanced in their design evolution. While not an ideal scenario, my goal is always to make the artwork look as if it was part of the overall design intent all along, rather than an afterthought, and I have been successful in this regard.
Recently, it seems that public art is transitioning to asking for work at “X marks the spot”, a process that focuses on the product and gives less attention to the process. In advancing my work, I wish to continue to pursue a holistic process that is less about pieces and more about spaces.
In a life’s pursuit, one gains expertise in one’s craft, while over time responding to an ever-changing world of new discoveries and technology. Throughout, I continue to value working with the materials of the earth, as these materials are sustainable, durable, and beautiful. The span of my work reflects my interest in archetypal forms, the cycles of nature and geologic time, the evolution of technology, and in creating people-oriented community spaces. I strive to create work that is timeless, beautiful, in touch with both past, present and future, and with humankind’s inherent need to connect with and make one’s mark upon the natural world..
Top to bottom: Coral Eden, 2006, Miami International Airport; Houston Waters II, 2004, Houston, TX; Passage, 2016, Phoenix, AZ BRAD J GOLDBERG
5706 GOLIAD AVENUE DALLAS, TX 75206 . W 214 821 9692 . [email protected] . WWW.BRADJGOLDBERG.COM
SELECTED PROJECTS 2016- Eastside Regional Park, El Paso, Texas 2016- Johnson County Arts and Heritage Center, Kansas 2014- Moore Square, Raleigh, North Carolina 2013- Washington D.C. Metro Innovation Center Station 2009- Terminal 4 Terrazzo Floor Project, Ft. Lauderdale International Airport, Florida 2016 Passage, Pueblo Grande Archeological Museum, Phoenix, Arizona 2014 Trinity River Amenities Project, Dallas, Texas 2012 Water Tower, Elevated Water Tower Design/Wind Energy Project, Town of Addison, Texas 2012 Belt Line Station, Dallas Area Rapid Transit, Irving, Texas 2011 Every Place A History, Austin Animal Shelter/Betty Dunkerley Campus, Austin, Texas 2011 Water Table, Cityplace, Dallas, Texas 2011 Bollard Series, West Palm Beach County Courthouse Project, West Palm Beach, Florida 2011 Alluvium, Pinnacle/Pima Road Project, Scottsdale, Arizona 2010 Healing Stones, Solar Light Project, Children’s Hospital, Minneapolis, Minnesota 2010 DART System-Wide Lead Artist, Dallas Area Rapid Transit Projects (12 Years) 2009 Trinity Lakes Project, 30% Conceptual Design, Design Team Member with WRT, Dallas, Texas 2009 Fair Park Station, Dallas Area Rapid Transit, Main Entrance to Fair Park, Dallas, Texas 2007 Cisterna, Stone Cistern and Wind Turbine Project, Montgomery Farm, Allen, Texas 2007 Illumination, Symantec Corporation Solar Light Project, Culver City, California 2007 Coral Eden, Miami International Airport Project, Miami, Florida 2006 Place of Origin, Land Reclamation Project, Village of Kemnay, Aberdeenshire, Scotland 2005 High Plains of Texas, Dallas/Fort Worth International Airport Terrazzo Floor Project 2005 Living Room, Project for State of New Jersey 911 Police Headquarters Facility 2004 Houston Waters 2, Water Sculptures/ Streetscape Design, Houston, Texas 2004 Stratum, Allen Civic Center Plaza Design, Phase Two, Allen, TX 2004 Foundation, New Federal Building, Oklahoma City, Oklahoma, US GSA Art in Architecture Program 2002 Wanderings, Biblical Garden Project for Congregation Agudas Achim, Dell Campus, Austin, Texas 2002 Museums on the River, Wichita Museum District Project, Wichita, Kansas 2002 Brownfield to Greenfield, Land Reclamation Project at West Bend Plating Site, Wisconsin 2002 Houston Waters 1, Cotswold 2000, Phase One, Downtown Houston, Texas 2001 Planting Vessels, 900 Block of Nicollet Mall, Minneapolis, Minnesota 2001 Binary Carpet, 2M Companies, Dallas, Texas 2001 Montgomery Farm Master Plan Project, Allen Texas, with Oglesby Greene Architects 2001 Bethany Parkway Design, Allen, TX, with WRT, Landscape Architects, Philadelphia 2001 Epoch, Network Appliance Corporation, Sunnyvale, California 2001 Stratum, Allen Civic Center, Phase One, Allen, Texas 2001 Explicitus Est Liber, Memphis/Shelby County Public Library, Memphis, Tennessee 2000 Mesquite Bosque, Phoenix Criminal Justice Center, Phoenix, Arizona 2000 Continuum, 800 Block Nicollet Mall, US Bancorp Piper Jaffray, Minneapolis, Minnesota 1999 Untitled, Esquire Plaza Project, Downtown Sacramento, California 1999 Terminal A, 100,000 s.f. Terrazzo Floor Design, Miami International Airport, Florida 1998 Origin, Tech Museum of Innovation Lead Artist, San Jose, California 1998 Step Well, Water Sculpture at Mountain View College, Dallas, Texas 1997 Spiral Study, Fine Arts Building, Greenhill School, Addison, Texas 1997 Outdoor Exhibition Area, Theater and Sculpture Garden, Lindabrunn, Austria 1996 Bloomington Waters, Sculpture for New City Hall, Bloomington, Indiana 1996 Dallas Area Rapid Transit Central Business District Transit Mall, Texas, with Sasaki Associates 1994 Pegasus Plaza, Dallas City Center Project, Dallas, Texas 1994 Liturgy, Prince of Peace Catholic Community, Plano, Texas 1994 Dallas Convention Center Expansion/Vertiport, Project Lead Artist, Dallas, Texas 1994 City of Wichita Museum District Master Plan, Wichita, Kansas 1993 Think, Main Entrance, Miyakoda Technopolis Research Institute, Hamamatsu City, Japan 1993 Mears Park, St. Paul, Minnesota, with City of St. Paul/ Lowertown Redevelopment Corporation 1992 Lapidarium, Sculpture for Heritage Park, Fort Worth, Texas 1991 Yuri No Ki Dori, Pocket Park/Water Sculpture, Hamamatsu, Japan 1990 Universal Cycles, Dallas Arboretum and Botanical Society, Dallas, Texas 1989 Lay Ornamental Garden, Dallas Arboretum and Botanical Society, Dallas, Texas 1989 Artist Square, Dallas, Texas, with Sasaki Associates, Landscape Architects 1989 Portal, Sculpture for Lippincott Center, Marlton, New Jersey 1988 Labyrinths, Two Permanent Installations for The Crescent Office Tower Lobbies, Dallas, Texas 1986 Outdoor Water Wall, Garden, Interior Installations, West End Oasis Restaurant, Dallas, Texas 1984 Archetype, Granite Sculpture for a Public Park, Hachioji, Tokyo, Japan 1983 Sanctuary, Granite Sculpture and Meditation Space, Vassiviere en Limousin, France 1982 Olney Memorial Park, Olney, Texas, with Scott Slaney, Landscape Architect 1981 Shizuki Park, Hagi, Japan, with Yokozawa Hidekazu, Tanabe Takeshi, Landscape Design 1981 Ga Ryu Ten Sey, Granite Sculpture, The Warrington Condominiums, Dallas, Texas 1979 Wall, Landscape Sculpture, Lindabrunn, Austria 1977 Landscape Carpet, Lindabrunn, Austria 1976 Untitled, Main Public Square, International Sculpture Symposium, Liberty Hill, Texas 1976 Untitled, Forma Viva International Sculpture Symposium, Kostanjevica Na Krki, Slovenija, Yugoslavia 1974 Untitled, Limestone Sculptures and Public Park Design Proposal, Village of Lacoste, Vaucluse, France
SELECTED RECENT AWARDS Americans for the Arts, Public Art Network “Year in Review” 2010 Fair Park Station, Dallas Area Rapid Transit, Fair Park, Texas 2008 Coral Eden, Miami International Airport, Miami, Florida 2002 Explicitus Est Liber, Memphis/Shelby County Central Public Library, Tennessee The Saltire Society, Arts & Crafts in Architecture Competition Award 2007 Place of Origin, Aberdeenshire, Scotland American Institute of Architects 2001 Community Citation of Honor Award, Mesquite Bosque, Phoenix Criminal Justice Center 2000 Centennial Medallion Award, Mears Park, St. Paul, One of the best US projects in 100 years American Society of Landscape Architects 2001 Design Award, Mesquite Bosque, Phoenix Criminal Justice Center
SELECTED RECENT ACTIVITIES 2016 Fellow, Dallas Institute of Humanities and Culture (22 years) 2016 Advisory Council, University of Texas Arlington School of Landscape Architecture (5 years) 2012 Panelist, “The Third Hand: Digital Tools in an Analog World”, AFTA Public Art Preconference 2012 Board of Directors, Dallas Architectural Forum (three years) 2011 Panelist, “Landscape and Public Art: Making a Seamless Realm”, ASLA National Convention, San Diego 2011 Panelist, “The Sustainable Artist: A Virtual Panel Discussion” New York Foundation for the Arts 2011 Participant, “Re-envisioning the Soul of the City”, Dallas Institute of Humanities and Culture
EDUCATION 1978 Rhode Island School of Design, Providence, Rhode Island Bachelor of Fine Arts, Sculpture and Bachelor of Landscape Architecture 1973 Antioch College, Yellow Springs, Ohio MARK GRIEVE and ILANA SPECTOR Petaluma, CA markgrieve.com [email protected]
Our approach to public art recognizes patterns and rhythms. By repeating patterns, dynamic visual expressions are attained. By turning the rhythm “on its head,” new dynamic visual rhythms meet a wide variety of special design needs, and (to our delight) whimsical, strangely happy effects are created.
We look for opportunities to showcase signature iconic artworks that integrate nature, activity and community. Ilana Spector and I create elegant, spontaneous compositions – vibrant visual statements that engage and inspire – dynamic, architectural-yet-organic works captivating the imagination with an optimistic world view – contributing to sense of place – a sense of movement and wonder – highly-site-specific sculptural environments that set the tone for the day and years to come....
In our combined studio and workshop we work in mediums including drawing, painting, ceramics, wood, metal, found objects, kinetic, interactive, LED, performance and cutting- edge combinations of the above. We hope the committee can recognize if we can produce work using old bicycles as a medium, and with our experience, we can produce artworks in any media, including functional artworks – inspiring spaces inviting public interaction while enhancing the site, as well as city's collection.
I have been a fine artist and builder for thirty-five years and Spector was formerly CEO of a pioneer southern California solar electric company. We both have proven ability to collaborate with project managers and community stakeholders, delivering public art solutions in design team context on time and within budget.
We have incorporated project parameters to any standards and specifications – projects ranging from grassroots community-driven works to large-scale monuments and have enjoyed working with various design team professionals.
Top to bottom: Intertwine, 2016, Norfolk, VA; Bike Arch, 2007, Black Rock City, ID; Temple of Dreams, 2006, Black Rock City, ID MARK GRIEVE Fine Artist 2975 Sonoma Mountain Rd., Petaluma, CA 94954 + 1.415.850.3690 / [email protected] / www.MarkGrieve.com Public Art Commissions 2017 Selected artist for U.C. Davis / City of Davis, Third Street Improvement Project, Davis, CA (upcoming) 2016 Selected artist for City of Sacramento, North Natomas National Park, Sacramento CA (upcoming) 2016 “Intertwine,” Norfolk Botanical Garden, Norfolk, VA 2016 Shortlisted for Anchorage Z.J. Loussac Library's 1% for Art Project 2015 Finalist for 1900-2000 Delaware St., San Mateo, San Mateo, CA 2014 Shortlisted for Bayview Gateway Public Art Project, SFAC, San Francisco, CA 2014 Finalist for RTD FasTracks, Peoria Station, Denver, CO 2013 Finalist for Woodlawn Lake Public Art Project, San Antonio, TX 2013 “Archways,” City of Santa Clarita, CA 2012 “Ring Roll,” California State University, Chico, CA 2011 “Full Circles,” San Francisco Arts Commission Visitacion Valley Library, San Francisco, CA 2010 “Cyclisk,” City of Santa Rosa, Santa Rosa, CA 2009 “Double Archway,” Site-specific installation for City of Glendale, AZ & San Rafael, CA 2009 Finalist for City of Phoenix Children’s Museum, Phoenix, AZ 2008 “Wheel Arch,” City of San Buenaventura Public Art Commission, Ventura, CA 2008 “Flat Heaven,” Site-specific installation for City of San Rafael & Artworks Downtown, San Rafael, CA 2008 “Circles and Trees,” Site-specific installation for City of San Rafael & Artworks, San Rafael, CA 2007 “Bike Arch,” Honorarium Art Grant, Black Rock City LLC, Black Rock City, NV 2006 “Temple of Hope,” Honorarium Art Grant, Black Rock City LLC, Black Rock City, NV 2005 “Temple of Dreams,” Honorarium Art Grant, Black Rock City LLC, Black Rock City, NV Selected Exhibitions (* Solo Shows) 2016 * One-Man Show at College of Marin, Novato, CA (upcoming) 2016 Sonoma County Children’s Museum, Santa Rosa, CA (upcoming) 2014 “Pedal Power,” Los Altos History Museum, Los Altos, CA 2012 pART Project, World Bicycle Relief, New York, NY 2011 “Figurative Composition,” Sonoma Valley Museum of Art, Santa Rosa, CA 2011 Untitled, Spencer Brownstone Gallery, New York, NY 2011 “Take Me to the Bridge,” Red Bull, Justin Herman Plaza, Embarcadero Square, San Francisco, CA 2009 “Il Mazzolin di Fiori,” funded in part by Pollock-Krasner and Puffin Grants, Black Rock Desert, NV 2009 “The Bean Chandelier,” Tour de California, Sausalito, CA 2008 “THE PIG,” Integrative Installation, Black Rock Desert, NV 2007 California State Fair, Merit Award, Sacramento, CA 2007 Art League of Northern CA, Marin MOCA, Novato, CA 2006 * “Post-Temple Project Installation,” Artworks Downtown, San Rafael, CA 2006 “Circles and Trees,” Site-Specific Installation, San Rafael, CA 2006 “Wet Paint,” Sonoma Museum of Art, Sonoma, CA 2005 Fundraising Auction, Di Rosa Preserve, Napa, CA 2004 “Sonoma Paints,” Period Exhibition, Sonoma Museum of Art 2004 College of Marin, Group Show, Teachers and Students, Marin, CA 2003 “House of Godzilla,” Burning Man Festival, Black Rock City, NV 2003 “Offerings and Sanctuaries,” Site-Specific Installation, San Rafael, CA 2003 “Sonoma Creates,” First Juried Exhibition, Sonoma Valley Museum of Art 2002 “Forbidden City,” Burning Man Festival, Black Rock City, NV 2000 “Annual Juried Exhibition,” Falkirk Cultural Center 1996 “Individual Artist Grant Recipient,” The Marin Arts Council - Recipient of the Buck Fund Individual Artist Grant 1996 * Solo Exhibition, 444 Market St., San Francisco, CA 1995 “Hero Show,” Susan Cummins Gallery 1995 “Introductions,” San Francisco Art Dealer’s Association 1994 “The Gold Show,” Monterey Peninsula Museum, Palo Alto Cultural Center 1992 “On a Small Scale,” Susan Cummins Gallery 1991 “Romance Exhibition,” The Monterey Peninsula Museum 1991 “Bird Images,” Susan Cummins Gallery 1990 “Iconic Images,” Susan Cummins Gallery
MARK GRIEVE Fine Artist 2975 Sonoma Mountain Rd., Petaluma, CA 94954 + 1.415.850.3690 / [email protected] / www.MarkGrieve.com Selected Publications and Media 2016 Hillard, Bret, Norfolk Public Art, Summer 2016, www.norfolk.gov/tv48, https://youtu.be/ZjIMw4g7UuA 2016 http://experience.usatoday.com/story/living-here/2016/05/17/mark-grieve-ilana-spector-intertwine-sculpture 84497772/ 2015 http://www.sfmayor.org/Modules/ShowDocument.aspx?documentID=267, front page, Only photo 2015 “Cyclisk - Santa Rosa Monument; 340 bicycles, 65’...,” http://www.atlasobscura.com/places/cyclisk 2014 Blumberg, Antonia, “10 Years of Burning Man Temples Show the Spiritual Side ...,” Huffington Post, June 24 2013 Wels, Susan, “San Francisco: Arts for the City Civic Art and Urban Change,” Heydey, 2012, p. 20, 222-23 2012 Official London 2012 Olympic Opening Ceremony Souvenir Program, pp. 32-33, 68 2012 Metcalfe, John, “Incredible Sculptures Made From Bike Parts,” Atlantic Cities, Nov. 20, 2012 2012 Katz, Leslie, “Bike Parts Get Artists’ Imaginations in Gear,” http://cnet.com/8301-17938_105-57555068-1/ 2012 American Libraries Magazine, “Library Design Showcase 2012: The Shape of Things,” Feb. 28, 2012 2011 Iosifidis, Kiriakos, “BIKE ART, Bicycles in Art Around the World,” Publikat, 2011, pp. 200-201, 253 2011 Public Art Review, Issue 44 — Spirituality and Religion, spring / summer 2011, p. 81 2011 Primeau, Martin, “Re-bicyclage,” DébrouillArts, May 2011, p. 5 2010 Graziano, John, Ripley’s Believe It or Not!® Comic, December 5, 2010 2010 Ma, Sandy, Kadokawa Media Taiwan, MY LOHAS (Life Styles Of Health and Sustainability), Dec. 3 2010 South Park “Coon vs. Coon & Friends (Season 14, Episode 13), Nov. 10, 2010 2010 Robinson, Bruce “The Cyclisk,” North Bay Report, KRCB 91 FM, Oct. 2010 2010 Berman, Judy, “Bike Worship: Mark Grieve and Ilana Spector’s Cyclisk,” Flavorpill, Sept. 8, 2010 2010 Tweney, Dylan, “California Artists Build Obelisk Out of Bicycles,” Wired, Sept. 8, 2010 2010 McCallum, Kevin, “What’s It All Mean?” Press Democrat, August 26, 2010, Front Page, A9 (photos) 2010 Keeler, Stuart, “Salon des Réfusés...,” Americans for the Arts Half-Century Summit, June 26, Baltimore, MD 2009 “The Arts Advantage in Glendale,” Glendale, AZ July 2009, www.glendaleaz.com/glendale11/arts 2008 Taylor, Matthew, “Burned Out on Burning Man,” Sierra, July/August 2008, pp. 32, 33 (photos) 2008 Samson, Chris, “Local Artist’s Outdoor Bike Sculpture a Hit in Ventura,” Argus Courier, May 15-21, A6, A9 2008 Taggart, Phillip, CNN Headline News, SoCalNews, May 5, 2008 2008 “Street Detail,” San Francisco Magazine, April 2008, p. 67 2007 van Meter, Lori, “The Temples at Burning Man,” 5th Global Conference, Making Sense of Dying and Death, Mansfield College, Oxford, July 10 2006 Haden-Guest, Anthony, “In Defense of Burning Man,” Art in America, June-July 2006, p.112 2006 LeDuff, Charles “Only in America,” Discovery Channel, Feb. 2, 2006 2005 Terdiman, Daniel, “Burning Man Mourns the Big Easy,” Wired, Sept. 6, 2005 2005 Terdiman, Daniel, “Burning Man Feeds Art Inferno,” Wired, Sept. 1, 2005 2005 Young, Tobias, “From Art to Ashes,” Press Democrat, Front page, Aug. 15 2004 Alba, Victoria, “Rising Suns,” Pacific Sun, Special issue, pp. 21, 23, Aug. 18-24, 2004 2004 Robertson, Ross, “Naked on Stilts,” What is Enlightenment?, Issue 24/Feb.-April ‘04 Awards and Honors 2013 Velo-City, Cycling Visionary Voting Prize, Cycling and the Arts, Vienna, Austria 2011 American for the Arts, Public Art Network, (PAN) Year in Review Award, San Diego, CA 2011 SEAONC Excellence in Structural Engineering Award of Merit, Special-Use Structures 2010 First Place, AIA Redwood Empire, Decade of Design Awards - Small, Sonoma, CA 2009 Puffin Foundation Grant, Puffin Foundation Ltd., Teaneck, NJ 2008-09 Pollock-Krasner Foundation Grant, Pollock-Krasner Foundation, New York, NY 2007 Merit Award, California State Fair, Sacramento, CA 1996 “Individual Artist Grant Recipient,” Recipient of the Buck Fund Individual Artist Grant, Marin, CA Academic Lecturers, Chico State University, Chico CA Education and Apprenticeships 1993-94 San Francisco Art Institute, San Francisco, CA 1984-89 College of Marin, Kentfield, CA Collections/Corporate Commissions Susan Cummins, Petaluma, CA Chester Arnold, Napa, CA Clif Bar, Emeryville, CA Robin Williams, San Francisco, CA Red Bull, San Francisco, CA Elaine and Maxwell Meyers, SF, CA The Fleeman Collection, Austin, TX Chrome Industries, Inc., SF, CA Bici Centro, Santa Barbara, CA ILANA SPECTOR Fine Artist 2975 Sonoma Mtn. Rd., Petaluma, CA 94954 + 1.707.776.7733 / [email protected] / www.MarkGrieve.com Public Art Commissions 2017 Selected artist for City of Davis / U.C. Davis, Third Street Improvement Project, ($45k) Davis, CA (upcoming) 2016 Selected artist for City of Sacramento, North Natomas National Park, ($138k), Sacramento CA (upcoming) 2016 “Intertwine,” Norfolk Botanical Garden, ($150k), Norfolk, VA - Karen Rudd, 757.664.6883, [email protected] 2016 Shortlisted for Z.J. Loussac Library's 1% for Art Project, ($75k), Anchorage, AK 2015 Finalist for 1900-2000 Delaware St., San Mateo, San Mateo, ($100k), CA 2014 Shortlisted for Bayview Gateway Public Art Project, ($425k), SFAC, San Francisco, CA 2014 Finalist for RTD FasTracks, Peoria Station, ($134k), Denver, CO 2013 “Archways,” City of Santa Clarita, Santa Clarita, CA 2013 Finalist for Woodlawn Lake Public Art Project, ($375k), San Antonio, TX 2012 “Ring Roll,” California State University, Chico, CA 2011 Finalist for City of Seattle, King Street Station, Seattle, WA 2011 “Full Circles,” San Francisco, CA - Andrew Maloney, 415.431.2008, [email protected] 2010 “Cyclisk,” City of Santa Rosa and Public Art, Santa Rosa, CA - Tara Thompson, 707.543.4512, [email protected] 2009 Finalist for City of Phoenix Children’s Museum, Phoenix, AZ 2009 Finalist for San Diego Airport Commission, San Diego, CA 2009 “Double Archway,” Site-specific installation for City of Glendale, AZ & San Rafael, CA 2009 “Pacific Rim,” City of San Rafael and Artworks Downtown, San Rafael, CA 2009 “Double Arch,” City of Glendale, Jazz and Blues Festival, Glendale, AZ 2009 “Wheel Arch,” City of San Buenaventura Public Art Commission, Ventura, CA 2008 “Flat Heaven,” City of San Rafael & Artworks Downtown, San Rafael, CA Selected Exhibitions 2012 pART Project, World Bicycle Relief, New York, NY 2011 “Fork Composition,” Sonoma Valley Museum of Art, Santa Rosa, CA 2011 “Archway Composition with Bike Parts #14” or “Spoken For,” Jack London Square, Oakland, CA 2011 “Take Me to the Bridge,” Red Bull, Justin Herman Plaza, Embarcadero Square, San Francisco, CA 2011 “Bubbles,” Geography of Hope Conference, Grandi Building, Pt. Reyes Station, Invernes, CA 2009 “Il Mazzolin di Fiori,” Pollock-Krasner and Puffin Foundation grant, Dead Dog’s Dune, Pershing, NV 2009 “The Bean Chandelier,” Tour de California, Sausalito, CA 2008 “Exercise in Democracy – for Under 500 Bucks” Self-funded Installation, Pershing, NV 2008 “THE PIG,” Self-funded Installation, Pershing, NV 2008 “Wheel Arch Splendor,” Los Angeles River Ride, Los Angeles, CA 2008 “Bringing Back the Fire: Art & Community…” Santa Rosa Junior College, Santa Rosa, CA 2008 “Flat Heaven,” Site-Specific Installation, San Rafael, CA Awards and Honors 2013 Velo-City, Cycling Visionary Award, Cycling and the Arts, Vienna, Austria 2011 American for the Arts, Public Art Network, (PAN) Year in Review Award, San Diego, CA 2011 SEAONC Excellence in Structural Engineering Award of Merit, Special-Use Structures 2010 AIA Decade of Design Award, First Place, Sonoma, CA 2008 Recommended Artist, “Wheel Arch,” Ventura Public Arts Commission P.L.A.C.E., Ventura, CA Corporate Commissions 2014 Clif Bar, Headquarters, Emeryville, CA 2008 Chrome Industries, San Francisco, CA 2007 “Bike Arch,” Black Rock City LLC, Black Rock City, NV Academic Lecturer, Chico State University, Public Art, Chico CA Residency BCIAR, Bici Centro International Artist Residency, Santa Barbara, CA Education 2012-13 College of Marin, Kentfield, CA 1997-00 U.C.L.A. School of Law, Los Angeles, CA 1995-96 London School of Economics, London, U.K. 1992-96 cum laude, School of Foreign Service, Georgetown University, Washington, DC
ILANA SPECTOR Fine Artist 2975 Sonoma Mtn. Rd., Petaluma, CA 94954 + 1.707.776.7733 / [email protected] / www.MarkGrieve.com Selected Publications and Media 2016 Hillard, Bret, Norfolk Public Art, Summer 2016, www.norfolk.gov/tv48, https://youtu.be/ZjIMw4g7UuA 2016 http://experience.usatoday.com/story/living-here/2016/05/17/mark-grieve-ilana-spector-intertwine-sculpture 84497772 2015 “Cyclisk - Santa Rosa Monument; 340 bicycles, 65’...,” http://www.atlasobscura.com/places/cyclisk 2015 http://www.sfmayor.org/Modules/ShowDocument.aspx?documentID=267, Opening photo (only one) 2013 Wels, Susan, “San Francisco: Arts for the City Civic Art and Urban Change,” Heydey, 2013, p. 20, 224 2012 Official London 2012 Olympic Opening Ceremonies Souvenir Program, pp. 32-33, 68 2012 Metcalfe, John, “Incredible Sculptures Made From Bike Parts,” November 20, 2012 2012 McCallum, Kevin, “Santa Rosa Sells Sculpture Site,” March 5, 2012, B1, B3 2011 Iosifidis, Kiriakos, “BIKE ART, Bicycles in Art Around the World,” Publikat, 2011, pp. 200-201, 253 2011 “Copenhagenize’s Top Five Bicycle Monuments,” Aug. 15, 2011 http://www.copenhagenize.com/2011/08/top-five-bicycle-monuments.html 2011 Lee, Stephanie, “Visitacion Valley to Reopen after Remake,” San Francisco Chronicle July 30, 2011, C2 2011 Taylor, Dan, “‘Cyclisk Sculpture Wins National Honor,” July 1, 2010 2011 Public Art Review, Issue 44 — Spirituality and Religion, spring / summer 2011, p. 81 2011 Primeau, Martin, “Re-bicyclage,” DébrouillArts, May 2011, p. 5 2010 Graziano, John, Ripley’s Believe It or Not!® Comic, December 5, 2010, http://comics.com/ripleys_believe_it_or_not/2010-12-05/#CMT_Comments 2010 Ma, Sandy, Kadokawa Media Taiwan, MY LOHAS (Life Styles Of Health and Sustainability), Dec. 3 2010 South Park “Coon vs. Coon & Friends (Season 14, Episode 13), November 10, 2010 2010 Robinson, Bruce, “The Cyclisk,” North Bay Report, KRCB 91 FM, Oct. 2010, http://krcb.org/the-cyclisk 2010 Berman, Judy, “Bike Worship: Mark Grieve and Ilana Spector’s Cyclisk,” Flavorpill, Sept. 8, 2010 http://flavorwire.com/116956/bike-worship-mark-grieve-and-ilana-spectors-cyclisk 2010 Tweney, Dylan, “California Artists Build Obelisk Out of Bicycles,” Wired, Gadget Lab, Sept. 8, 2010 http://www.wired.com/gadgetlab/2010/09/bicycle-obelisk 2010 PBS/NPR - KRCB 91 FM/TV 22, Sonoma Spotlight, Roland Jacopetti, Sept. 16, 2010 at 9 a.m. 2010 Frattini, Kristen, “60ft Bike Obelisk Towers over Santa Rosa, CA,” Bikeradar.com, Sept. 3, 2010 2010 The Drive with Steve Jaxon, KSRO 1350 am, August 31, 2010 2010 McCallum, Kevin “What’s It All Mean?” Press Democrat, August 26, 2010, Front Page http://www.pressdemocrat.com/article/20100826/ARTICLES/100829569?tc=ar 2010 Smith, Chris “From Old Bikes to Beauty,” Press Democrat, August 24, 2010 2010 Keeler, Stuart “Salon des Refusés – Sight Unseen,” Americans for the Arts Half-Century Summit 2009 “The Arts Advantage in Glendale,” Glendale, AZ July 2009, www.glendaleaz.com/glendale11/arts 2008 “Local Artists Strike Burning Man,” The Buzz, Argus-Courier, p. C1, Sept. 4, 2008 2008 Taylor, Matthew, “Burned Out on Burning Man,” Sierra, July/August 2008, pp. 32, 33 (photos) 2008 Samson, Chris, “Local Artist’s Outdoor Bike Sculpture a Hit in Ventura,” Argus Courier, Week of May 15-21, A6, A9 2008 Taggart, Phillip, CNN Headline News, SoCalNews, May 5, 2008 http://www.twcsocalnews.com/index.php option=com_seyret&task=videodirectlink&Itemid=26&d=536 2008 N.P.R. - KCRW/KCLU, Sunday, April 27, 2008, http://www.kclu.org/datebook/event/919 2008 Clerici, Kevin, “Artist is assembling sculpture of bike parts,” Ventura Star, April 4, 2008, p. B1, B3, 2008 “Street Detail,” San Francisco Magazine, April 2008, p. 67 (including photo) 2008 “Public Art Displays Roll into Downtown San Rafael,” San Rafael Focus Magazine, winter 2008, 2007 Keesling, Ryan, “On Mark Grieve’s Bicycle Arch at Center Camp,” BRAF Journals, Sept. 2007 2007 BikeRadar, “The Bike Arch: Recycled Art,” Sept. 20, 2007 2007 Roccapriore, Carla, Reno Gazette Journal, “Burning Art Highlights Green Issues,” Sept. 2, p. A4 (photo) 2007 “Burning Man 2007,” San Francisco Chronicle, August 30, 2007, (photo) http://sfgate.com/c/pictures/2007/08/30/mn_burningman_116_mac.jpg 2007 Sam, Ryan, “Preparing the Playa: Behind the Scenes at BRC,” Sierra Sun, Aug. 31, 2007, p. 28 (photo) Work Experience 2010-16 Certified Welder, Fiber Artist, Photographer 2003-16 Private Consultant, Curator, Esquire 2000-02 President & CEO, Solar Edge, Los Angeles, CA 2000-01 Associate Esquire, Bryan Cave LLP, Santa Monica, CA DAVID GRIGGS Denver, CO publicartist.com [email protected]
I am a public artist based in Denver, and have completed over 50 commissioned works of art throughout the United States. My work is site-integrated, an approach that utilizes the ability of a site to compliment a work of art both in meaning and in impact. This may include work that is specific to the architecture and other formal elements of the site, or responsive to other factors, whether they are social, cultural, environmental, or historical.
My design process starts with an understanding of the “culture” of the site. I work to sensitize myself to the function of a site and its qualities, i.e., design, scale, pattern, ambiance, and so on. I also try to become aware of aspects that aren’t visually apparent, such as social situations and historical circumstances. I've collaborated with many other design professionals. These have been architects, engineers, planners, and fabricators.
I graduated from the University of Colorado at Boulder with a Masters Degree in Fine Arts. For the last 25 years I have been self-employed as a public artist, designing and building work for percent-for-art, public art, and private commissions. I've been involved in Design Team projects that require both Public Art planning and advocacy. In addition to consulting for Denver’s new Light Rail system, I've also been involved in a mixed-use residential Redevelopment project (Lowry Redevelopment Authority) and with the City's affordable housing program, the Denver Housing Authority
Top to bottom: Potenza 2, 2010, Denver, CO; Vegas Arabesque, 2011, Las Vegas, NV; Seven Sisters, 2002, Denver, CO Griggs Resume (1)
DAVID M. GRIGGS 715 Galapago St. www.publicartist.com Denver, CO 80204 [email protected] (303) 446 – 3030
Public Art Design Team Resume
Denver International Airport (1990 - 1994) This was a project to design and build a public art piece for the Central Core of the International Concourse. With a budget of $465,000., this 4-year project was installed in the facility at the time that it was being built. In order to manage this process I formed a design team consisting of an Architect, Engineer, Lighting Designer and General Contractor. The implementation of the project involved over a dozen subcontractors.
Hope, Arkansas (1996 - 2000) I was on the design team for the renovation of Hope, Arkansas, President Bill Clinton's birthplace. The team focused on the historic train depot and the adjacent downtown area. The public art designs are based on: 1) the history of this small southern town, 2) the legacy of the railroad as transportation and metaphor, and, 3) the town itself as a metaphor for historic opportunities and possibilities.
Colorado School of Mines (1998 - 2001) This was a design team collaboration with an architect and with the client/users on a new facility for the Department of Metallurgy. The team was involved with designing and shaping the public spaces of the building and incorporating art into functional elements such as floors, columns, windows, walls, sidewalks and so on. This incorporation of art was focused on the relationship between the ongoing exploration of the Metallurgy Department and its historic roots in the study of Alchemy.
Fort Collins, Colorado (1999 - 2001 One of the key components in the renovation of Downtown Fort Collins was the design for a new 900 space parking structure. I was hired by the City of Fort Collins as a Master Planner for incorporating art into the new garage. I worked with architects and City personnel to identify art opportunities presented by the facility, and I also designed terrazzo floors for the stairwells and entrances to the parking structure.
Western State College (1999 - 2002) As part of a design team collaboration, I worked with another artist and an architect to plan site-specific works of art for a new Math and Science building at Western State College. This new facility housed the College’s science classrooms and labs, and it offered several opportunities to integrate public art. We planned, designed and installed public art pieces in 4 locations on the inside and outside of the facility.
Stockton, California (2004 - 2006) Stockton is an inland California town which is going through a major renovation involving essential infrastructure and public amenities. I was hired by the City of Stockton to participate in the design, planning, and implementation of public art for a new downtown parking structure. This integration included incorporating drawings into construction documents and presenting design ideas for public review.
Colorado State University (2005 - 2006) This thriving State University in Fort Collins, Colorado collaborated with the City’s public transportation agency to build an addition onto the Student Union. I was hired to participate on the design team and work with the architects and clients to develop and integrate public art into this facility, the new main entrance to the University.
The City of Greeley, Colorado (2005 – 2007) Greeley is a prominent city on the eastern plains of Colorado that has a strong agricultural influence and an exceptional state university. When the City decided to build a new, state of the art Police Department Headquarters I was hired to propose and design integrated artwork for the building’s public spaces. The result is an iconographical terrazzo floor and etched glass panels with historic Police Department images.
Regional Transportation District (2006 - 2008) Denver’s public transportation agency is in the process of designing and building “Fastracks”, a light rail system that will unify transportation options in the greater Denver/Boulder area. I was hired as a consultant to integrate art into functional elements and station designs for the West Corridor, the first of the Fastracks lines to be designed and built.
Colorado State University (2007 - 2009) The South Campus of this main branch of the Colorado State University System is the home of the Veterinary Sciences Program, a nationally regarded center for large- animal veterinary studies and treatment. I was hired to integrate artwork into the Diagnostic Medical Center, the South Campus’ new facilty for adminstrative, teaching, and laboratory services.
Denver Housing Authority (2011 - 2014) Denver’s Public Housing agency is embarking on a new era of affordable housing with the redevelopment of South Lincoln Homes. This transformational project includes market rate housing, senior housing, retail and commercial incubator facilities at a challenging urban TOD site. I was hired as a consultant to OZ Architecture to identify and advocate for culturally appropriate art opportunities inherent in the redevelopment.
Lowry Redevelopment Authority (2013 - Present) As the Public Art Consultant on the Design Team of this ongoing Redevelopment, I am working with the owners, developers and designers to integrate Public Art into the Lowry property. This 70 acre site features new construction on a decommissioned Air Force Base, repurposed for a mixed-use neighborhood with residential and retail facilities. My involvement has included the writing and publishing of a new Public Art Master Plan and the designing of several integrated Art features for the site.
Griggs Resume (2)
COMMISSIONS : Over 50 commissioned art projects, both public and private, including:
TIME PIECE, 2015, an architecturally-integrated installation around a pendulum at Miami University of OH $150,000 HOME RANGE, 2015, an integrated sculptural wall installation for Colorado State University, Ft. Collins, CO $ 25,000 HAVANA LANTERNS, 2013, a site-specific sculptural installation for the Denver County Jail, Denver, CO $190,000 ECOTONES, 2012, a terrazzo floor design in collaboration with Scott Parsons, Ft. Lauderdale Airport, FL $514,000 ON STAGE, 2012, an architecturally-integrated installation for a historic theater renovation, Loveland, CO $ 88,000 VEGAS ARABESQUE, 2010, pedestrian bridge gateway piece pays homage to vintage neon, Las Vegas, NV $450,000 FARAWAY NEARBY, 2010, sculptural wall piece with glass and lights for a Science building, Fort Collins, CO $ 37,000 POTENZA, 2010, art glass wall with programmed LED lights for new Xcel Energy headquarters, Denver, CO $280,000 VERVE, 2009, a multi-element installation with terrazzo, art glass, and sculptural trellises, Fort Collins, CO $265,000 AURORA AKIMBO, 2008, a monumental gateway sculpture for a park and major arterial into Aurora, CO $115,000 FLIGHT RIDE FOUR, 2008, a bus shelter for a new development on the site of former Lowry Air Force Base. $ 98,000 BLUE LINE, 2007, a terrazzo & glass installation for the new Police Department Headquarters, Greeley, CO $195,000 WESTLIGHT, 2006, an installation for the new Student Union at Colorado State University, Ft. Collins, CO. $ 50,000 LIGHTSTALK, 2006, an entrance light sculpture for a new parking structure in downtown Stockton, CA. $135,000 FLYWHEEL, 2006, a multi-part installation for an early childhood learning center in Jacksonville, Florida. $ 55,000 FLORA NOVA, 2005, a sculptural installation for the new Deccio Higher Education Center in Yakima, WA. $ 43,000 POWER TRAIL BIRDHOUSES, 2004, a series of sculptural birdhouses for a bike trail in Fort Collins, CO. $ 5,000 THE LOCKTON SCULPTURE, 2003, an installation in a corporate headquarters at Denver Tech Center. $ 20,000 SEVEN SISTERS, 2002, a sculptural installation for a new RTD Light Rail Station in Downtown Denver. $120,000 DOUBLE AXLE, 2002, a suspended atrium sculpture for a recreation center in the Town of Breckenridge. $ 25,000 WINGSCAPE, 2002, design team collaboration for a science building at Western State College, Gunnison. $ 93,000 HOOP DANCE, 2002, a sculptural relief project for the new Englewood City Center in Englewood, CO. $100,000 IMAGINAMACHINA, 2002, an installation for the University of Colorado Discovery Learning Center. $ 50,000 EARTH STATION SCULPTURE, 2001, site specific sculpture for the new National Cable Center Museum. $200,000 HOPE FREIGHT, 2000, a sculptural installation for the Hope, Arkansas, President Bill Clinton’s birthplace. $ 50,000 ALCHEMY WORKS, 1997-2000, design team collaboration for Colorado School of Mines in Golden, CO. $140,000 GHOST STEPS, 2000, a sculptural installation for the University of Wisconsin’s Armory, Madison, WI. $ 44,000 THE PENDULUM PROJECT, 1998, installation for Science Center at Adams State College, Alamosa, CO. $ 65,000 GLACIAL ALCHEMY, 1998, a terrazzo floor design and installation for a public school in Anchorage, AK. $130,000 PLATTE VALLEY TIME VANES, 1997, a commission to install 6 gateway sculptures on a freeway viaduct. $195,000 DIVINE MOTION, 1996, an installation of a suspended atrium sculpture for Santa Fe Community College. $ 50,000 WINDHARP, 1995, a wind sculpture commissioned by Dallas Area Rapid Transit Authority, Garland, TX. $ 25,000 DUAL MERIDIAN, 1994, a sculptural installation commissioned for Denver’s New International Airport. $465,000 ALBUQUERQUE APPARITION, 1992, site specific sculpture commissioned by the City of Albuquerque. $ 36,000
EDUCATION : M. F. A., Fine Arts, 1984, University of Colorado, Boulder, 80309. Attended 1981 - 1984. B. A., Psychology, 1977, Hamilton College, Clinton, NY, 13323. Attended 1973 - 1977.
HONORS/AWARDS : AWARDEE, Mayor’s Urban Design Award 2011, Public Art category, Las Vegas, NV 2012 PRESENTER, “Getting Your Mojo Back”, Creative Industries Summit, State of CO 2012 JUDGE, International Snow Sculpture Championships, Town of Breckenridge, CO 2009 PRESENTER, College of Arts and Media “Arts Industry Exchange”, UC Denver 2009 PRESENTER, City of Aurora/TOSA “Careers in the Arts” workshop, Aurora, CO 2008 JUDGE, International Snow Sculpture Championships, Town of Breckenridge, CO 2007 ART CASTINGS AWARD, North American Sculpture Exhibition, Foothills Art Center. 1993 PRESENTER, Artweek ‘92, University of Colorado, Colorado Springs Campus. 1992 PUBLIC ART COMMISSION, New Denver Airport Art Program, City of Denver. 1990 NEW WORKS GRANT, Commission on Cultural Affairs, Denver, Colorado. 1990 ARTIST’S RESIDENCY, The Sitka Center for Art and Ecology, Otis, Oregon. 1990 ARTIST GRANT, awarded by Art Matters Incorporated, New York, New York. 1988 SCULPTURE COMMISSION, The Power Plant Arts Center, Toronto, Ontario. 1988 MERIT AWARD WINNER, The Artquest International Competition, Los Angeles, CA. 1988 EXHIBITION AWARD, Decadent X show, Art Department/Objects Gallery, Chicago. 1987 EXHIBITION GRANT, The Boulder Arts Commission, BCVA, Boulder, Colorado. 1986 CREATIVE FELLOWSHIP, The University of Colorado at Boulder, Colorado. 1984 BEST OF SHOW, Creative Arts Symposium, Colorado State University, Fort Collins. 1982 BARBARA GRYGUTIS Tucson, AZ barbaragrygutis.com [email protected]
As an artist, I create public spaces that enhance the built environment, enable civic interaction, and reveal unspoken relationships. By identification of meaningful themes and the creation of works of art relevant to specific locations and communities, I create engaging places of interest for the public to interact with and enjoy.
I have been commissioned to work in a wide variety of situations and have completed over 75 works of large-scale permanent public art throughout North America. Completed projects include sculptural experiences fully integrated into the urban environment inclusive of sculptural elements, lighting, landscaping and seating, public plazas, freestanding sculpture, sculpture gardens, and works of art built to enhance pedestrian and urban mass transportation systems. I have created environmental works of art emphasizing community heritage, and memorials to honor ideals and individuals.
Natural and artificial illumination are key elements of my work. My illuminated works function sculpturally during the day and transition to create an illuminated, welcoming atmosphere in the evening. Through the relationship of material, light, and movement my site specific works dynamically engage the viewer. Subtle shimmering moiré patterns appear on the surface of semi-transparent forms and continually evolve within the 24 hour framework. I use low energy, LED fixtures demonstrating sustainable technology.
All of my site-specific works of art respond to the site, purpose, and stakeholder goals for which they are conceptualized. I design to create a place of reflection where the beauty of the natural world can be seen in the built environment. I have diverse experience with design team/stakeholder collaboration nationwide.
Top to bottom: Desert Passages, Canopy Dreams, 2009, Chandler, AZ; South Park Bridge, 2014,Seattle, WA; Dawn’s Silver Lining, 2012, Salina, KS BARBARA GRYGUTIS Barbara Grygutis Sculpture LLC P O Box 3028 Tucson, AZ 85702-3028 | t 520.882.5572 | f 520.206.0692 | [email protected] |www.barbaragrygutis.com
Barbara Grygutis has been commissioned to create over 75 works of large-scale public art in locations across the United States and beyond. Awards she has recei ed i clude the Natio al E dow e t for the Arts’ I di idual Artist’s Fellowship a d a I di idual Project Design; and Second Place in the International Quadrennial Competition in Faenza, Italy. In 2011, the New York Municipal Art Society awarded a MASTERworks Honorable Mention for her work, Bronx River View, a sculptural installation at Whitlock Station, MTA, New York City. In 2010 her Imaginary Garden, in Cary, North Caroli a’s Wal ut “treet Park recei ed atio al awards fro Hardscape North A erica a d the Brick I dustry Associatio ’s Brick in Architecture competition. In addition to her permanent pu lic art i stallatio s, Grygutis’ work has ee e hi ited at The “ ithso ia I stitute i Washington, DC; The Socrates Sculpture Park in Long Island City, New York; The Bronx Museum in New York City; and The Parker Collection for the Vice-President's House and the White House, both in Washington, D.C.
SELECTED WORKS OF PUBLIC ART
2017 • Palo Alto, Califor ia. Frequencies, sculpture with lighting 2016 • “a A to io, Te as. Leon Creek Passage, sculpture with lighting on Hausman Rd. bridge over Leon Creek • Fairfa Cou ty, Virgi ia. WMATA, Tysons West Metro Rail Station, Washington-Dulles Rail extension sculpture and plaza nd 2015 • Tucso , Arizo a. Sonoran Passage, Kino Parkway 22 St. Interchange Bridge, sculptural treatment (railing, lighting, piers) • Ka sas City, Ka sas. Fi efighte ’s Me o ial, Sculptural memorial with lighting. 2014 • “eattle, Washi gto . South Park Bridge, Sculptural railing and gateway entry monuments. 2012 • “ali a, Ka sas. Da n’s Sil er Lining, South 9th Avenue Median. Gateway to the city, with integrated lighting. • St. Louis, Missouri , Garden Under the Bridge, Scott Avenue Plaza Metro Station sculptural environment. • West Palm Beach, Florida, The Green Wall, Sculptural environment, Palm Beach County Assembly Plaza. • East Lansing, Michigan, Echo, sculpture for Michigan State University, Brody Amphitheater. 2011 • Long Beach, California. Seagrass, Ocean Boulevard median sculptures with integrated lighting. • Phoe i , Arizo a. Kuban Park, Artist-designed park. 2010 • Antioch, California. Drop, Prewett Family Park. Iconic entry sculpture with integrated lighting. • New York City, New York. Bronx River View, Award winning MTA sculptural installation with integrated seating and screen grating units. • Las Vegas, Nevada. Flamingo Arroyo Trail, Eleven mile trail with rest areas (artist design team project with Buster Simpson and Kevin Berry). • Bre erto , Washington. Signs and Symbols, Artist-designed glass block and aluminum gateway for Olympic College’s Humanities Building. 2009 • West Palm Beach, Florida. Wave, Integrated, illuminated sculptural installation at the Palm Beach County Convention Center. • El Paso, Texas. Silver Lining, Integrated sculptural environment located at El Paso Civic Center. • Gil ert, Arizona. Desert Passage, Canopy Dreams, sculptural pedestrian bridge at Chandler-Gilbert Community College. • Cary, North Carolina. Imaginary Garden, Award winning 1.2 mile brick promenade for Walnut Street Park. 2008 • Calgary, Alberta, Canada. The Color of Snow, Integrated works of art at the Northwest Crowfoot Light Rail Transit Station: Transit Station façade and two freeway pedestrian bridge railings. 2006 • Belle ue, Washington. Windswept, Kinetic light sculpture with integrated seating at the Central Light Rail Transit Center. • Greeley, Colorado. Luminarias: The Seasons, Architectural art glass entry sculpture located in Twin Rivers Community Park. • Phoe i , Arizona. Luminarias: Phoenix, Central Avenue sculptural installation series. • Lu ock, Texas. Universal Signs, Sculptural environments for the Texas Tech University Stadium and residence halls. • Philadelphia, Pennsylvania. Life Lines, Sculptural environment with seating and lighting for SEPTA at Suburban Center Courtyard. • “a Jose, California. Bird's Eye View, Integrated plaza with seating for Hayes Mansion Conference Center. 2005 • Jackso ille, Florida. Rookie Card, Lighted aluminum gateway to ballpark with granite seating units. 2004 • Washi gto , DC. Journeys, Sculptural environment at New York Avenue Metro Station, WMATA. • “a ta Clara, California. The Illuminated Page, Sculptural gateway at the Santa Clara Central Library. 2002 • Seattle, Washington. Standing Leaves, Falling Light, Series of lighted sculptures at the Overlake Transit Center. • De er, Colorado. Common Ground, Sculptural environment for Commons Park in downtown Denver. • Athe s, Ohio. River Run, Sciatto River Footbridge sculptural passageway at Ohio University. 2000 • Phoe i , Arizona. Camelback Bridge, Railing sculptural treatment for vehicular and pedestrian bridge over Interstate I-17. 2000. 1999 • “a Diego, California. Ocean Motion, Fencing and design collaboration with Estrada Land Planning for Robb Field. 1999. • Ha ilto , New Jersey. Railgate, Gateway sculpture (with lighting) to the New Jersey Transit Transportation Center. 1999. • Mesa, Arizona. Linkage, Integrated sculptural environment and paving at Mesa Community College Technology Center. 1999. • Tucso , Arizona. Front Row Center, Integrated sculpture environment at the College of Fine Arts, University of Arizona. 1999.
Page 1 of 2
BARBARA GRYGUTIS Barbara Grygutis Sculpture LLC P O Box 3028 Tucson, AZ 85702-3028 | t 520.882.5572 | f 520.206.0692 | [email protected] |www.barbaragrygutis.com
SELECTED AWARDS • CODAWorx Pu li “pa es Wi e 2014, for Daw ’s “il er Li i g. 4 • New York Municipal Art Society MASterWorks Honorable Mention award, Bronx River View, MTA, New York City, NY. 2011. • The Natio al Brick I dustry’s Best i Class: Pa i g i La ds aping 2010, for Imaginary Garden in Cary, North Carolina. 2010. • Hardscape North A erica , E elle e i Cla B i k i the , -5 , s . ft. atego for Imaginary Garden in Cary, North Carolina. 2010. • Westword (New Times Inc.) Best Ne Pu li A t in Denver, Colorado for Common Ground. 2002. • City of San Diego, California. O hid A a d design collaboration with Estrada Land Planning for Robb Field. 2000. • Tucso Co u ity Fou datio of “outher Arizo a The A izo a A tist A a d . 1998. • Arizo a Co issio o the Arts; Individual Artist Fellowship . 997 • The Al u uer ue Co ser atio s Associatio A a d of Me it; Co t i uti g to the U a Qualit of Al u ue ue . 1991. • d I ter atio al Quadre ial Co petitio : Ce a i s i the U a “etti g, “e o d P ize in Faenza, Italy. 1988. • Natio al E dow e t for the Arts Individual Project Design Arts Award. 1988 • Tucso Pi a Arts Coalitio Project Grant for Alene Dunlop Smith Garden in Tucson, Arizona. 1984. • Arizo a Co issio o the Arts Project Grant for Alene Dunlop Smith Garden in Tucson, Arizona. 1984. • IBM Project Grant for Alene Dunlop Smith Garden in Tucson, Arizona. 1983. • Natio al E dow e t for the Arts Individual Artist Fellowship. 1975.
SELECTED PUBLIC ART PLANNING ND • Tucso , Arizona. 22 Street from Tucson Blvd. to Kino Blvd., Public art master plan. 2010 • Clark County, Nevada. Flamingo Arroyo Public Art Master Plan, Collaborative with Buster Simpson, Kevin Berry. 2004. • Austi , Texas. Second Street Renovation, Public art master plan collaborative with Copley Wolfe Landscape Design. 2006. • “eattle, Washington. Atlantic Base Public Art Master Plan. 2003. • “a Diego, California. Robb Field Master Plan, Artist Consultant to Estrada Land Planning. 1999. • “a Diego, California. College Grove Drive, Consultant to Nasland Engineering and Estrada Land Planning. 1998. • A o dale, Arizona. Arts Master Plan; Estrella Mountain Community College, Artist Consultant and Core Planning Team Member in collaboration with DMJM SLS Architects, Planners & Engineers. 1990. • Tucso , Arizona. Art in Public Places Master Plan for Downtown Tucson. 1984.
SPECIAL EXHIBITIONS "International '94," Socrates Sculpture Park, Long Island City, New York. 1994-1996. "Alabama Biennial," University of Alabama National Site Sculpture Invitational, Tuscaloosa, Alabama. 1993. "Women Artists, Clay, Fiber, Metal," The Bronx Museum (Group), New York, New York. 1978. nd Ce a i s i the U a “etti g, the 2 International Quadrennial Competition (Group), Faenza, Italy. 1988. "The Parker Collection for the Vice-President's House," The Vice-President's House, Washington, D.C. 1978. "American Crafts at the White House," Renwick Gallery, Smithsonian Institute (Group), Washington, D.C. 1977.
Page 2 of 2 MICHELLE GUTLOVE and JEFFREY HOOVER Natick, MA studiogh.com [email protected]
I make art to celebrate light—glass sculpts light as light sculpts space. As daylight streams into a building, it interacts with the glass art, and creates colorful shadows, reflections and refractions, that embrace and enhance architectural space. Changes of light with season, time of day, and the position of the viewer constantly recreates the experience. Energy efficient LED lights enliven the glass when sunlight is not present. Subtle movements in the glass cause dramatic changes in the dancing color patterns. The design of the artwork evolves through a process of design development sparked by collaborative feedback from the designers and municipality.
The vivid iridescent sheen of a hummingbird's wing, rainbows on soap bubbles and the pleochroic qualities of an opal are examples of an optical phenomenon called thin film interference. Dichroic glass captures the beauty of this phenomenon permanently. I have a technique in which I sculpt transparent glass and grow a microscopically thin coating of metal oxide quartz crystals directly on the surfaces, creating completely unique prismatic lenses.
I personally shape and fire each piece of glass by hand for my installations. All of my art glass projects have been delivered and installed in accordance with my clients’ schedule requirements including integration into on-going construction timelines. Any and all of my clients can be contacted as reference.
Design Studio G+H is experienced in working with community groups, public agencies and the public review process, collaborating with engineers, and with the management of a large range of budgets—from small gallery and residential work to public art installations and architectural commissions up to $25,000,000. We are both architects, experienced in working in public art and architecture projects, collaborating with other artists, engineers, and with the management of a large range of budgets—from small gallery and residential work to public art installations and architectural commissions. Jeff specializes in the design and construction of public libraries, and was the chair of ALA’s public library committee for 2012-2013, and teaches a course in library design for Harvard’s Graduate School of Design.
Top to bottom: Harbor, 2014, Palo Alto, CA; Bright Day, 2013, Monmouth, OR; Between Sea and Sky, 2015, University Place, WA Michele R Gutlove design studio GH, LLC
35 Glenwood Street Natick, MA 01760
(508)650-5757 [email protected] www.studiogh.com
Background: For the last 19 years, glass has been my primary artistic medium. While an undergraduate architecture student, I studied watercolor as well as structural engineering. When I discovered glass fusing, my watercolors became three-dimensional transparent sculptures, as cut slivers and fragments of glass replaced brushstrokes. Molten glass, fluidly dynamic then solidly permanent, allows deliberate and intricate layering of textures with a full spectrum palette, as opaque as obsidian, as transparent as air, or as reflective as a lake.
My partner, Jeff Hoover, and I are both architects. He specializes in the programming and design of municipal buildings, with a concentrated focus on libraries. He has taught a course at Harvard’s Graduate School of Design, in Library Design, for the past two decades. While he is responsible for all aspects of Studio GH installation, I design, shape and fire each piece of glass.
All of my art glass projects have been delivered and installed in accordance with my clients’ schedule requirements including integration into on-going construction timelines. Any and all of my clients can be contacted as reference.
Résumé – Design Studio GH, LLC www.studiogh.com 1 of 2 Michele R Gutlove
Public and Institutional Glass Art Installations and Proposals: ($6,000-$430,000) Commissions Awarded and in Process: “Hydrosphere”2016 New William Griffin Community Centre, N Vancouver, BC “Community Oasis” 2016 – Holden Heights Community Center, Orlando, FL “Curtain Call” 2017 – Performing Arts Center, Lauderhill, FL “aurora” 2017 – Northern Lights Center, Reykjavík, Iceland
Completed “Helix Nebula” 2016 – Public Library Building Atrium, El Paso, TX “a sweep of swifts” 2015 – Portland Community College, Portland, OR “Kuolimo” 2015 – City School Atrium, Savitaipale, Finland “Between Sea and Sky” 2015 – Civic/Library Building Atrium, University Place, WA “epiphany” 2015 – Montana State University, Bozeman, MT “Estuary” 2014 – Wentworth School, Scarborough, ME “Harbor” 2014 – VA Hospital, Palo Alto, CA “Teeming” 2014 – Kodiak Near Island Research Facility, Kodiak, AK “Verve” 2014 – Florida Gulf Coast University, Ft Myers, FL “Heliozephyr” 2013 – Mt. Blue Regional High School, Farmington, ME “Intertwined” 2013 – OSU College of Public Health, Columbus, OH “Connected Thoughts” 2013 – Community College of Denver, Denver, CO “Bright Day” 2013 – Western Oregon University, Monmouth, OR “Aqua-Luminance” 2012 – Baystate Medical Center, Springfield, MA “Random Thoughts” 2012 – Algiers Regional Library New Orleans, LA “inklings, musings & notions” 2011 – Microbiology Ctr, UofU Salt Lake City, UT “Emergence” 2011 – Juvenile Justice Center, Cedar Rapids, IA “Elemental Energy” 2011 – Gainesville Regional Utilities, Gainesville, FL “Bromeliad Sunshower” 2011 – Lauderhill City Hall, Main Lobby, Lauderhill, FL “Suislaw Sunshower” 2010 – Corvallis-Benton County Public Library, Corvallis, OR “Clowder Umbrage” 2008 – The Cats’ Hospital, Wellesley MA “Menorah and Letters” 2007 – Sanctuary Art, Temple Beth Elohim, Acton, MA “Wall of Reflection” 2005 – Lobby Art, Chabad Center, Natick, MA “Water, Fire and Steam” 2004 – National Institute of Flamenco, Albuquerque, NM
Finalist: “River Ledge” 2016 – Southern New Hampshire University, Manchester, NH “stage glow” 2016 – Lone Tree Performing Arts Center, Lone Tree, CO “Flow” 2015 – Colleges of Health Sciences, University of Nebraska, Kearney “Alpenglow” 2015 – Visitor Center, Vail, CO “Waves and Jays” 2015 – Health & Human Services Bldg, Broomfield, CO “Luminous Drift” 2015 – Livingston Library, MSU Moorhead, MN “Catenary” 2014 – University of North Texas, Denton, TX “Southern Light” 2013 – Southern Oregon University, Ashland, OR “River and Sky” 2013 – Central Wyoming College, Riverton, WY “Oasis” 2013 – New Mexico School for the Deaf, Santa Fe, NM “Sun & Wind” 2011 – Denver Botanical Gardens, Denver CO “Critters” 2010 – Musical Sculptures for NMSBVI, Albuquerque, NM “Shattered Dreams” 2009 – Orange County ME Building, Orlando, FL
Education and Architectural Background (Registered Architect, Massachusetts 1989)
Architectural employment and work history is available on request.
A list of Gallery and Museum Exhibits is available on request.
BArch – University of Oregon 1983 (summa cum laude) Dual Major – Architecture and Structural Engineering, ASU
Résumé – Design Studio GH, LLC www.studiogh.com 2 of 2 MAGS HARRIES and LAJOS HEDER Cambridge, MA harriesheder.com [email protected]
We believe public art is more than placing large objects in public. It can reach every aspect of the environment. Elements of water and sun are of special interest to us. Opportunities to reference the rising waters facing many communities, or to use solar in new and exciting ways are especially interesting.
We are particularly interested in issues of water and energy. WaterWorks at Arizona Falls, transforms an old hydro power plant into an educational resource and a site of community energy. SunFlowers, an Electric Garden is a powerful symbol for the energy conscious city of Austin. Light Gate captures the setting sun over the Pacific. In West Palm Beach, FL we are currently working on a project Sculpting the Sun with custom solar panels and water imagery. We welcome opportunities to invent ways to incorporate this exciting medium.
If selected, we will spend ample time at the site the art is intended for to experience the flow of pedestrians through the space, observe interactions, and talk with those who pass through on their daily commute, or stop to visit. Through conversations, and our observations, we will create our art. We will help create an iconic work of art that enhances and becomes a part of the place it is for.
Since 1990 we have worked together on over 30 major public commissions, many of which have been recognized for national and international awards. We came to this collaboration from the different worlds of art and architecture. Mags, born and raised in Wales, brings her experience as an award-winning sculptor, teacher, and public artist. Lajos grew up in Hungary, was trained as an architect and has worked on community projects, urban design, site planning, architecture, and construction before he concentrated on public art for the last 25 years. Our focus is the same: to activate public space through art. For each project we collaborate fully in the development of ideas and designs, drawing on our complementary skills. We have worked on and led design teams; we are comfortable meshing our ideas with community members, engineers, landscape architects, architects, and other artists.
Top to bottom: Light Gate, 2015, Manhattan Beach, CA; Meeting Place, 2014, Greensboro, NC; Sunflowers, An Electric Garden, 2009, Austin, TX
Mags Harries PROFESSIONAL POSITION: 1990 ‐ Harries/Héder Collaborative, Cambridge MA 1978 ‐ School of the Museum of Fine Arts, Boston, MA, Sculpture Faculty AWARDS ‐ a Selection: * in collaboration with Lajos Héder 2015 School of the Museum of Fine Arts, Boston Faculty Enrichment Grant: Chesterwood (Stockbridge, MA) 2014 CoD+A Awards Merit Award for Art and Technology: Passage (Phoenix, AZ)* 2012 Valley Forward Crescordia Award for Art In Public Places: Passage (Phoenix, AZ)* Public Art Network Year in Review Award: Terpsichore for Kansas City (Kansas City, MO) * Public Art Network Year in Review Award: Passage (Phoenix, AZ) * 2010 Valley Forward Crescordia Award for Site Art In Public Places: The Zanjeros Line (Phoenix, AZ)* Valley Forward Award of Merit for Site Development: The Zanjeros Line (Phoenix, AZ)* Liveable City Vision Award for Esthetics: SunFlowers, An Electric Garden (Austin, TX)* The Bogliasco Foundation Fellowship: Residency (Genoa, Italy)* 2008 Public Art Network Year in Review Award: A MoonTide Garden (Portland, ME)* 2007 The Waterfront Center Honor Award of Excellence: Drawn Water (Cambridge, MA)* 2006 The Waterfront Center Honor Award of Excellence: WaterWorks at Arizona Falls (Phoenix, AZ)* 2005 Valley Forward Crescordia Award: Arbors & Ghost Trees (Phoenix, AZ)* Public Art Network Year in Review Award: South Anchorage High School, (Anchorage, AK)* 2004 AICA Award: Projections, NAO Gallery (Boston, MA) Public Art Network Year in Review Award: WaterWorks at Arizona Falls (Phoenix, AZ)* 2003 New England Foundation for the Arts Fund for the Arts: Community Consultant (Boston, MA) Valley Forward Presidential Award: WaterWorks at Arizona Falls (Phoenix, AZ)* Massachusetts Cultural Council: Individual Artist Grant Sculpture/ Installation 2002 Public Art Network Year in Review Award: Drawn Water (Cambridge, MA)* 2001 Marshall Cogan Visiting Artist: Office of the Arts at Harvard University, (Cambridge, MA) 1993 Boston Society of Architects Design Collaboration Award: Wall Cycle to Ocotillo (Phoenix, AZ)* 1986 Massachusetts Governor's Design Awards: Asaroton & Bellingham Square 1981 Design Excellence Award for Public Art in Transportation (N.E.A / U.S.D.O.T) 1977‐78 Bunting Institute Fellow, Radcliffe College, Harvard University, (Cambridge, MA) PUBLIC ART COMMISSIONS ‐‐‐ a Selection: * in collaboration with Lajos Héder 2016‐ West Palm Beach, FL/ Convention Center Courtyard* (in progress) 2015 Manhattan Beach, CA/ Light Gate* 2014‐ Mounts Botanical Garden, West Palm Beach, FL/ Windows on the Floating World (in progress) 2014 Meeting Place Greensboro, NC/ Downtown Greenway* 2012‐ Southstar Lofts, Philadelphia, PA/ LightPlay* (in progress) 2012 Xixi Wetlands Park, Hangzhou, China/ Xixi Umbrellas* 2011 Kaufman Center for the Performing, Kansas City, MO/ Terpsichore for Kansas City* South Mountain Community College, Phoenix, AZ/ Passage* 2009 Highline Canal, Phoenix, AZ/ The Zanjero’s Line with Ten Eyck Landscape Architects* Mueller Development, Austin, TX/ Sun Flowers, an Electric Garden* 2008‐ Havana Square, Stapleton, CO/ Solar Light Raft* (in progress) 2007 Portland, ME/ A MoonTide Garden * Des Moines Science Museum, IA/ The Big Question* 2006 Miramar Park, Fort Lauderdale, FL/ Terra Fugit, Lead Artists* 2005 Phoenix, AZ/ Arbors & Ghost Trees, with Ten Eyck Landscape Architects* Central Connecticut State University, CT/ Connections* 2003 San Diego Port Authority, CA/ The Benefit of Mr. Kite* Arizona Falls, Phoenix, AZ/ WaterWorks at Arizona Falls, design team artists* 2001 Sullivan Water Purification Facility, Cambridge, MA/ Drawn Water, design team artists* 2000 City of Louisville, KY/ City at the Falls, design team artists* 1998 Kleis Park, Toledo, OH/ Mud Life* 1997 Norfolk, MA/ Portrait Chairs 1995 PS 89, Queens, NY/ Terullian Mantle* 1994 Scottsdale Public Library, Scottsdale, AZ/ Pillars of Thought* Mission Hill, Boston, MA/ Ben’s Circular Tower* 1993 Prospect Park Zoo Brooklyn, NY/ Topiary 1991 Squaw Peak Parkway, Phoenix, AZ/ Wall Cycle to Ocotillo * 1988 Faxon Company, Norwood, MA/ In the Dense Words 1984 Porter Square Subway, Cambridge, MA/ Glove Cycle 1983 Longfellow School, Cambridge, MA/ The Gateway 1976 Haymarket, Boston, MA/ Asaroton, 1976 ‐ Reinstalled 2006 TEMPORARY INSTALLATIONS ‐ a Selection: * in collaboration with Lajos Héder 2015 Chesterwood, MA/ Columnar Reflection. 2015 Blithewold, Bristol, RI/ Sun and Rain Catchers 2011 Peabody Essex Museum, Salem MA. River * 2003 American Academy in Rome, Italy/ Aqua al Dente 2002 Scottsdale Museum of Contemporary Art, AZ/ Lucid Moment 2001 Neuberger Museum Biennial of Public Art, Purchase, NY/ Play Back* 1999‐2000 Cambridge Arts Council River Festival/ Winding Down the Charles River1999 Regis College, Western MA/ Lucid Moment 1998‐99, 2000 National Park Service, Rivers and Trails, Bronx River, NY / Golden Ball* 1998‐99 National Park Service, Rivers and Trails, Bangor, ME/ Kenduskeag Roots* 1995 UK. Literature Festival, Swansea, U.K./ The Demon Trap with poet Peter Finch 1994 Honolulu Academy of Art, HI/ Communal Well 1990 Art Park, Lewiston, NY/ River Runes 1988,'89 First Night, City Hall, Boston, MA/ The Man from City Hall PUBLIC ART CONSULTING & MASTER PLANNING‐ a Selection: * in collaboration with Lajos Héder 2007 Concord River Greenway Trail, Lowell, MA/ Master Art Plan* 2003 San Jose City Trails System, San Jose, CA/ Consultant* 2002 Santa Cruz, CA/ Consultant* 2001 Cleveland Circle, Brighton, MA/ Master Art Plan South Anchorage High School, AK/ Master Art Plan* Codman Square Library Park, Boston, MA/ Master Art Plan* EXHIBITIONS ‐ a Selection: * in collaboration with Lajos Héder 2016 Gallery Kayafas, Boston, MA/ Precautionary Tales ‐Solo 2015 deCordova Sculpture Park and Museum, Lincoln, MA/ The Sculptor’s Eye: Prints, Drawings, and Photographs from the Collection 2015 Chesterwood, Stockbridge, MA/ Boston Sculptors at Chesterwood 2015 Boston Sculptors Gallery, Boston, MA/ 34 2015 Boston Sculptors Gallery, Boston, MA/ Rising Waters ‐Solo 2014 Blithewold Mansion and Arboretum, Bristol, RI/ Sculpture Embraces Horticulture 2013 Boston Sculptors Gallery, Boston, MA/ Levels ‐Solo 2011 Peabody Essex Museum, Salem, MA/ Ripple Effect: The Art of H2O* 2011 Boston Sculptors Gallery, Boston, MA/ In Dialogue ‐ Solo 2010 Grossman Gallery, School of the Museum of Fine Arts, Boston, MA/ Recent Work Federal Reserve Bank of Boston, Boston, MA /Clean Volts* Wave Hill, Bronx, NY/ Remediate/ Re‐Vision: Public Artists Engaging the Environment* ‐Traveling University Gallery, University of Massachusetts, Amherst, MA/ Art in the Public Sphere* The Mills Gallery, Boston Center for the Arts, Boston, MA/ Greed, Guilt, & Grappling ‐ Co‐Curator 2007 Foster Gallery, Nobles & Greenough School, Needham MA/ Waterways ‐‐Solo* 2006 Open Square Gallery, MA/ Intersections 2005 Center for Architecture, NY/ City Art, celebrating the launch of the book City Art 2004 CAC Gallery, Cambridge, MA/ Reaching Water ‐Solo* 2003 NAO Project Gallery, Boston, MA/ Projections ‐Solo 2001 University of California, Santa Cruz, CA/Public Projects ‐Solo 1972‐1999 Cardiff Bay Art Trust, Cardiff, Wales‐Solo; Rose Art Museum, Brandies University, Waltham, MA; Iowa State University, Ames, IA; Cardiff Bay Art Trust, Wales; Institute of Contemporary Art, Boston, MA; Fitchburg Museum, MA; Danforth Museum, Framingham, MA; MIT List Art Center, MA & La Jolla Museum of Contemporary Art, CA; Pine Manor College, Newton, MA‐Solo; Museum of Fine Arts, Boston, MA; The Welsh National Museum, Cardiff, Wales; Decordova Museum, Lincoln, MA‐Solo; Bunting Institute, Cambridge, MA‐ Solo; School of the Museum of Fine Arts, Boston, MA‐Solo; Institute of Contemporary Art, Boston, MA‐Solo; Krakow Gallery, Boston, MA‐Solo ARTICLES & PUBLICATIONS‐‐‐ a Recent Selection: * in collaboration with Lajos Héder 2015 Brutal Magazine (Issue 2), “Clay” 2015 CODAmagazine (February), “Written Word”* 2014 Maine Magazine (April), “Arts: See”* 2013 Orion Magazine (September/October), “The Art of Infrastructure”* 2013 100 Boston Artists ‐ Chawky Frenn, Schiffer Press Sculpture Magazine (September), “Mags Harries: Boston Sculptors Gallery” ‐‐‐ Christine Temin The Globe, “Galleries” ‐‐‐ Cate McQuaid 2011 Sculpture Magazine (November) “Mags Harries: Boston Sculptors Gallery” ‐‐‐ Christine Temin 2011 Landscape Architecture (March) “[…] Sunflowers Sprout on Texas Highway” ‐‐‐ Marty Carlock* 2011 The Globe “Head to head” ‐‐‐ Cate McQuaid 2010 Landscape Architecture (March) “High Tide, Low Tide” ‐‐‐ Marty Carlock* 2010 Remediate/ Re‐Vision, “Public Artists Engaging The Environment” * 2009 Public Art for Public Schools ‐‐‐ Michele Cohen* 2009 Art New England (June/July) “Public Art: Greenways, Sonic Trees & Waterways” ‐‐‐ Christine Temin* 2008 Morgunbladid (Reykjavik Daily Newspaper) Interview ‐‐‐ Einar Fal Ingolfsson* 2008 Public Art: Theory, Practice and Populism ‐‐‐ Cher Krause Knight* 2007 Public Art Review (Fall/Winter), “US Commissions: The Big Question”* 2007 Conversations on Sculpture (Perspectives on Contemporary Sculpture) ‐‐‐ Edited by Glenn Harper* EDUCATION: 1968 ‐‐‐ 70 Southern Illinois University, Carbondale, IL, MFA
Lajos Héder Born Budapest Hungary PROFESSIONAL POSITIONS: 1990‐present Harries/Héder Collaborative, Cambridge, MA 1973 ‐present Héder Architects, (formerly Moore‐Héder Architects), Cambridge, MA ‐‐‐ Principal AWARDS– a Selection: * in collaboration with Mags Harries 2014 CoD+A Awards Merit Award for Art and Technology: Passage (Phoenix, AZ)* 2013 CoD+A Awards Merit Award for Landscape: Xixi Umbrellas (Hangzhou, China)* 2012 Valley Forward Crescordia Award for Art In Public Places: Passage (Phoenix, AZ)* Public Art Network Year in Review Award: Terpsichore for Kansas City (Kansas City, MO) * Public Art Network Year in Review Award: Passage (Phoenix, AZ) * 2010 Valley Forward Crescordia Award for Site Art In Public Places: The Zanjeros Line (Phoenix, AZ)* Valley Forward Award of Merit for Site Development: The Zanjeros Line (Phoenix, AZ)* Liveable City Vision Award for Esthetics: SunFlowers, An Electric Garden (Austin, TX)* The Bogliasco Foundation Fellowship: Residency (Genoa, Italy)* 2008 Public Art Network Year in Review Award: A MoonTide Garden (Portland, ME)* 2007 The Waterfront Center Honor Award of Excellence: Drawn Water (Cambridge, MA)* 2006 The Waterfront Center Honor Award of Excellence: WaterWorks at Arizona Falls (Phoenix, AZ)* 2005 Valley Forward Crescordia Award: Arbors & Ghost Trees (Phoenix, AZ)* Public Art Network Year in Review Award: South Anchorage High School, (Anchorage, AK)* 2003 Valley Forward Presidential Award: WaterWorks at Arizona Falls (Phoenix, AZ)* 2002 Public Art Network Year in Review Award: Drawn Water (Cambridge, MA)* 1999 Boston Foundation Grant: Chelsea Trail Markers Community Art Project 1995 Eisenhower Exchange Fellowship: Research on Hungarian Cities 1993 Boston Society of Architects Design Collaboration Award: Wall Cycle to Ocotillo (Phoenix, AZ)* 1991 Expo ‘96, Budapest: International Urban Design Competition, Merit Award 1989 Hungarian National Theater Design Competition: Third Prize 1986 Massachusetts Governor's Design Awards 1985 Presidential Design Award for Artist’s Housing: Design & development 1983 Spectacle Island Design Competition/Merit Award: Urban design & art 1977‐78 National Endowment for the Arts Design Fellow: Design in transportation Public Art Commissions – a Selection: * in collaboration with Mags Harries 2015 Manhattan Beach, CA/ Light Gate* 2014 Mounts Botanical Garden, West Palm Beach, FL/ Windows on the Floating World (in progress) 2014 Greensboro, NC/ Downtown Greenway* 2012‐ Southstar Lofts, Philadelphia, PA/ LightPlay* (in progress) 2012 Xixi Wetlands Park, Hangzhou, China/ Xixi Umbrellas* 2011 Kaufman Center for the Performing, Kansas City, MO/ Terpsichore for Kansas City* South Mountain Community College, Phoenix, AZ/ Passage* 2009 Highline Canal, Phoenix, AZ/ The Zanjero’s Line with Ten Eyck Landscape Architects* Mueller Development, Austin, TX/ Sun Flowers, an Electric Garden* 2008 ‐‐‐ Havana Square, Stapleton, CO/ Solar Light Raft * (in progress) 2007 Portland, ME/ A MoonTide Garden* Des Moines Science Museum, IA/ The Big Question * 2006 Miramar Park, Fort Lauderdale, FL/ Terra Fugit, Lead Artists * 2005 Phoenix, AZ/ Arbors and Ghost Trees, with Ten Eyck Landscape Architects * Central Connecticut State University, CT/ Connections * 2003 San Diego Port Authority, CA/ The Benefit of Mr. Kite * Arizona Falls, Phoenix, AZ/ WaterWorks at Arizona Falls, design team artists * 2001 Sullivan Water Purification Facility, Cambridge, MA/ Drawn Water, design team artists * 2000 City of Louisville, KY/, City at the Falls, design team artists * 1998 Kleis Park, Toledo, OH/ Mud Life * 1995 300 Summer Street, Boston, MA/ Entry Sculpture PS 89, Queens, NY/ Terullian Mantle * 1994 Scottsdale Public Library, Scottsdale, AZ/ Pillars of Thought * Mission Hill, Boston, MA/ Ben’s Circular Tower * 1993 Prospect Park Zoo Brooklyn, NY/ Topiary * 1991 Squaw Peak Parkway, Phoenix, AZ/ Wall Cycle to Ocotillo * TEMPORARY INSTALLATIONS – a Selection: * in collaboration with Mags Harries 2011 Peabody Essex Museum, Salem MA. River * 2001 Neuberger Museum Biennial of Public Art, Purchase, NY/ Play Back* 1998‐99, 2000 National Park Service, Rivers and Trails, Bronx River, NY / Golden Ball* 1992‐2000 New Charles River Basin & Reclamation Art, Boston, MA/ with Reclamation Artists 1998‐99 National Park Service, Rivers and Trails, Bangor, ME/ Kenduskeag Roots* 1988,'89 First Night, City Hall, Boston, MA/ The Man from City Hall* EXHIBITIONS– a Selection: * in collaboration with Mags Harries
2011 Peabody Essex Museum, Salem, MA/ Ripple Effect: The Art of H2O*‐‐‐Traveling 2010 Federal Reserve Bank of Boston, Boston, MA /Clean Volts* Wave Hill, Bronx, NY/ Remediate/ Re‐Vision: Public Artists Engaging the Environment* 2008 Baer Art Center, Hofsos, Iceland/ Residency & Exhibition* University Gallery, University of Massachusetts, Amherst, MA/ Art in the Public Sphere* 2008 The Mills Gallery, Boston Center for the Arts, Boston, MA/ Greed, Guilt, & Grappling* 2007 Foster Gallery, Noble and Greenough School, Needham MA/ Waterways ‐‐‐ Solo* 2004 CAC Gallery, Cambridge, MA/ Reaching Water ‐‐‐ Solo* CONSULTING & MASTER PLANNING– a Selection: * in collaboration with Mags Harries 2007 Concord River Greenway Trail, Lowell, MA/ Master Art Plan* 2003 San Jose City Trails System, San Jose, CA/ Consultant* 2002 Santa Cruz, CA/ Consultant* 2001 Cleveland Circle, Brighton, MA/ Master Art Plan & Lead Artist* South Anchorage High School, AK/ Master Art Plan* Codman Square Library Park, Boston, MA/ Master Art Plan* 1991 Tucson, AZ/ Master Art Plan ‐‐‐ with Corky Poster* URBAN DESIGN WORK– a Selection: 1982‐2003 Artists’ Cooperative Live‐‐‐Work Studio Projects, Boston, MA/ Design & development of 6 projects 2000‐2002 South Boston Seaport, Boston, MA/Pro‐‐‐bono urban design for a new city district on the waterfront 1997‐2001 The Urban Ring, Greater Boston, MA/ Pro‐‐‐bono urban design for a community building initiative 1996 Louisville Convention Center, Louisville KY/ Review of building’s interface with city and public art TEACHING, RESEARCH & WRITTING Massachusetts Institute of Technology, Cambridge, MA/ Research Associate Harvard Graduate School of Design, Cambridge, MA/ Instructor in Urban Design and Architecture Northern Polytechnic, London, England/ Lecturer in Town Planning 1980 Aesthetics in Transportation With the U.S. Dept. of Transportation, Office of the Secretary ARTICLES & PUBLICATIONS: ‐‐ a Recent Selection: * in collaboration with Mags Harries 2015 CODAmagazine (February), “Written Word”* 2014 Maine Magazine (April), “Arts: See”* 2013 Orion Magazine (September/October), “The Art of Infrastructure”* 2011 Landscape Architecture (March) “[…] Sunflowers Sprout on Texas Highway” ‐ Marty Carlock* 2010 Landscape Architecture (March) “High Tide, Low Tide” ‐ Marty Carlock* 2010 Remediate/ Re‐Vision, “Public Artists Engaging The Environment” * 2009 Sculpture Magazine (November) Commissions: “SunFlowers, an Electric Garden”* 2009 Public Art for Public Schools ‐ Michele Cohen* 2009 Art New England (June/July) “Public Art: Greenways, Sonic Trees & Waterways” ‐ Christine Temin* 2008 Morgunbladid (Reykjavik Daily Newspaper) Interview ‐ Einar Fal Ingolfsson* 2008 Public Art: Theory, Practice and Populism ‐ Cher Krause Knight* 2007 Conversations on Sculpture (Perspectives on Contemporary Sculpture) ‐ Edited by Glenn Harper* 2006 Touchstone (September)“Falling Waters” ‐Wiard Sterk* 2006 Architecture Boston (July) “Landmarks, 5 Projects that left a Mark on the 70’s” ‐ Ross Miller* 2006 City Art New York’s Percent for Art ‐ Eleanor Heartney* 2005 Sculpture Magazine (October) “Poetry in the Mundane” ‐ Marty Carlock* 2005 Infusion: 20 Years of Public Art in Phoenix ‐ Phoenix Office of Art & Culture* 2005 New York Times, “Risks and Rewards of Art in the Open” ‐ Michael Kimmelman*
EDUCATION: Harvard University, B.A., Harvard Graduate School of Design, M. Arch. + M. Arch. in Urban Design Frank Knox Traveling Fellow of Harvard University ‐ in Great Britain
ANGELINA MARINO-HEIDEL and JOE HEIDEL Portland, OR artspa.us [email protected]
Our works begin with inquisitive dialogues about subject matter, ethereal and practical concepts moving into problem solving materials/fabrication. We conduct research, extending our studies to history related to the project goals and areas of committee and community interests.
Our style is narrative with abstracted figurative content that explores cultural richness, diversity, history and nature. Our “Industrial Deco” style combines African Modernism, Maori, Japanese Art, Industrial References, Post Modern and Pop Art. The imagery is crisp, contemporary, combines ideas of industry, technology, relevant history and nature into the designs.
The work is awake and uses sweeping lines, drawing the eye from long distances. Created for all audiences regardless of age, gender or culture - by observer reviews, our works have a positive, uplifting appeal that holds the viewers interest.
Premium materials are used in fabrication to ensure minimal maintenance and longevity. Our projects come in on time and on budget. We are interested in public projects and work within budgets, partner with approved subcontractors if needed and desire the opportunity to create unique works that speak to the architecture, history or the area, theme and site.
Many of our projects have included community participation in an array of ways. From teaching artists community outreach, project management, collaborations with small town design teams. We have had the illuminating experience of working with people of all ages and cultures with up to as many as 400 people a project. We have worked with professionals from an array of the creative spectrum from both public and corporate concerns, including oversite committees, designers, agents, subcontractors, and in the case of our UMASS project - the master plan committee and their subcommittees that included funding agents and professors, engineers and technicians.
Our main objectives are to continue growing artistically and collaboratively with other artists, design teams, community, architects and together respond to the ever growing changes in our times culture and to evolve in artistic thought Top to bottom: Bird Child Travels Through History, 2014, Hillsboro, OR; Access to Knowledge, 2013, Happy Valley, OR; Fabric of Nature and Industry, 2015, North Dartmouth, MA Marino Heidel Studios – Portland, OR – 503-381-8614 – Artspa.us
PUBLIC ART MURALS & SCULPTURE Artist Team of Angelina Marino and Joel Heidel
2015 Fabric of Nature and Industry, UMass Dartmouth; Mural o pa els; ’ ’; $ , 00 (substrate $30,000) 2015 Bike Rack Plaza City of Molalla, OR; Sculptural Bike Racks; Powder coated steel; $12,500 2015 Additional Sculptural Bike Rack, Cit of Esta ada, OR; “ ulptural Bike Ra ks; Po der oated steel, Budget: $5,600; Partners: Estacada Design; Site Specific 2015 Reaching Knowledge, McMinnville, OR; Sculpture; Pai ted dire t etal s ulpture ; $ , 2015 Journey Home, Lake Os ego, OR; Galler ithout Walls; “ ulpture; ; I stallatio ; $ , 2014 Life Cycles, City of Estacada, OR; Sculptural Bike Racks; Powder coated steel, e a el; ; $ , 2014 Bird Child Travels through History, “hute Li rar , Hills oro, OR; I terior Mural; ; Budget: $ , ; Desig Committee Reviews; Site Specific 2013 Accessing Knowledge, County of Clackamas, OR; Painted metal sculpture a d sig age; ; $ , 2013 Tree of Life; Cit of Napa, CA; Pai ted dire t etal s ulpture; 2013 Unity, Puyallup, WA; Arts Downtown; Direct metal sculpture; Cold Forged; Di e sio s: ’ X X ; $ , 2013 E=MC2, Puyallup, WA; direct metal sculpture; $4,500 2012 Walking is a Way of Being Free, Beaverton City Hall Stairwell; City of Beaverton, OR; interior mural; poem by Tim Bar es, a r li o i terior all; 2012 Reading Garden Mural, Portland, OR; acryli , e terior pa els; o u it i ol e e t; ; $ , 2012 Snapshots of a Neighborhood, Gateway Mural; Portland, OR; exterior wall; 500 sq. ft.; $19,000 2011 Hillsdale History of Land Use, Mural; RACC, City of Portland, OR; exterior wall 932 sq. ft.; $26,000 2011 Zest of Life, Mural; Office of Neighborhood Involvement; Portland, OR; exterior mural on panels, 160 sq. ft.; $7,000 2010 River Workers, ki eti street a er; Cit of “t. Hele s, OR; ; $ , , “ite “pe ifi 2010-11 School of Outdoor Learning, Mural; City of Beaverton, OR; exterior, 1200 sq. ft., community involvement; Funding: Arts Commission, Private Funders; $24,000; Site Specific 2009 Plaza Del Sol, Terra-Mural; City of Gresham, Office of Sustainability/Urban Renewal 14,000 sq. ft.; Part of a $150,000 temporary project 2008 Neighborhood in Motion, Mural; Portland, OR; exterior wall, 1100 sq. ft.; community involvement; $23,000
Current Commissions 2016: Gree “ ree Wi d a d Water M th Treslis’s; Eighteen ’ ’ cut steel panels, powder coated; SeedsArt (Housing Authority), Seattle, WA – design complete – installation 2017 2016: Mural Eth oUu is o ACM pa els; ’ ’; Alaska state % for art, Ro ig Middle “ hool, A horage – design complete - Installation fall 2016
ROSTERS – Marino and Heidel – 2015-2016 Palo Alto pre-qualified artist roster; 2015 Baltimore MY Muralist Roster; 2014 Regional Arts and Culture Council Muralist Roster, Portland, OR; 2014 Portland Open Studios, Portland, OR; 2015 Public Art Archives; 2014 Coos Bay Maritime Historical Museum, Coos Bay, OR; 2009 – 2014 Sculpture, Painting, Murals Roster; Nine Dots Data Base, Denver, CO.
AWARDS and HONORS 2016 Artist selection committee, Regional Arts and Culture Council, Tri-Counties, Portland, 2013 Endorsement, Governor Kitzhaber; Everyone Out Here Knows, illustrations-book design; Author: William Stafford
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Marino Heidel Studios – Portland, OR – 503-381-8614 – Artspa.us
2013 Pavilion of the States, National Book Festival; 32 Great Reads, Washington, DC 2013-14 Oregon Reads Selection, Oregon Library Association; Everyone Out Here Knows 2012 SWNI Grant; Hillsdale Gateway Mural, Portland, OR 2012 SE Uplift Grant; Reading Garden Mural, Portland, OR 2011 Blue Ribbon: The Language of Sculpture; Festival of Arts Special Show, Lake Oswego, OR 2011 Grants: Regional Arts and Culture Council, Portland, OR; Swini; Wikelund; History of Hillsdale Mural, Portland, OR 2010 Grants: Beaverton Arts Commission, Beaverton, OR; Wikelund Fund; School of Outdoor Learning Mural, Beaverton, OR 2009 Publicly Recognized, City of Gresham, OR; Plaza Del Sol 2008 Grants: RACC, Oni; Neighborhood in Motion Mural 2007 Leadership Certificate: Lake Oswego Chamber of Commerce 2006 Grant: RACC; Life in the Inner City Mural 1999 Leadership Certificate: Our United Villages and Out Front House, Adjudicated Youths Mural. 1998 1998 Grant: Belmont Business District; Community Crossroads Mural, Portland, OR, 1998
MUSEUM SHOWS Coos Ba Museu , Mariti e Art, “teel “ ulpture ; Wo e ’s Museu , Washi gto DC, Fu draiser
BOOKS – 2013 Everyone Out Here Knows; Author, William Stafford Poet Laureate of Oregon, 1970; Illustrator, Angelina Marino-Heidel; Publisher, Arnica Press; Selected for Oregon Reads and the Pavilion of the States in Washington D.C. 2012 - 15 Poems and 15 Broadsides; ReImagiNation PDX; Marino-Heidel Publications; 2010 Portland Walls; Inclusion of our mural; Robin Dunitz, publisher; 2006 Laughter Loves Us Like This; Book design, illustrations; Marino-Heidel Publications; 2001 Mother and the Mangos; Author, Tim Barnes; Illustrator, Angelina Marino; M. Kimberly Press; Special collections; University of Arizona, University of Washington State University, Holland Terrel, Multnomah County Library
COLLECTIONS (Partial List) - Cities of: Portland, Beaverton, Happy Valley, St. Helens, Napa CA, Gresham, Hillsboro, Estacada; Honorary Collections: Senator Jeff Merkely, Washington DC; Special collections: University of Arizona, University of Washington State University, Holland Terrel and Multnomah County Library; Libraries: Most in Oregon
ARTICLES, PRINT and On-Line: Sun Times Massachusetts, Living Gallery – UMass Dartmouth, Napa Valley Register Newspaper 2012, Washington County Culture Guide 2012, Oregonian 2008 2012, SW Connections 2011, 2012, Statesman Journal 2012, Jewish Review Magazine 2011, Santa Rosa Examiner 2010 Beaverton Valley Times 2010, Portland Scanner and Mercury 2009, Public Art Archive, Mural Locator, Oregon Live, Matter Gallery, Lawrence Gallery, Lakewood Art Center, Beaverton Arts Commission, Napa Arts Council, Regional Arts and Culture Council, Clackamas Arts
In the News: http://www.heraldnews.com/article/20151022/news/151027911 http://www1.umassd.edu/communications/articles/showarticles.cfm?a_key=3647 http://issuu.com/hillsboroparks/docs/fall2014completepdf https://www.facebook.com/Estacada/photos/a.890757677603693.1073741827.192587430754058/916795361666591/?type=1&th eater http://www.oregonlive.com/hillsboro/index.ssf/2014/08/mural_at_shute_park_library_ho.html http://www.racc.org/public- art/history-land-use-hillsdale http://publications.pmgnews.com/fpubs/wa-co-fall-arts-guide-2012/files/assets/seo/page4.html http://clackamasartsalliance.org/publicart/management-services/managed-projects/sunnyside-library/
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Marino Heidel Studios – Portland, OR – 503-381-8614 – Artspa.us
REFERENCES 1. Project: Fabric of Nature and Industry Mural, Exterior Mural, UMass Dartmouth, MA Amy Mandgold Assistant to the Chancellor, 285 Westport Road, North Dartmouth, MA 02747 [email protected], 508-999-8006 2. Project: Life Cycles, Sculptural Bike Racks, Estacada, OR – 2014 Jayne Reid, Chair of Estacada Area Arts Commission, 503-939-5101, PO Box 958, Estacada, OR 97023, [email protected] Terra Wilcoxson, Economic Development Manager, City of Estacada, PO Box 958, Estacada, OR 97023 503-630-8207 x 206, [email protected] Stephen Shibley, Fertile Ground Landscape Architects, Estacada, OR; 503.789.5010, [email protected] 3. Project: Bird Child Travels Through History, Interior Mural, Hillsboro, OR David Wark, Hennebery Eddy Architects, Inc., Portland, OR; 503-227-4860, [email protected]
ENDORSEMENTS: I thi k it’s The Fa ri of Nature a d I dustr Mural Mag ifi e t. It’s olorful, it’s ultural, it speaks to the regio . Jea Fo , MassDot’s “outh Coast Rail proje t a ager
The ural The Fa ri of Nature a d I dustr o ple e ts the desig of the li rar , ala es the o rete, creates a visual statement on campus and makes it inviting. It is a perfect mixture of science, technology, e gi eeri g a d ath all u der the e elope of the arts. Adria Tio, Dea of Visual a d Perfor i g Arts, UMass Dartmouth 2015
Sculptural Suite: A geli a a d Joel orked ith an advisory committee of community members on a public art piece installed in downtown Estacada. Their interaction with the committee was a joy to watch and committee members left meetings feeling energized. The duo have a warm and honest way of communicating that is very easy to work with. They were quick to address technical and aesthetic concerns and incorporate feedback while sta i g true to the i te t of the proje t…e eeded e pe tatio s for the proje t. Terra Wil o so E o o i Development Manager City of Estacada 2014
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JIM HIRSCHFIELD and SONYA ISHII Chapel Hill, NC [email protected]
Both of us have significant public art and planning experience. We have worked on a number and variety of projects ranging from public art plans to design team collaborations, from freestanding sculptures to sculptural environments. Together we are currently working on or have completed over 45 public works of art, with budgets ranging from $50,000 to $950,000. We know the requirements and importance of designing within a project’s timeline, working with all the constituents, and at the same time creating a successful project that offers the community a meaningful work of art.
We begin a project by researching the site’s community and environment. As we carry out our research, we look for a theme, something about a place that both inspires and directs our design; an inherent truth that lends itself to becoming visual metaphor.
We believe our work succeeds because it begins with a strong aesthetic design that engages the viewer. And once engaged, the viewer will discover hidden layers of information, mystery, and poetry within the work, providing the participant with a multifaceted and meaningful work to experience.
We have also worked in collaboration with architecture, landscape architecture, and engineering firms, ranging from large international firms to smaller local firms. We find the process of collaboration an energizing one, where individuals, working together, push the breadth and range of art possibilities
Top to bottom: Beads, 2005, Houston Airport; Meditation Room, 1998, Portland, OR; Recollections, 2007, Calgary, AB JIM HIRSCHFIELD and SONYA ISHII 312 Ridgecrest Dr., Chapel Hill, NC 27514 (919) 933-6169 [email protected]
MAJOR POSITIONS Advisory council member to the Public Art Network (PAN) at Americans for the Arts (HIRSCHFIELD) 2015 Professor; University of North Carolina, Carolina, Chapel Hill, NC (HIRSCHFIELD) 1988 - Present Public Arts Commissioner, Chapel Hill Arts Commission, Chapel Hill, NC (HIRSCHFIELD) 1994 - 1997 Consultants; Kingdom Art Plan, King County Arts Commission, Seattle, WA 1988 - 1989 Consultants; Public Art Plan, Seattle Arts Commission, Seattle, WA 1982 - 1984
MAJOR AWARDS and GRANTS Americans for the Arts’ 2010 Public Art Year in Review Best Public Art Works Americans for the Arts’ 2008 Public Art Year in Review Best Public Art Works Americans for the Arts’ 2003 Public Art Network Year in Review North Carolina Arts Council; Artist Fellowship 2000 Weiss Urban Livability Symposium Fellowship 1999 North Carolina Arts Council; Artist Fellowship 1996 North Carolina Arts Council; Project Grant 1995 Cultural Olympiad Regional Designation Award in the Arts 1994 Hettleman Prize for Artistic Excellence; Fellowship 1993 Institute for the Arts and Humanities; Fellowship 1993 Artist Fellowship; North Carolina Arts Council 1992 Artist Fellowship; North Carolina Arts Council 1992 North Carolina Arts Council; Fellowship, 1991 National Endowment for the Arts, Public Projects Grant through 1990 National Endowment for the Arts; Fellowship 1990 Institute for the Arts and Humanities; Fellowship 1990 Graham Foundation Award in the Visual Arts 1990 Allied Arts Foundation; Project Grant 1989 National Endowment for the Arts Regional Fellowship 1989 Artist Trust; Project Grant 1989 Art Matters Inc.; Individual Artist Grant 1988 King County Arts Commission; Individual Artist Grant 1988 Pollock Krasner Foundation; Artist Grant 1987 NEA/Rockefeller Foundation; Interdisciplinary Grant 1986 and/or; Individual Artist Grant 1984 National Endowment for the Arts; Planning Grant 1980
COMMISSIONS CATS Art-in-Transit, City LYNX Gold Line, Charlotte, NC 2016 Rosemont Station, Baltimore, MD, 2015 East Rosedale Roundabout, Fort Worth Texas, 2014 El Paso Transit Center, El Paso Texas, 3013 Interstate Bicycle/Pedestrian Bridge, Denver, CO 2012 LeBonheur Children’s Medical Center, Memphis, TN 2010 International Pain Center, Texas Tech University, Lubbock, TX 2009 Union High School Courtyard, Vancouver, WA 2009 Houston Airport System, Intercontinental Expansion System, Houston, TX 2008 Cary Art Center Renovation, Cary, NC 2007 (Design Team) Calgary Transit Station, Calgary, Alberta, Canada 2006 University of Maine, Orono Aubert Hall, Orono, ME 2005 Paseo del Norte Road Extension, Albuquerque, NM (Design Team-Design Team Leader) 2004 ImaginOn Library, Charlotte, NC 2003 Alum Rock Library, San Jose, CA 2003 Houston International Airport, Houston, TX 2001 Metro Transit Station, Cedar Riverside Station, Minneapolis, MN 2001 Grand Ave Overpass, Phoenix, AZ (Design Team-Artist) 2000 Anchorage Jail, Anchorage, AK 2000 Channelside and Ybor Transit Stations, Tampa, FL (Design Team-Artist) 2000 T. F. Green Airport Parking Garage, Providence, RI 2000 Bellevue Community College, Bellevue, WA 2000 Florida Atlantic University, Physical Science Bldg, Boca Raton, FL 1999 Middle Tennessee State University, Quadrangle Design Project, Murfreesboro, TN 1999 Meditation Room, Hope and Healing Center, Memphis, TN 1998 North Carolina School for the Arts, Sculptural Environment, Winston Salem, NC 1997 African Bridge, North Carolina Zoo, Asheboro, NC (Design Team-Artist) 1996 Meditation Room, Doernbecher Children’s Hospital, Portland, OR 1996 South Regional Library, Charlotte, NC (Design Team) 1996 Broward Streetscape Improvement, Ft. Lauderdale, FL (Design Team-Artist) 1996 City of Atlanta Detention Center, Atlanta, GA 1994 Southwest Arkansas Arts Council, Hope Redevelopment Project, Hope, AR 1993 Duke Medical Center; Obstetrics/Oncology Lightwell Environment; Durham, NC 1993 Public Art Works; On Site 1991, Railroads; San Rafael, CA 1991 Duke Medical Center; Outdoor Plaza; Durham, NC 1990 Duke Medical Center; Pediatrics and Obstetrics Outdoor Environment; Durham, NC 1989 Washington State Arts Commission, Glenn Terrell Mall, Design Team; Pullman, WA 1988 Massachusetts Council on the Arts; Bunker Hill College; Charlestown, MA 1986 Connemara Foundation; Connemara; Dallas, TX 1986 Downtown Seattle Transportation Project (DSTP) 1986 Jane Mears Junior High School, Municipality of Anchorage, Anchorage, AK 1985 Washington Arts Commission; Horizon Junior High School; Spokane, WA 1984 Bumbershoot Festival "Gates", Seattle Arts Commission, Seattle, WA 1984 Seattle Arts Commission, Public Art Study, Seattle, WA 1984 International Sculpture Conference; Lake Merrit BART Station; Oakland, CA 1983 Washington State Arts Commission; Snohomish High School; Snohomish, WA 1983 Tacoma/Pierce Civic Arts Commission; Art Bowl; Tacoma, WA 1982 Seattle Arts Commission; Rainier Square; Seattle, WA 1981 Seattle Arts Commission; Passage Point Parks; Seattle, WA 1978 PUBLIC ART PLANS Jim Hirschfield, Sonya Ishii, Moments Along the Trail, The Wake Forest Greenway and Park Art Master Plan, Wake Forest, NC (Currently in it final stage of review before publication) f Jim Hirschfield, Salisbury History and Art Trail Design Team Charette, Salisbury, NC 2004 Jim Hirschfield with his Public Art Classes 1998-2000, Chapel Hil Public Art Master Plan, Chapel Hill, 2000 Jim Hirschfield, Sonya Ishii, Jack Mackie, Public Art Master Plan for the Kingdome, Seattle, 1988 Jim Hirschfield, Larry Rouch, Artwork/Network, Seattle Arts Commission, Seattle, 1984 PAUL HOBSON San Diego, CA paulhobson.org [email protected]
I provide municipal agencies with public art services focused on creating positive associations and strong connections between infrastructure assets and the communities they serve. My work creates links between neighborhoods, urban planners and those building municipal facilities. From a street-corner environmental remediation system to an emergency sewage storage pond the size of 10 football fields, my work and artistic solutions have effectively responded to municipal design challenges in financially appropriate and socially respectful ways.
Throughout my history in public art I have designed, constructed and installed projects that capture and reflect the interests of host communities. My experience and success in public art have allowed me to use a wide variety of resilient media in varied and often unusual sites. I have also honed my skills in the politics of public art and community involvement. I am an effective advocate for my municipal clients and the private partners they employ to complete public works and capital improvement projects.
Over the past 30 years, I have served on 33 design teams made up of architects, landscape architects, engineers and other design professionals developing plans for parks, plazas, transportation, water/wastewater and other capital improvement projects. The success of these collaborations can be measured by the more than 15 recognition awards from organizations such as the Metropolitan Water District of Southern California and the National Ornamental and Miscellaneous Metals Association. I have also successfully worked with numerous government agencies and private developers with the goal of enhancing capital projects by creating site-specific artworks that articulate community identity and values.
Top to bottom: El Cajon Blvd Transit Plaza Gateway, 2006, San Diego, CA; Ceiling Node Light Sculpture, 2016, San Diego International Airport; Alex Baum Bicycle Bridge, 2003, Los Angeles, CA P A U L H O B S O N 2 8 6 1 I V Y S T R E E T S A N D I E G O C A 9 2 1 0 4 (6 1 9) 2 3 6 7 9 7 0 [email protected] www.paulhobson.org
SELECTED PUBLIC ART PROJECTS BY CHRONOLOGY
San Diego County Regional Airport Authority – 6, U titled – Light Sculpture Terminal 2 ceiling node
San Diego Association of Governments – 2015, Hillary Drive Direct Access Ramp. Design Team: Estrada Land Planning
City of Carlsbad, CA – 2014, swim and dive entry panels and mosaic pool towel bench and seat wall inlays for Alga Norte Community Park. Design Team: Wimmer Yamada and Caughey Landscape Architects, Architects Hanna Gabriel Wells. Award: 2014 Project of the Year Award, American Public Works Association San Diego and Imperial Counties Chapter
City of Escondido, CA - 2012, terrazzo tables, trellis furniture and mosaic fountain seat wall for Maple Street Pedestrian Plaza. Design Team: Schmidt Design Group. Award: 2013 Project of the Year Award, American Public Works Association San Diego and Imperial Counties Chapter
City of Palm Desert, CA – 2011, stained and sealed depictions of swim strokes and dive techniques are sandblasted into the pool decks at the Palm Desert Aquatics Center
Marriott San Diego Hotel and Marina - 2011, holographic finishes on aluminum, polycarbonate and programmable LED entry wall sculpture. Design Team: Martinez Cutri Architects, Randall Lamb Engineers
Sempra LNG, Ensenada, Mexico – 2009, glass tile mural for Casa Azul. Wimmer Yamada and Caughey, Landscape Architects and Sempra Energy
San Diego Association of Governments – 2009, Interstate 15 Bus Rapid Transit Stations Design Team Member: KTU+A Landscape Architects, Manuel Oncina, Architects. Awards: 2009 Project of the Year Award, American Society of Civil Engineers, San Diego Section, 2010 Project of the Year Award, American Public Works Association, San Diego and Imperial Counties Chapter
City of National City, CA – Portals i Ti e – 2007, National City Boulevard Streetscape and Fountain Plaza Promenade Improvement Project. Design Team: Project Design Consultants
City of Ventura, CA - 2007, Avenue Water Treatment Plant – Main gate and service gate. Design Team: Kennedy Jenks Consultants. Award: 2008 Top Job Award, National Ornamental and Miscellaneous Metals Association
City of San Diego, CA - 2006, El Cajon Boulevard Transit Plaza - El Cajon Boulevard at Interstate 15, San Diego, CA. Team: KTU+A Landscape Architects P A U L H O B S O N 2 8 6 1 I V Y S T R E E T S A N D I E G O C A 9 2 1 0 4 (6 1 9) 2 3 6 7 9 7 0 [email protected] www.paulhobson.org
City of San Diego, CA - 2005, Fire Hose Frieze - Fire Station Number 31 - Camino Rico and College Avenue, San Diego, CA. Design Team: Platt/Whitelaw Architects. Awards: American Society of Civil Engineers, 2005 Award of Merit, 2006 Honor Award, American Public Works Association, San Diego and Imperial Counties Chapter
City of Los Angeles Cultural Affairs Department - 2002, Alex Baum Bike Bridge. Los Feliz Boulevard at the Los Angeles River, Los Angeles, CA. Design Team: Bureau of Engineering
City of San Diego Park and Recreation Department - 1999, Carmel Valley Community Park, San Diego, CA. Design Team: KTU+A Landscape Architects and Platt/Whitelaw Architects. Award: California Park and Recreation Society, 1999 Award for Excellence for Facility Design in a Community
City of Carlsbad Arts Office - 1998, Leo Carrillo Ranch/Park Master Plan. Design Team: KTU+A Landscape Architects, Milford Wayne Donaldson, Architect. Awards: California Preservation Foundation Design Award for Leo Carrillo Ranch Master Plan, 1998. American Society of Landscape Architects, San Diego Chapter, Merit Award, 1999
San Diego Metropolitan Transit Development Board - 1996, Old Town Transit Station, San Diego, CA. Design Team: KTU+A Landscape Architects. Award: “a Diego desig co u ity’s Orchids and Onions Awards, Orchid Award for Fine Art, 1997 GORDON HUETHER Napa, CA gordonhuether.com [email protected]
My mission as an artist is honor the spirit of humanity by bringing beauty and meaning into the world through art. I learned art composition and appreciation at an early age from my father who was an artist and craftsman and I was drawn to the possibilities of having a lasting impact on the world through the creation of large-scale works of art. As I developed as an artist, I became inspired to investigate intellectual precepts and explore emotional depths. My work became about shaping a story and expressing an idea, not just creating an object of beauty.
I’ve long been fascinated by the interplay between light and glass and I explore the artistic possibilities of refraction and reflection in glass fabrications and dichroic glass. As my career progressed, I began exploring other media, moving between highly refined, polished materials like polished metals and then gritty, repurposed and salvaged materials like rusted steel and weathered wood. Salvaged and repurposed materials allow me to explore the effect of time and nature on man-made materials. My work looks to the forms, movement and colors of the environment and I select materials based on what is indigenous to the site’s architecture and landscape. I’ve learned to let the story I am telling lead me towards the right material.
When developing a concept for new public artwork, I endeavor to connect to the site by researching its history and culture; connect to the viewer by listening to the community and understanding their vision for the project; and finally, connect to the landscape and architecture surrounding the work by choosing materials that respond and engage with the location.
I am passionate about the process of creating art and humbled by the privilege of making art everyday. In a time when the speed and ease of technology robs of us daily personal interactions, experiencing art has the power to remind us of the importance of the human touch.
Top to bottom: Portal | Gathering Place, 2013, Toledo, OH; Aluminum Yucca, 2003, Albuquerque, NM; Poppy Jasper, 2015, Morgan Hill, CA; GORDON HUETHER | RÉSUMÉ art matters
SELECTED PUBLIC ART COMMISSIONS 2016 Salt Lake County District Attorney’s Office Building Commissioned by: Salt Lake County 2015 Salt Lake City International Airport Commissioned by: Salt Lake City Department of Aviation Fort Lauderdale‐Hollywood International Airport ‐ Terminal 1 Commissioned by: Broward County Public Art Program Iliff Rapid Transit Station and Parking Structure Commissioned by: City of Aurora, Art in Public Places In Honor of the Fallen, Memorial Sculpture, Oklahoma City Police Headquarters Commissioned by: Oklahoma City Office of Arts & Cultural Affairs 2014 9/11 Memorial Sculpture Commissioned by: American Canyon Fire Department Hoops, Oregon State University ‐ Basketball Practice Facility Commissioned by: Oregon State Arts Commission The Nature of Life, Martinez Courthouse Commissioned by: Judicial Council of California, Arts in the Courthouse Program Rockland County Office Building Commissioned by: Rockland County Art in Public Places Tarantula and Poppy Jasper, Morgan Hill Parking Facility Commissioned by: City of Morgan Hill; F+H Construction Wards Corner Gateway Commissioned by: City of Norfolk 2013 Hatcher Road Streetscape Project Commissioned by: City of Phoenix, AZ Portal, University of Toledo Roundabout Commissioned by: University of Toledo 2012 A‐Round Oakland, BART Oakland Coliseum Connector Station Commissioned by: Bay Area Rapid Transit Authority Aureole, Centennial Plaza Sculpture Commissioned by: City of Peoria, AZ High Wire Travelers, Raleigh‐Durham International Airport Commissioned by: Raleigh‐Durham International Airport Oklahoma State University ‐ Henry Belmon Research Center Commissioned by: Oklahoma Art in Public Places 2011 A is for Allen, Exchange Parkway Median Enhancement Commissioned by: City of Allen, TX 2010 The Canyon, Salt Lake City International Airport ‐ TRAX Station Commissioned by: Salt Lake City; Utah Transit Authority Desert Light, Sun Tran Bus Storage & Maintenance Facility Commissioned by: Tucson Pima Arts Council Houston Police Department, Midwest Police Station Commissioned by: Houston Arts Alliance; City of Houston Kansas City Police Department ‐ South Patrol Station Commissioned by: Kansas City, MO 2009 9/11 Memorial Commissioned by: City of Napa LBJ Presidential Library Commissioned by: LBJ Presidential Library, Austin, TX LBJ School of Public Affairs Commissioned by: University of Texas at Austin 2008 Jack London Square Commissioned by: City of Oakland; Jack London Square Partners O Wave, Ovation Condominiums, St. Petersburg, FL Commissioned by: JMC Communities Red Eye, East Village Parking Facility Commissioned by: Kansas City, MO Municipal Art Commission 2007 Desert Mosaic, Tucson Justice Court, Municipal Court Complex Commissioned by: Tucson Pima Arts Council Gotta Go, Jacksonville International Airport Awarded by: Jacksonville International Airport Arts Commission Mountain Range and River of Light, John Muir Medical Center Commissioned by: John Muir Health Foundation; City of Walnut Creek Texas Tech University ‐ School of Law Commissioned by: Texas Tech University, Lubbock, TX 2006 The Bridge Homeless Assistance Center Commissioned by: Dallas County; Overland Partners Vessel and Waves, Sacramento Regional County Sanitation District Commissioned by: Sacramento Metropolitan Arts Commission 2005 Go, Go, Go, Foothills Recreation & Aquatics Center Commissioned by: Glendale, AZ Arts Commission Napa Courthouse Commissioned by: The Historical Society Salt Palace Convention Center Commissioned by: Salt Lake County, UT 2004 Arena Parking Structure Commissioned by: City of Stockton, CA Issaquah Transit Center Commissioned by: Sound Transit Board, Issaquah, WA San Jose Fire Department Station 17 Commissioned by: City of San Jose, CA San Mateo Public Library Commissioned by: City of San Mateo, CA 2003 Over Houston, William P. Hobby Airport Commissioned by: Houston Airport System 2002 Aluminum Yucca, East Gateway Project Commissioned by: City of Albuquerque; New Mexico Arts Denver International Airport ‐ Child Care Center Commissioned by: Denver International Airport Public Art Program Equity Playground Fantastico Commissioned by: City of Napa; Napa Valley Arts Council 2001 BART San Bruno Station Commissioned by: Bay Area Rapid Transit Authority Sacramento Midtown Parking Garage Commissioned by: Sacramento Metropolitan Arts Commission; City of Sacramento SEPTA Frankford Transportation Center Commissioned by: Philadelphia Arts Commission EDUCATION 1990‐92 Life Center Collaborative Project with Professor Johannes Schreiter, Napa, CA 1986 Pilchuck Glass School, Stanwood, WA 1980‐82 Apprenticeship at Universal Glass Studio, Blieskastel, Germany
2 LEE IMONEN Dexter, OR leeimonen.com [email protected]
My work is centered on the relationships between people and the objects and spaces with which they surround themselves. This focus often highlights the tenuous interdependence between humanity and the material world in which we live. Through complex manipulation of various media, the work is intended to create a reflective space for the viewer to understand their relationship to the sculptural object, the spaces they inhabit and their role as consumers in the broader world.
I begin each artwork as a research project; a specific opportunity for understanding a place, material, culture or organization in a more comprehensive way. I am motivated to reshape the way in which the public and art interface. My goal is to shift the direction of public work away from sculpture that is simply placed in the public realm, to work that not only engages the public, but equally speaks of its environment. My research process begins by looking at the site through a series of lenses: History, Purpose, and Site/Media. I begin with site visits, photography, and researching historical archives. Equally important is meeting with members of the community. I want to know how a community sees itself, and projects itself to the world. The last lens is that of understanding the space and intent of the site. This knowledge is informed through dialogues with the architects, and planners for the community. The result of these gathering sessions informs the scope of the work, to help identify issues of proper placement, scale, and media within the site. It is through assimilating this information that a vision for the work develops.
In my work, I move fluidly from one media to another. It is this love of material and of finding the right solution that I seek to foster in my studio practice. I believe that the outcome for each project is determined by the concepts developed throughout the research phase. In this way, the work is uniquely responsive to the needs of the community and sense of place. Whether indoors or out, the materials, aesthetics, and concept are determined through the process and result in a specifically appropriate resolution through the work.
Top to bottom: Integral Framework, 2014, Bend, OR; Sampo, 2003, Salem, OR; Bountiful, 2010, Eugene, OR Lee C. Imonen 81262 Lost Creek Rd. Dexter, OR 97431 Day 541.463.5412 Eve.541.937.2238 [email protected] Education MFA in Sculpture, 1996, University of Oregon, Eugene, Oregon 97403 Bachelor of Arts, 1994, Willamette University, Salem, Oregon 97301
Academia Instructor, 2000-Present, Lane Community College, Eugene, Oregon Instructor, fall 1999, Pacific Northwest College of Art, Portland, Oregon
Collections Tri-Met: Portland/Milwaukee Lightrail ,Trolley Trail Sculpture. Completion 2014 Oregon Institute of Technology, Oregon Percent For Art, Klamath Falls, Oregon City of Eugene, Eugene,Oregon. Delta Ponds Eastern Oregon University percent for art, La Grande, Oregon North Mall Office Building, Oregon Percent for Art Commission, Salem, Oregon City of Inami, Toyama Prefecture, Japan City of Eugene Parks Department, Percent for Art Commission. Eugene, Oregon Portland Art Museum, permanent collection Big Rock Garden Sculpture Park, City of Bellingham, Bellingham, Washington St. Louis University, St. Louis, Missouri H. Lay, Louisiana, Missouri
Publications Modern Steel Construction, August 2012, What’s cool in Steel article Sculpture Magazine, January/February 2008, Feature article Art in America, 2007-2008 Annual Guide, Public Art, p.56 Connections, Oregon Arts Commission, 2006 Sunset Magazine, June 2005 Sculpture Magazine, January/February 1999 Sculpture Magazine, (photo) January 2000 Sculpture Magazine, October 2000 American Craft, (photo) February 2001
Selected Exhibitions 2016 Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon 2015 “Confluence”, Lucinda Parker and Lee Imonen. Port of Portland, PDX. 2015-16 “ROT” Corvallis Art Center 2015, Corvallis, OR. World Forestry Center 2016, Portland OR LCC Faculty Show, Central Oregon Community College, Bend, OR. 2014 “The Meaning of Wood” Lower Columbia Community College,South Puget Sound Community College, Seattle Convention Center 2013 “Object Stories” Portland Art Museum, Portland OR 2012 Bellwether regeneration Bellevue 2012, Bellevue WA Rootbound: Heaven and Earth 4, COCA , Seattle Washington Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon 2011 Northwest Stone Sculpture Invitational, Lane Community College, Eugene, OR 2008 “clear Cut” Portland Art Museum, Portland, Oregon “Sculpted Green” Bellevue Invitational, Bellevue, Washington “Natural Cycles” Tryon Creek Park, Portland, Oregon 2007 Lane Community College Outdoor Sculpture Invitational, Eugene, Oregon West Edge Sculpture Invitational, Seattle, Washington Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon Westcott Bay Reserve Outdoor Sculpture Invitational, Roche Harbor, Washington 2006 West Edge Sculpture Invitational, Seattle, Washington 2005 DIVA “Artists who Teach”, Eugene, Oregon Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon 2004 Lake Oswego Outdoor Sculpture Invitational, City of Lake Oswego, Oregon Gallery Artists Exhibition, Foster-White Gallery. Seattle, Washington Hult Center 30th Anniversary Exhibition, Eugene, Oregon 2001 Lake Oswego Outdoor Sculpture Invitational, City of Lake Oswego, Oregon Portland Art Museum, Works from the Collection, Portland, Oregon Redmond Outdoor Sculpture Invitational, City of Redmond, Washington “Bridges” Corvallis Art Center, DaVinci Days, Corvallis, Oregon 2000 “Small Works” Margo Jacobson Gallery, Portland, Oregon Northwest Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon Redmond Outdoor Sculpture Invitational, City of Redmond, Washington Big Rock Sculpture Park Invitational, Bellingham, Washington Maryhill Museum of Art, Outdoor Sculpture Invitational, Goldendale, Washington 1999 Portland Art Museum, Recent Acquisitions, Portland, Oregon 1998 North American Sculpture Exhibition, Foothills Art Center, Golden, Colorado. Juror: Jesus Morales Northwest Outdoor Sculpture Invitational, Clackamas Community College, Clackamas, Oregon 1997 Oregon Biennial, Portland Art Museum, Portland, Oregon Schneider Museum of Art, Ashland, Oregon University of Oregon Museum of Art, Eugene, Oregon Hallie Ford Museum of Art, Salem, Oregon Pacific Northwest Annual, Bellevue Art Museum, Bellevue, Washington “The Garden Show”, Portland Institute for Contemporary Arts, Portland, Oregon 1996 16th Annual Northwest International Art Competition, Whatcom Museum of History and Art, Bellingham, Washington
Solo Exhibitions 2012 Public Projects/Private Thoughts Lane Community College Gallery, Eugene, OR 2002 Foster White Gallery, Seattle, Washington 2001 Lane Community College, Campus Gallery, Eugene, Oregon 2000 Fairbanks Gallery, Oregon State University, Corvallis, Oregon Foster White Gallery, Seattle, Washington Margo Jacobson Gallery, Portland, Oregon 1997 American Institute of Architects, Portland Branch, Portland, Oregon BOORA Architects, Portland, Oregon
Honors and Awards Finalist - Port of Portland Headquarters, Portland, Oregon Finalist - Eugene Depot Percent for Art. Eugene, Oregon US Representative: 2003 Inami International Wooden Sculpture Camp. Inami, Japan. Juror’s Award, 2000 Sculpture Invitational, Big Rock Sculpture Park, Bellingham, Washington Juror’s Award, 2nd Prize, 1998 North American Sculpture Exhibition, Golden, Colorado Juror’s Award, 1997 Pacific Northwest Annual, Bellevue Art Museum, Bellevue, Washington CHRISTOPHER JANNEY Lexington, MA janneysound.com [email protected]
Trained as an architect and jazz musician, I have been working on permanent interactive installations for over thirty years. Titled "Urban Musical Instruments," these are a series of landmark works in public buildings, airports, libraries, outdoor parks and plazas that combine interactive technology, architecture, light and sound.
As my work is about a synaesthetic experience, I often focus on creating a soothing sound-score for the environment at the site of the piece. These sound-scores are often composed of an ever-changing pattern of melodic instruments- marimbas, flutes and strings- mixed with environmental sounds indigenous to the area of the site. The result is a “sonic oasis” where people are immersed within this sound as they move through or relax in this space.
My work strives to develop a place of “creative rest;” this is achieved through a synthesis of colored glass, natural light shadows, interactive soothing sound-scores all combining to create an “urban oasis.” Recently, I have created permanent artworks for public spaces that use a combination of interactive electronics, colored glass and sound integrated with the steel and concrete of the building.
Structurally, my approach is often to bring the scale of the structure down to the scale of the pedestrian, making the architecture of the building or environment more accessible. My efforts are to find the “hidden music” in the existing structure to reveal in the architecture.
Trained as an architect and jazz musician, I have been designing and building permanent interactive installations for over thirty years. These are a series of landmark works in public buildings, airports, libraries, parks and plazas in the United States and Europe. My work often combines colored structural glass, aluminum, light, and where appropriate, sound and interactive elements.
With regard to the collaborative process, my training both as an architect and a musician have prepared me well for collaborative situations in both design and construction; I am interested to make the whole design greater than the sum of the individual perspectives.
Top to bottom: Circling, 2005, DFW Airport, Irving, TX; Touch My Building: DancePlace, 2015, Washington, DC; Shadow Boxing, 2007, Ft. Lauderdale, FL RESUME-Christopher Janney, 75 Kendall Road, Lexington, MA, 02421 U.S.A. Ph- (781) 862-6413 [email protected] www.janneysound.com
EDUCATION 6/78 M.S. Environmental Art/Design, Massachusetts Institute of Technology 1/74-9/74 Dalcroze School of Music, New York, N.Y., scholarship student 6/73 BA, Architecture/Visual Arts, Princeton University, 1973, magna cum laude 6/65-9/76 Private percussion/theory studies and performance, 12 years – NY, MA, DC
PROFESSIONAL EXPERIENCE 3/80- President, PhenomenArts, Inc., Environmental Arts and Design, 1/87- Artistic Director, The Institute for Performance Sculpture, Inc. Advisory Board; George Martin, Otto Piene, Martha Schwartz, Sara Rudner, Peter Sellars 1/05- 6/06 Visiting Professor, Pratt Institute, School of Architecture, Brooklyn, NY 9/91- 6/04 Visiting Professor of Architecture, The Cooper Union School, New York, NY 6/95-6/00 Council Member, CIES, Fulbright Foundation, Washington, DC 9/00-6/01 Visiting Professor- Graduate School of Design, Harvard University, Cambridge, MA 9/92-6/97 Research Affiliate, Center for Advanced Visual Studies, Massachusetts Institute of Technology, Cambridge, MA 1/95-6/95 Visiting Professor, Rhode Island School of Design, Providence, RI 7/80-9/90 Fellow, Senior Consultant- Center for Advanced Visual Studies, Massachusetts Institute of Technology, Cambridge, MA 1/87-6/87 Visiting Artist, Sound/Performance, S.U.N.Y., Purchase, N.Y. 9/84-6/85 Visiting Artist, Massachusetts College of Art, Boston, MA 4/74-9/76 Technical Staff, The Plastics Factory, New York, N.Y. Clients included: Merce Cunningham Dance Company; Mimi Garrard Dance Company; Michael Graves, Architect (1972); Clement Meadmore, sculptor. 7/72-7/73 Member/Designer, Haus-Rucker-Co., Inc., New York, N.Y.
MAJOR EXHIBITIONS, INSTALLATIONS, PERFORMANCES (partial list) 2014 SONIC GATES: OK CITY- Winning Commission, Oklahoma International Airport, OK SONICSHADOW: MLK - Winning Commission, Cambridge Arts Council, MA 2013 HEARTBEAT: American Heart/DC Chapter, Building Museum, Washington, DC SOUNDSTAIR: SAN JOSE, San Jose Museum, San Jose, CA SONIC GARDEN: WITTE- Commission, WITTE Museum, San Antonio, TX SONIC FOREST/UK- Summer Tour, Glastonbury, Wireless, Electric Daisy Carnival WHAT IS A HEART?: Guild Hall, w/The Persuasions, East Hampton, NY 2012 SONIC RINGS- (Installation) UK Olympics, Bournemouth, UK w/ AUCB. SONIC FIREFLIES- (permanent installation), Revel Resort, Atlantic City, NJ BEYONCE/REVEL- (commissioned score) Opening weekend, Atlantic City, NJ LIGHT WAVES: ATLANTA, (permanent installation), Atlanta International Airport, GA SOUNDSTAIR; MASSMUTUAL, (Installation) Springfield, MA SONIC PASS: Scottsdale- (Installation) Scottsdale, AZ 2011 HARMONIC CONVERGENCE: Miami International Airport, Miami, FL SOUNDSTAIR; Children’s Hospital Boston, Boston, MA SOUNDSTAIR: MIT 150- SoundStair featured as one of 150 objects for the anniversary celebration at MIT 2010 HARMONIC FUGUE- Hendrix College, Conway, Arkansas 2009 PARKING IN COLOR-, Ft. Worth Convention Center Parking Structure, Ft. Worth, TX 2008 SONIC FOREST: ZARAGOZA- Worlds Fair, Zaragoza, Spain 2006 SONIC FOREST- US/UK TOUR- Dogwood, Knoxville, TN/ Bonnaroo, Manchester, TN,/ Hyde Park Calling, London, England/ Download, Nottingham, England/Lowlands Festival, Holland HARMONIC PASS: Denver- Southmoor Tunnel, Denver., CO VISUAL MUSIC PROJECT- Berklee College of Music, Boston, MA ARCHITECTURE OF THE AIR- Book Published by Sideshow Media LLC, New York, NY TOUCH MY BUILDING:BAC- Exhibition, Boston Architectural College, Boston, MA RAINBOW COVE GREEN and RED- Interactive, glass & sound environment, Logan Airport, Boston, MA 2005 CIRCLING- Dallas-Ft. Worth Airport, Irving, TX SONIC FOREST: Bonnaroo – (performance),Bonnaroo Music Festival, Manchester, TN DAVID’S WAY - permanent sound/light installation, Dallas, Texas Christopher Janney - Resume, page !2
2004 RESONATING FREQUENCIES, Dialogues on Architecture and Music -Creator/Curator, with DJ Spooky, Philip Glass, Thom Mayne, Laurie Anderson, Moby and Bernard Tschumi, The Great Hall, Cooper Union, NY SONIC FOREST - Union Square, New York, as part of New Sound/New York Festival HYATTSVILLE HORN SECTION - Dedication, permanent sound sculpture, Hyattsville, MD
AWARDS AND GRANTS (Partial List) Americans for the Arts Award, 2012 1st Place, Solutia World of Color International Competition, 2012 Award Of Excellence, International Parking Institute - 5/08 Meet The Composer/NYC Grant- 1/05 Marlene Nathan Meyerson Family Foundation Grant, 1/04 City of Cincinnati, “Key to the City”, 11/02 Thomas Edison Award, General Electric, 1996 Sound Designer of the Year, LDI/Theater Arts Magazine, 1995 PPG Foundation Grant, Pittsburgh, PA, 1st Prize, “Philly Sound Park” animation, American Society of Landscape Architects, 1994 Mary Flager Charitable Trust, w/S. Rudner, 1993 National Endowment for the Arts Grant, Design Category, 1991 Massachusetts Cultural Council Grant, 1991 Massachusetts Artists Foundation Fellowship, 1988 Pennsylvania State Arts Council Grant, 1987 Gyorgy Kepes Prize, M.I.T., 1986 M.I.T. Council on the Arts, 1979, 1981, 1982, 1985, 1986 N.E.A. Grant, Interarts Category, w/J. Brigham, 1984 N.E.A. Grant, Dance Category, w. S. Rudner, 1983
MAJOR INTERVIEWS AND PUBLICATIONS (Partial List) “The Airport as Museum”, Wall Street Journal, 9/13 "Conversation: Sound Artist Christopher Janney, PBS News Hour, 10/10 "Public Art: Greenways, Sonic Trees and Waterways", Art New England, C.Temin, 6/09 "Architecture of The Air", Hear and Now, NPR, 5/09 "Architecture of The Air", Alumni Profie, MIT School of Architecture & Planning 1/09 "HeartBeat", Daily Planet, Discovery Channel CANADA, 1/09 "Mr. Multimedia", MIT Review, 1/08 "Architecture of the Air: The Sound and Light Environments of Christopher Janney", Sideshow Media, 2007 "Architecture of the Air", Hear and Now, NPR, 5/07 “Hear Color, See Sound”, Metropolis Magazine 11/07 “Sculpting in Sound, Building in Harmony”, The Chronicle of Higher Education, 8/04 “Extreme Homes”, HGTV, 1/02 “Sense and Sensibilities”, Architectural Digest, 8/02 “Heartbeat”, ABC Discovery, 1/98 Architectural Record, 11/95, 5/02, 2/03, 6/04 “Public Art In Review”, Art In America, 8/02 “An Ear for Art”, CBS Sunday Morning, 10/96 “Light Waves”, cover/feature, Architectural Record, Lighting Supplement, 11/95 “The Drum of Time”-Tropicultural Prod. for PBS, Miami, FL, 6/98 CNN-12/9/93, 1/6/94 The Boston Globe, 5/78, 9/79, 10/83, 1/93, 5/98 The Washington Post, 3/36, 5/90 “Future Watch”-CNN, 8/90 National Public Radio, 3/86, 10/87, 5/80, 3/90, 4/90, 4/93, 7/95, 8/02 The New York Times, 9/86, 10/84, 7/90 NAPOLEON JONES-HENDERSON Statesboro, GA roxburyrhapsody.tumblr.com [email protected]
For over three decades I have conceived and fabricated a number of large and small commissions that have enhanced the environments in which they are located. Some are in large transportation facilities, schools, board rooms, institutions and private homes. In addition to the aforementioned, I have created works that address the public landscape where people just walk about and generally get on with their daily lives.
The creation of a work that will enrich and enliven the landscape/facility should engage the community’s residents from its inception to the unveiling. They are in fact the co- collaborators of this entire enterprise. I have always engaged as many individuals as have wished to participate in the creative process of concept to fabrication. Never has there been anything except a satisfying outcome.
Usually I seek to include schools and institutions within the given community to gather and review my conceptual ideas and from that generate possibilities of further conceptual development into a final project design. This may involve short workshops or projects with schools, discussions with businesses in the area of immediate impact, churches and civic organizations.
My overarching concern is to create a work that will inspire and enliven the community landscape, open the hearts and minds of the people of that community in such a manner that they sense an ownership of the entire process and the subsequent work. Additionally, of equal concern I endeavor to embody my work with what I call “visual music”: a syncopated rhapsody of colors shapes, symbols and rhythms that stimulate the senses and illuminate its environment .
Usually I seek to include schools and institutions within the given community to gather and review my conceptual ideas and from that generate possibilities of further conceptual development into a final project design. This may involve short workshops or projects with schools, discussions with businesses in the area of immediate impact as well as churches and civic organizations. Especially important is collaborations with architects, engineers and contractors attached to the project.
Top to bottom: Procession of the Ancients, 1997, Providence, RI; Dialogia Series, 1987, Boston, MA: Roxbury Rhapsody, 2015, Boston, MA Napoleon Jones-Henderson BENNU ARTS, LLC 609 N. Kevin Court Statesboro, GA 30461 617-989-1191 (studio) 803-348-8746 (cell) [email protected]
Education: 2005 Maryland Institute College of Art, Master of Fine Arts Degree, Baltimore, MD 1974 Northern Illinois University, Master of Arts; Candidate, DeKalb, IL. 1971 Art Institute of Chicago, Bachelor of Fine Arts Degree, Chicago, IL. 1963 The Sorbonne, Student Continuum, Student and Artist Center, Paris, France 1963 Continuous Independent Study, research, writing, curating, and collecting of art
Awards: 2015 Brother Thomas Fellowship; Boston Foundation-Pucker Gallery, Boston, MA 2011 Elmcrest School workshop, Syracuse, NY 2007-8 Ford Foundation: Artist in Residence Fellow, CFAC, Syracuse University, Syracuse, NY 2007 Tougaloo Art Colony, Artist in Resident, Tougaloo College, Tougaloo, MS 2005 Walters Art Museum, Merit of Honor Award, Baltimore, MD 2005 Artist in Residence, McDonogh School, Owings Mills, MD 2005 Artist in residence in Print Making, Towson University, Baltimore, MD 2005 Artist workshop City Springs Elementary School, Baltimore, MD 2005 Walters Art Museum, Traveling Fellowship Award, Honorable mention, Baltimore, MD 2005 Official Citation, The Senate of Maryland, Senator Verna L. Jones 2005 Certificate of Recognition, Maryland Institute College of Art 2004 Artist workshop Diggs Johnson YMCA After School Program, Baltimore, MD 1999 Mayor of Boston, “Award of Recognition for Outdoor Sculpture Exhibit” 1999 Tri-Ad Veterans League, inc. “Award for Cultural Contributions” 1999 Massachusetts State Senate, “Omical Citation for Cultural Excellence”
Commissions: Boston Arts Commission, Bruce C. Bolloing Municipal Building, Roxbury, MA ($ 90,000) CFAC, Syracuse Uni. Dept of African American Studies, Syracuse, NY: 2009 ($ 5,000) DC Commission on the Arts, Finalist Anacostia Public Art Commission, Washington, DC 2006 McDonogh School, Owings Mills, MD: 2005 ($ 10,000) Sarasota Library Finalist Public Art Commission, Sarasota, FL. 2005 ($ 55,000) Dining Table with Enamel insets, Private, Jamaica Plain, MA: 2000 ($ 55,000) O’Donnell School, Boston Public Schools, East Boston, MA: 1996 ($ 12,000) Rode Island Convention Center Authority, Providence, R. I.: 1996 ($ 55,000) Tapestry Scenery for Play "African Tapestry" Boston, MA: 1994 (Pro Bono) Mather School, Boston Public Schools, Dorchester, MA: 1991 ($ 5,000) Dimock Community Health Center, Roxbury, MA: 1991 ($ 5,000) Massachusetts Port Authority, Black Falcon Cruise Terminal, Boston, 1989 ($ 57,000) Happy Hollow School, Wayland, MA: 1987 ($ 5,000) New England Life Insurance Co., Boston, MA.: 1987 ($ 5,000) Roxbury Community College, Mass. Per Cent for the Arts, Roxbury, MA: 1986 ($ 35,000) Hartsfield International Airport, Department of Cultural Affairs, Atlanta, GA.: 1982 ($ 25,000) Columbia Council, Palmetto Tree Project, Columbia, SC. 1999 ($ 2,000) City of Boston, Parks and Recreation Department, "Living Room Project" and First Night at Boston City Hall Plaza, Boston Commons & Mattapan, MA. 1999 – 2000 ($ 5,000)
Publications: Drum Magazine, University. of Massachusetts, Amherst, MA 250 Years of Afro-American Presence in Massachusetts 250 Years of Afro-American Art, Linn Lgoe Fiber Arts Magazine Black Arts: Ancestral Legacy, Regina Perry, author Uncommon Beauty in Common Objects, National Afro-American Museum, Wilberforce, OH. Art African American, Dr. Semella Lewis, author Weavers Study Guide, Else Regenstiner, author Celebrating African Identity, Politics and Icons of Representation, National Council on Education for the Ceramic Art The Flying Needle, Council of American Embroiders Elements of African Religion that allow for the Transplant of Islam, Napoleon Jones-Henderson National Black Arts Catalog, 1996 National Juried Exhibition Trans-African Artists Exhibition Catalog, Art Atrium II Gallery Jazz..."a Montage of a Dream”, American Jazz Museum, Dr. Semella Lewis, author International Review of African American Art, Hampton University Celebrating African Identity: Politics and Icons of Representation, Nikiru Nzegwu, author Volatile Alliances, Africus Johannesburg Biennale 1995, South Africa New Art Examiner, 1994 AFRICOBRA: The First Twenty Years, Nexus Contemporary Art Center, Atlanta, GA.1990
Representative Exhibitions: AfriCOBFRA: Now-Works on Paper; HEARNE Fine Art Gllery, Little Rock, AK 2016 Roxbury Community College; Violenec Transformed 2015-2016 Harvey V, Gantt Center, AfriCOBRA Now: An Aesthetic Reflection, Charlotte, NC 2015 Violence Transformed. RCC Gallery, Roxbury, MA 2015 Community Folk Arts Center, “AfriCOBRA; Liberated Images” Syracuse University, Syracuse, NY 2008 David Lusenhop Gallery, NY NBFA NYC, NY 2008 King Arts Complex, “Living Legends”, Columbus, OH 2007 Hampton University Museum: AfriCOBRA: Revolutionary Images” Hampton Uni.: Hampton, VA 2007 Community Folk Arts Center, Syracuse University, Syracuse, NY 2006 Museum of Afro-American Art and Culture, Philadelphia, PA 2006 Rhode Island College, Providence, RI 2006 Mainstreets Columbia, Columbia, SC 2006 Everlasting Creations Salon, Baltimore, MD 2005 Maryland Federation of Artists, Baltimore, MD 2005 Anacostia Museum and Center, Washington DC 2005 McDonogh School, Owings Mills, MD; 2005 Thesis Exhibition, Maryland Institute College of Art, Baltimore, MD.: 2005 Loyola College, Baltimore, MD 2005 Maryland Federation of Artists, Baltimore, MD 2004 Kuumba Fine Arts Gallery, Shreveport, LA 2004 Thomas & Hall Gallery, Dallas, TX. 2002 South Dallas Cultural Center, Dallas, TX. 2002-03 Bass Museum of Art, Miami, Fl. 2002 Wright Mus. Of African Amer. Hist., Detroit, Mi. 2001 Herbert F. Johnson Museum of Art, "Blackness in Color: Expressions of the Black Arts Movement" Cornell University, Ithaca, NY. 2000 William Mallory Sr. Gallery: Art Consortium's African American Museum Cincinnati, OH. 2000 Jubilation; Celebrating African Textile Traditions, “Convergence 2000”, Cincinnati, S. C. Arts Commission, Governor's Awards for the Arts Exhibition, Columbia, SC. 2000
http://roxburyrhapsody.tumblr.com/
References: available upon request
NJH 2-7-2016 ANNE MARIE KARLSEN Los Angeles, CA annemariekarlsen.com [email protected]
Since 1992 I have successfully completed twenty-seven public art commissions in various locations around the United States. The budgets have ranged from $10,000 up to $275,000. I have worked variously as a solo lead artist, design team lead artist, and a public art consultant.
My images invite the use of imagination in the viewer. I am interested in the notion that my work can flip flop between abstraction at a distance, and representation when seen up close. Each viewer is able to discover different “reads” of the image from different vantage points.
I am fascinated by the interrelationships between science, music, art, architecture, history and natural phenomenon. In each discipline, certain forms, symmetries, patterns and structures clearly evidence a connectivity and interrelationship. This is apparent throughout the natural world, both visible and invisible.
My artistic style is well suited for both pedestrian and distance viewing, and is metamorphic by nature. It is adaptable to various site-specific concerns including interior / exterior locations, and includes both two and three- dimensional work. I undertake various types of site specific research, often engaging local community resources to develop a relevant and resonant body of visuals. My completed commissions demonstrate fluidity in a wide range of materials and methods. These include a variety of ceramic processes, glass and stone mosaic, handmade float glass, baked porcelain enamel and etched metals.
I am organized, responsible and experienced with collaborative situations. I believe I have the unique combination of qualifications, experience, and enthusiasm required for successful completion of public artwork.
As the lead artist on a design team, I have successfully collaborated with many national recognized architectural firms, developers, arts commissions, art consultants, engineers, contractors, city planning commissions, lighting designers, city attorneys, subcontractors and fabricators. I am fully aware of the complexity of this type of collaboration, and feel I have significant experience in this area.
Top to bottom: Subdivisions, 2008, Lawndale, CA; Six Elevator Doors, 2002, Sacramento, CA; Wheels, 2010, Santa Monica, CA ANNE MARIE KARLSEN 8000 vicksburg avenue, los angeles, california, 90045 [email protected] • www.annemariekarlsen.com •FLIPWERKS•ph: 310.670.1776 • fx:310.670.1786 • m:310.592.8459
EDUCATION TEACHING POSITIONS M. F. A. University of Wisconsin – Madison 1986 - Present Santa Monica College M. A. University of Wisconsin – Madison 1989 - 1998 University of California at Los Angeles B. F. A. Michigan State University 1979 - 1985 University of California at Los Angeles PUBLIC ART COMMISSIONS 2016 HARMONY OF THE SEAS, Royal Caribbean Cruise Lines, ICArt, Mariangela Capuzzo Art Consultant, Miami, FL $83,000 2013 SOUTH LOS ANGELES ANIMAL SERVICES, CHESTERFIELD SQUARE, Cultural Affairs Department, Los Angeles, CA $130,000 2012 CASE RESIDENCE HALL / MICHIGAN STATE UNIVERSITY, Michigan State Public Arts Committee $90,000 METRO ORANGE LINE EXTENSION / NORDHOFF STATION, Los Angeles Metropolitan Transit Authority / Metro Art Design Only $16,000 LONG BEACH TRANSIT BUS STOP SHELTER, Department of Cultural Affairs, Long Beach California, $40,000 2011 TWENTY-NINTH STREET CROSSINGS COMMUNITY CENTER, Los Angeles County Redevelopment Agency, Los Angeles, CA $100,000 2010 SANTA MONICA PLACE, Santa Monica Arts Commission, Santa Monica, CA $125,000 ALLURE OF THE SEAS, Royal Caribbean Cruise Lines, ICArt, Mariangela Capuzzo Art Consultant, Miami, FL $100,000 ACTON / AGUA DULCE PUBLIC LIBRARY, Los Angeles County Arts Commission, Agua Dulce, CA $68,000 2009 OASIS OF THE SEAS, Royal Caribbean Cruise Lines, ICArt, Mariangela Capuzzo Art Consultant, Miami, FL $100,000 LOS ANGELES COUNTY LIBRARY, PLAYA VISTA BRANCH, Department of Cultural Affairs, Los Angeles, CA $35,000 LOS ANGELES CITY FIRE DEPARTMENT, WOODLAND HILLS STATION, Department of Cultural Affairs, Los Angeles, CA $43,000 PAVILIONS MARKET, West Hollywood Arts Commission, West Hollywood, CA $110,000 EAST VALLEY HEALTH CENTER, West Covina, CA, Beatrix Barker Arts Consultant $45,000 2008 LAWNDALE PUBLIC LIBRARY, Los Angeles County Arts Commission, Lawndale, CA $71,000 RAYMOND RENAISSANCE, Pasadena Arts Commission, Pasadena, CA $58,000 2006 CHICAGO TRANSIT AUTHORITY, KEDZIE BROWN LINE STATION, Chicago, IL $78,000 FBI HEADQUARTERS, 2111 Roosevelt Building, 1% for the Arts, Chicago, IL. Dirk Lohan / Lohan Anderson Architects, Erica Behrens Art Consultant $130,000 CITY OF BURBANK, 1% for the Arts, Burbank / Lance Residential Development, Burbank, CA $50,000 2801 PALM CANYON, PALM CANYON TOWNHOMES, 1% for the Arts, Palm Springs, CA Jay Reynolds / OJMR Architects, $10,000 2004 CITY OF LONG BEACH / Department of Public Works, Commissioned to develop the Public Art Program for the Redevelopment of Ocean Avenue, Long Beach, CA, Patricia Smith, Landscape Architect 2003 CASA BLANCA FAMILY LEARNING CENTER, City of Riverside, Riverside, CA $90,000 SUN VALLEY PUBLIC LIBRARY, Cultural Affairs Department, Los Angeles, CA $20,000 2002 AMGEN CORPORATION, Thousand Oaks, CA, Tamara Thomas, Art Consultant $15,000 prints CALIFORNIA STATE CAPITAL / EAST END EDUCATION COMPLEX, Sacramento, CA, Tamara Thomas, Art Consultant $18,000 design only PASEO COLORADO DEVELOPMENT, Pasadena Arts Commission, Pasadena, CA, Tamara Thomas, Art Consultant $180,000 TRAILSIDE ELEMENTARY SCHOOL, Municipality of Anchorage, Museum of Art and History, Anchorage, AK. $90,000 2001 NORTH HOLLYWOOD RED LINE SUBWAY STATION, Metropolitan Transportation Authority, Los Angeles, CA. $250,000 1999 CITY OF WEST HOLLYWOOD, Commissioned to develop and write the Public Art Program for the Redevelopment of Santa Monica Blvd. PLAYA PACIFIC DEVELOPMENT, Culver City Redevelopment Agency , Culver City, CA. $275,000 PUBLIC ARTS HONORS 2011 Americans for the Arts: Public Arts Network: Best Public Art of 2011, Santa Monica Place Parking Structure 2009 Americans for the Arts: Public Arts Network: Best Public Art of 2009, Lawndale Public Library 2009 Mark Ridley Thomas, County of Los Angeles Board of Supervisors Commendation for Award Winning Artwork 2001 Art in America: Best Public Art of 2001, North Hollywood Red Line Subway Station 1999 Westside Design Forum Award, Santa Monica Boulevard Redevelopment Project FELLOWSHIPS 2010 INTERNATIONAL FELLOWSHIP / SCHOLAR IN RESIDENCE, Kunstlerhaus, Stadt Salzburg, Salzburg, Austria. 2007-10 SAM FRANCIS / MARTIN SOSIN CHAIR OF EXCELLENCE, Santa Monica College Department of Art, Santa Monica, California 2006 INTERNATIONAL FELLOWSHIP / ARTIST IN RESIDENCE, Kunstlerhaus, Stadt Salzburg, Salzburg, Austria. 2005 INTERNATIONAL FELLOWSHIP / ARTIST IN RESIDENCE, Kunstlerhaus, Stadt Salzburg, Salzburg, Austria. 2005 FELLOWSHIP / ARTIST IN RESIDENCE, Virginia Center for the Creative Arts, Sweet Briar, Virginia. 1996 SCHOLAR IN RESIDENCE Grant, Elaine and Albert Borchard Foundation, Chateau de la Bretesche, Brittany, France. SOLO EXHIBITIONS 2010 “New Work” Anne Marie Karlsen, Gammelbrygge, Senjafestivalen, Gryllefjord, NORWAY 2007 “New Work” Anne Marie Karlsen, DRESCHER PHOTO GALLERY, Santa Monica, California 2001 “New Work” Anne Marie Karlsen, PETE AND SUSAN BARRETT GALLERY, Santa Monica, California 1994 EXECUTIVE LIFE BUILDING, Curated by Donna Stein, Los Angeles, California 1982-9 NEWSPACE, Los Angeles, California TWO / THREE PERSON EXHIBITIONS 2002 “Cut and Paste” , PIERCE COLLEGE GALLERY, Los Angeles, California 2001 “Combination & Mutation”, Susan Silton and Anne Marie Karlsen, PASADENA COLLEGE ART GALLERY, Pasadena, California. 1995 “In Whack”, Curated by Noel Korten, BARNSDALL MUNICIPAL ART GALLERY, Los Angeles, California GROUP EXHIBITIONS 2012 “Translations / Artists of the Metro Orange Line” The Art Gallery, Los Angeles Valley College, Valley Glen, CA 2006 “New Acquisitions,” MULVANE MUSEUM OF ART, Topeka, Kansas KARLSEN/2 2006 “Joni Gordon, 33 Years at Newspace, 1973-2006: ‘Good to Go,’” NEWSPACE, Los Angeles, California 2004 “New Faculty Work”, PETE AND SUSAN BARRETT GALLERY, Santa Monica, California 2003 “New Faculty Work”, PETE AND SUSAN BARRETT GALLERY, Santa Monica, California 2000-2002 “Group Exhibition,” PETE AND SUSAN BARRETT GALLERY, Santa Monica, California 2000 “Santa Monica College Printmakers,” MODERN ART GALLERY, Santa Monica, California 1998 “Trends in Printmaking,” CREATIVE ARTS CENTER GALLERY, Burbank, California 1997 “Muse [x] Editions,” SANTA MONICA MUSEUM OF ART, Santa Monica, California “Southern California Perspectives in Prints / Pressing Engagements,”L.A. HARBOR COLLEGE FINE ARTS GALLERY, Wilmington, California “Los Angeles Printmaking Society 15th National Exhibition”, LABAND ART GALLERY, Loyola Marymount University, Los Angeles, California. Curated by Gordon L. Fuglie 1996 “L. A. Current: The Female Perspective”, ARMAND HAMMER MUSEUM OF ART, Los Angeles, California “Thought Works @ L.A.”, ART CENTER OF BATTLE CREEK, Battle Creek, Michigan “Aftershocks”, ARTWORKS, BERGAMOT STATION, Santa Monica, California 1995 “L.A. Current: Works On Paper”, ARMAND HAMMER MUSEUM OF ART, Los Angeles, California “Los Angeles Printmaking Society 13th National Exhibition”,LABAND ART GALLERY, Loyola Marymount University, Los Angeles, California. Curated by Elizabeth A.T. Smith “Jonathan Borofsky, Anne Marie Karlsen, Robbie Conal, Barbara Kasten: Seurat Grows Up - Computer Generated Paintings,” MAINE COAST ARTISTS, Rockport, Maine. 1994 “Contemporary and Beyond”, ARMAND HAMMER MUSEUM, Los Angeles, California PERMANENT COLLECTIONS KULTURVERWALTUNG STADT SALZBURG, Salzburg, Austria THE BROOKLYN MUSEUM, New York, New York MUSEUM OF FINE ARTS, Boston, Massachusetts FOGG ART MUSEUM, Harvard University, Cambridge, Massachusetts MILWAUKEE MUSEUM OF ART, Milwaukee, Wisconsin ELVEHJEM MUSEUM OF ART, Madison Wisconsin CARNEGIE INSTITUTE MUSEUM OF ART, Pittsburg, Pennsylvania J. PATRICK LANNON FOUNDATION, Palm Beach, Florida CITY OF SANTA MONICA ART BANK, CITY HALL, Santa Monica, California THE MCCORY CORPORATION, New York, New York RALEIGH ENTERPRISES, Los Angeles, California JAMES LODGE AND ASSOCIATES, Irvine California CALIFORNIA STATE UNIVERSITY, Long Beach, California VISUAL ARTS CENTER, Anchorage, Alaska MINT MUSEUM, Charlotte, North Carolina TEXAS TECH UNIVERSITY, Lubbock, Texas UNIVERSITY OF SOUTH DAKOTA, Vermillion, South Dakota ILLINOIS STATE UNIVERSITY, Normal, Illinois UNIVERSITY OF WISCONSIN, Madison, Wisconsin KANKAKEE COMMUNITY COLLEGE, Kankakee, Illinois UNIVERSITY OF WISCONSIN MEMORIAL UNION COLLECTION,Madison, Wisconsin GRUNWALD CENTER FOR THE GRAPHIC ARTS, UCLA / ARMAND HAMMER MUSEUM, Los Angeles, California
CATALOGS, BOOK & PORTFOLIO PUBLICATIONS 2013 “Red Cedar Reflections” MUSES: A MAGAZINE OF THE COLLEGE OF LETTERS AND ARTS AT MICHIGAN STATE UNIVERSITY ARCHITECTURE, GLASS, ART: FRANZ MAYER OF MUNICH, MAYERISCHE HOFKUNSTANSTALT, edited by Gabriel Mayer. 2010 “Jump on the Horse and Ride: Exploring the Art in Public Spaces of CAL Alumna Anne Marie Karlsen,” MUSES: A MAGAZINE OF THE COLLEGE OF LETTERS AND ARTS AT MICHIGAN STATE UNIVERSITY 2003 CAPITOL EAST END COMPLEX / STATE PUBLIC ART PROGRAM CATALOG, INTERACTIVE DVD INTERVIEW, Suzanne Muchnic. Beverly Voran, METROPOLITAN TRANSIT AUTHORITY BROCHURE, Beverly Voran 2000 15th NATIONAL BIENNIAL EXHIBITION OF THE LOS ANGELES PRINTMAKING SOCIETY EXHIBITION CATALOG 1999 PROGRESSIVE PRINTMAKERS: WISCONSIN ARTISTS AND THE PRINT RENAISSANCE, Author: Warrington Colescott. 1998 ART OF THE X FILES. A full color book featuring the artwork of sixty Los Angeles and New York artists. 1997 MUSE X EDITIONS, A suite of four iris jet prints in editions of thirty five. Curated by Irit Krygler. THOUGHT WORKS @ LA / IMAGES FROM THE AFTERSHOCKS PORTFOLIO EXHIBITION CATALOG, Jeanne S.M. Wilette 1996 LOS ANGELES PRINTMAKING SOCIETY 13TH NATIONAL EXHIBITION CATALOG, Elizabeth A.T. Smith 1995 AFTERSHOCKS: JOSEPHINE PRESS / CHRISTOPHER JOHN GALLERY, Santa Monica, California. IN WHACK EXHIBITION CATALOG, Noel Korten CONTEMPORARY COLLAGE: EXTENSIONS, EXHIBITION CATALOG, Mindy Lorenz
REVIEWS AND PUBLICATIONS Aug. 7, 2010 “Hvofor Senjafestivalen, Lars Torbjørn Stenholdt?” Birger Caspersen, FOLKBLADET, Tromso, Norway Aug. 6, 2010 “Åpning av Senjafestivalen,” Ronny Trœlvik, FOLKBLADET Tromso, Norway (photo) Aug. 5, 2010 “Kunstutstilling i Gryllefjord,” Ronny Trœlvik, FOLKBLADET Tromso, Norway (photos) May 7, 2010 “Kunstenerelite til Senjafestivalen,” Reidar Ingebrigtsen, FOLKBLADET Tromso, Norway (photo) Feb. 22, 2010 “2010 Reception for the Arts Invitation” WEST HOLLYWOOD CITY COUNCIL/ARTS AND CULTURAL AFFAIRS (photo) Dec. 2009 “The Constant Library,” Bette-Lee Fox, LIBRARY JOURNAL (photo) Nov. 30, 2009 “Birds and Planes Mix it Up in Karlsen’s Library Windows,” Suzanne Muchnic, LOS ANGELES TIMES CULTURE MONSTER, http://latimesblogs.latimes.com/culturemonster/2009/11/anne-marie-karlsen-at-playa-vista-library.html Nov. 19 2009 “Reception for Artist Anne Marie Karlsen at Playa Vista Branch Library November 21st,” THE ARGONAUT Aug. 7, 2009 “Completed Projects,” PASADENA CULTURAL AFFAIRS DIVISION ww2.cityofpasadena.net/arts/public_art_program.asp - July 10, 2009 “Americans for the Arts Recognizes Glass Artist Anne Marie Karlsen’s Creation,” DECORATIVE GLASS MAGAZINE (photo) July 10, 2009 “Library’s Glass Wall is like a History Book,” Melissa Hecksher, THE DAILY BREEZE (photos) June 23, 2009 “SoCal Public Art Projects Shine in National Awards,” Suzanne Muchnic, LOS ANGELES TIMES (photo) June 20, 2009 “America’s Best Public Arts Projects,” AMERICANS FOR THE ARTS, http://ww3.artsusa.org/news/afta_news/2009.asp April 2009 “Westchester Resident Creates Glass Wall for Lawndale Library.” HOMETOWN NEWS (photos) Sept. 13, 2006 “FBI Dedicates 10-Story HQ on Westside,” Jeff Coen, CHICAGO TRIBUNE (photo) Sept. 13, 2006 “FBI Dedicates New Outpost on Westside,” Natasha Korecki, CHICAGO SUN TIMES June 2001 “Best Public Art of 2001” ART IN AMERICA LARRY KIRKLAND Washington, D.C. larrykirkland.com [email protected]
I believe that carefully conceived public art installations and environments can begin to make places of meaning within a community. Art can celebrate the qualities that make one place different from another. It can honor a past event or person that has particular meaning to a community. The best of public art can challenge, delight, educate and illuminate. And most of all it creates a sense of civic ownership in the space. Pride of place means we build for the future.
Each public art opportunity begins by listening. Through individuals and focus groups I gain an understanding of the challenges and goals of a community. This process allows us to explore the history and culture of a community and the current focus of their research. Research further expands my knowledge. I engage in a concurrent analysis of potential opportunities within the facility design and construction. In the past, given a cooperative design and construction team, I have found opportunities to stretch our art budget by adding aesthetic value to existing materials in the construction budget or by manipulating forms and materials within the design.
From past experience I know that a careful analysis of a building design, an understanding of how the facility will be used, prediction of future growth and change, and a realistic budget projection, all contribute to the final decision for where art can be most effective in enhancing the building for those who use it.
My material explorations have expanded as my practice has. My first public works were made of textile, expanding into woven metals and over the years engaged with carved and engraved stone, glass, bronze and steel. My background is in craft and design so my work strives to be well made, well thought out and integrated into a place.
I collaborate with writers, poets, engineers, lighting and water designers, historians and artisans skilled in a particular craft to realize the ideas and concepts for a permanent art install
Top to bottom: El Intercambio, 2008, El Paso, TX; Around About Aerial, 2010, Pasadena, CA; Steps, 2010, Bethlehem, PA LARRY KIRKLAND STUDIO
5721 UTAH AVENUE, NW WASHINGTON, DC 20015 P: (202)244-8489 F: (202)244-1705 E: [email protected]
BORN: 1950 Port Hueneme, California
EDUCATION: 1974 M.F.A., Design, University of Kansas, Honors 1972 B.S., Environmental Design, Oregon State University, Honors
PROFESSIONAL: 2006-13 Council Member Public Art Network of Americans for the Arts 1998-2014 Peer Review Member for Design Excellence, U.S. General Services Administration 2003 Panelist, Americans for the Arts Conference, Portland, Oregon 1996 Speaker, Public Art Conference, Scottsdale, Arizona 1995 Design Team, New Jersey Transit, Hudson-Bergen Line Master Plan 1994 Keynote Speaker, Southeastern Sculptors Conference 1993 Community Arts Panel, Federal Courthouse, Portland, Oregon 1992 Visual Arts Advisory, Western States Arts Federation 1984-93 Advisor, Board of Directors, Oregon School of Arts and Crafts, Portland, Oregon 1987-91 Co-Founder, ART/AIDS, Long Term Care Funding Organization, for those with HIV Juror, Oregon Convention Center, Percent for Art Program Juror, American Institute of Architects Design Excellence, Oregon 1988 Juror, Louisiana Council on the Arts, Visual Arts Fellowships 1974-76 Associate Professor, Department of Art, Oregon State University 1972-74 Lecturer, University of Kansas, Department of Design
AWARDS: 1996 Distinguished Alumni Fellowship, Oregon State University 1989 Alumni in Residence, College of Liberal Arts, Oregon State University 1982 Fellowship, National Endowment for the Arts
COLLABORATIONS: 20014 Plaza design National Center for Civil and Human Rights with Fluidity Design 2005-13 Disabled Veterans Memorial, Washington D.C. with Michael Vergason
2004 Denver Children’s Hospital, Colorado with Zimmer Gunsul Frasca Partnership 2002 World War II Memorial, Pittsburgh, PA, with Design Workshop 2000 Denver Civic Center Office Complex, Colorado, with David Owens Tryba Architects, and artists Robert Murase and Donald Lipski 1999 National Institutes of Health Clinical Center, Bethesda, MD with Zimmer Gunsul Frasca Architects National Academy of Science, Washington, D.C. with The Smith Group Architects and Don Merkt, Artist American Red Cross, Washington, D.C. with Shalom Baranes, Associates, Architects 1999 College of Science, Rochester Institute of Technology, with Bohlin, Cywinsky Jackson Architects Baptist / Nemours Children’s Hospital, Jacksonville, Florida, with artist Christine Bourdette 1996 Portland State University, Urban Center Project, Portland, Oregon Thomas Hacker Associates, Walker / Macy Associates California Museum of Science and Technology, Zimmer Gunsul Frasca Partners, Architects 1995 New Jersey Transit, Hudson-Bergen Line, Master Plan, Parsons-Brinkerhoff 1993 Rancho Santa Margarita, California, Town Center and Urban Park Walker / Macy 1989-93 Great West Life Center, Denver, Colorado, Civitas The Story Garden, Waterfront Park, Portland, Oregon, Walker/Macy
COMMISSIONS: 2015 National Center for Civil and Human Rights, Atlanta, Georgia 2014 American Veterans Disabled for Life Memorial, Washington DC Association of American Medical Colleges, Washington DC San Carlos Medical Center, California 2013 Sunnyvale Medical Center, Palo Alto Medical Foundation Southwestern Pennsylvania World War II Memorial 2012 Student Center, The Richard Stockton College of New Jersey Providence Children’s Hospital, Portland, Oregon 2011 Federal Courthouse, Las Cruzes, New Mexico Westgate Community Park, Pasadena, CA 2010 Science Building, Richland Community College, Dallas, Texas Kierland Crossing, Scottsdale, Arizona STEPS, Lehigh University, Bethlehem, PA 2009 Children’s Garden, Brookville Academy at Cranbrook, Birmingham Hills, Michigan with Walker/Macy Landscape Architects 2008 Paul Foster School of Medicine, Texas Tech University, El Paso College of BioMedical Engineering, University of Texas, Austin Frisco Soccer Park, Frisco, Texas 2007 Town of Chapel Hill, Town Operations Center and Transit Headquarters Children’s Hospital, Denver, Colorado 2006 College of Science, Phase 2, Winona State University 2005 Children’s Library and Theater, Charlotte, North Carolina Main Library, Jacksonville, Florida 2004 College of Science, Winona State University, Minnesota Texas Tech University, Lubbock, Texas 2003 American Red Cross National Headquarters, Washington D.C. The Community College of Philadelphia, Pennsylvania Washington D.C. Convention Center Rowan University, College of Engineering, Glassboro, New Jersey 2002 National Research Council of the National Academies of Science Washington, D.C. Pennsylvania Station, New York City, New Jersey Transit Denver Civic Center Office Building, Colorado The World, ResidenSea The Gordon and Betty Moore Foundation, San Francisco, California 2001 Portland International Airport, Oregon Civil Rights Garden, Atlantic City, New Jersey 1999 United States Federal Courthouse, Sacramento, California 1998 Baptist / Nemours Children’s Hospital, Jacksonville, Florida Hong Kong Station, Mass Transit Railway (MTR, Hong Kong) Life Technologies, Rockville, Maryland California Science Center, Los Angeles, California Rochester Institute of Technology, New York Iwate University, Marioka, Japan 1997 Celebrity Cruise Lines, Papenburg, Germany Multnomah County Central Library, Portland, Oregon Royal Caribbean Cruise Lines, Saint Nazaire, France 1996 Internal Revenue Service, New Carrollton, Maryland Bellevue Public Library, Washington 1995 Bausch and Lomb Headquarters, Rochester, New York Kansai Aeroplaza, Kansai Airport, Japan Scottsdale Public Library, Arizona Human Services Department, Santa Cruz, California Mira Mesa Library, San Diego, California 1994 Rutgers University, Camden, New Jersey United Parcel Service, Atlanta, Georgia 1993 Great West Life Center, Denver, Colorado Waterfront Park, Portland, Oregon Physicians Pavilion, Oregon Health Sciences University, Portland Page 2 of 3 KAY KIRKPATRICK Seattle, WA [email protected]
My public art work originates from my background in ceramics, installation, and mixed media sculpture. Pieces often derive from natural forms combined with man-made textures that mimic natural ones, creating a conceptual and physical layering of ideas. Pattern and intersection of multiple elements are of great interest. I am most interested in site integrated works, rather than creation of singular sculptures.
Developed within the process of site integrated work, the art aspires to influence the way an entire site or space is experienced, allowing me to create complicated visual pieces with a multitude of layers and opportunities to interact with the viewer through time and space.
The work emphasizes the process of exploration, with the physical work as the natural offspring of coming to a way of knowing the site. While my choice of material follows the idea rather than pre-defining it, I have worked in concrete, cast bronze and other metals, patterned glass, cast urethane and acrylics, natural and neon light, as well as ceramic media including enameled steel and mosaic.
My work samples exemplify my Design Team work experience. I have worked from preliminary community input levels to participation with only other design professionals and welcome both levels of work.
In my experience, working this way creates a richer environment for the art, optimizes budgets and allows for a rigorous design process dialog to develop.
Top to bottom (Seattle Police Dept., WA): Waterprints and Looking at a Watershed, 2003 Kay Kirkpatrick 1010 SW Portland St. Seattle, WA 98106-2066 [email protected] (206) 276-9573
Born: Denver, Colorado
Recent Projects & Exhibitions: 2016-2017 Selected as project artist for Idaho Department of Transportation Big Wood River Bridge project, Ketchum Idaho. Budget $100,000, completion due spring 2017. 2010-2015 Storylines, Commissioned by Washington State Arts Commission as design team artist on new Palmer Martin Building, Yakima Valley Community College, Yakima, WA, BORArchitects & Hough Beck & Baird Landscape Architects, Budget $65,000 + construction credits. 2007-2010 Rescue, Commissioned by the Seattle Office of Arts & Cultural Affairs to work as design team artist for Seattle Fire Department’s Station 35 serving the Crown Hill neighborhood. Architects Rice Fergus Miller & Murase Associates. Budget $90,000. 2007-2009 Salute, commissioned to create Veteran’s Memorial Project for the Student Union Expansion on the campus of Boise State University, Boise, ID. Architects LCA Architects. Budget $25,000. 2006-2009 Sine Trellis, project artist for new South Puget Sound Community College Science Building, architect The MillerHull Partnership, commissioned by Washington State Arts Commission. Budget $65,000. 2007 Commissioned by the Seattle Office of Arts & Cultural Affairs to create art for the proposed Belltown Community Center, Seattle, WA. Project dropped by city. 2006 Finalist - proposal honorarium, City of Auburn West Main Street Corridor Art Project, Auburn, WA 2005 The Real Bear, invitational group show, Golden West Gallery, Stehekin, WA 2003-2005 Inbound, wall relief commissioned by Port of Seattle to create a welcoming environment for International Arrivals Corridor at Seattle Tacoma International Airport, SeaTac, WA. Budget $70,000 1999-2003 Looking at a Watershed, commissioned by the Seattle Office of Arts & Cultural Affairs as design team artist for the new Southwest Seattle Police Precinct Station. Done in collaboration with local residents, Architect Richard Murakami/ Arai Jackson Architecture, Juliet Vong of Hough Beck & Baird Landscape Architects, and general contractor Cree Construction. Budget $80,000. 2000 Orchard Memories: Images and Objects of Washington Orchard Culture, a four person Show, Golden West Gallery, Stehekin, WA 1999-2000 Confluence, commissioned mural for the Wenatchee Convention Center, Wenatchee, WA. Done in collaboration with photographer Peter de Lory and citizens of the Wenatchee area. Budget $30,000. 1999 From the Land, From the Hand, 2 person show with photographer Peter de Lory, North Central Washington Museum, Wenatchee, WA 1998 Horsehead 10: Sandpoint Naval Base, outdoor sculpture invitational, Seattle, WA 1997 I Saw/ She Saw, a two person Show, Golden West Gallery, Stehekin, WA Solar Fountain for The Belltown P-Patch community garden, Seattle, WA 1996 (SIC) Seen in Context, one person show Commencement Gallery, Tacoma Arts Commission, Tacoma, WA Horsehead 8: Hamm Creek Watershed, outdoor sculpture invitational, Seattle, WA Northwest Panels, ten panel commission completed for new North Pacific Insurance Company building, Bothell, WA (designer Martha Clarkson, CNA Architecture Group/ Yvonne Banks, Art Consulting Services/ general contractor, Gall Landau Young) 1995 Horsehead 7:Duvall, outdoor sculpture invitational, Duvall, WA The Land: Northwest Biennial Competition, juried group exhibition, Tacoma Art Museum, Tacoma, WA Portal: Loss, Installation commissioned by Regional Arts & Culture Council for Installation Art Space at the Portland Building, Portland, OR Maple Leaf Reflection Fountain, proposal commissioned for Seattle Arts Commission’s Public Art Program, Seattle, WA Material Nature: Process/Product, group exhibition curated by Kristin Poole, Sun Valley Center for the Arts & Humanities, Sun Valley, ID 1994 Bellevue Art Museum Pacific Northwest Annual, juried group show, Bellevue Art Museum, Bellevue, WA 1993 Video piece Galloping Barricades, screened on VIACOM(Seattle) Public Access TV and at 911 Media Arts Center, Seattle, WA Searching for Parity, juried one person show sponsored by the King County Arts Commission Gallery Program, Seattle, WA 1992 Galloping Barricades, an on-site installation/performance collaboration commissioned for Bumbershoot Artventures, Seattle, WA Lost & Found, a curated group show at the Kirkland Arts Center, Kirkland, WA 1990 Set design and construction for Seattle Theatre Project’s production of Volpone, Seattle, WA 1988 Promenade, an on-site installation commissioned for Bumbershoot Special Projects, Seattle, WA Cat’s Cradle, an on-site installation in the West Seattle Green Belt, Seattle, WA
Education: 1998-99 MLIS, University of Washington, Seattle, WA 1984 Ceramics and Sculpture/ Sun Valley Center for the Arts, Sun Valley, ID 1982-83 Independent Study-Ceramics, Boise State University, Boise, ID 1979-80 MFA Program-Ceramics, Wichita State University, Wichita, KS 1978 Summer Ceramics Program/ Alfred University, Alfred, NY 1975-79 BFA-Ceramics, Washington University, St. Louis, MO
Honors: 1979 John T. Milliken Traveling Scholarship, Washington University, St. Louis, MO 1977 Eliza McMillan Scholarship, Washington University, St. Louis, MO 1976 John T. Milliken Scholarship, Washington University, St. Louis, MO
Rosters & Related Experience: 2007-2012 4-Culture Public Art Advisory Committee, King County, WA, (Chair 2011-12) 2009 Public Art Roundtable, Presentation for Seattle Office of Arts & Cultural Affairs, Seattle, WA 2008 “Behind Panel Doors,” Presentation for Seattle Office of Arts & Cultural Affairs, Seattle, WA Public Art Roster, Bainbridge Island Public Art Program, Bainbridge, WA Public Art Roster, Seattle Office of Arts & Cultural Affairs, Seattle, WA Public Art Roster, Washington State Arts Commission, Olympia, WA STart Up Public Art Roster, Sound Transit Agency, Seattle, WA 2003-05 Taught session and acted as mentor for Seattle Office of Arts & Cultural Affairs Emerging Public Artist Roster, Seattle, WA 2004 Moderated panel discussion: “Managing the Collection,” ARLIS/NA Conference
Bibliography: “Seattle’s Public Art: Kay Kirkpatrick” video clip airs on Seattle Channel, Aug. 2008. “Boise State Wants You,” by Anna Webb, Idaho Statesman, Boise, ID, Feb. 15, 2007, p. Life1. “An outdoor art walk,” Kathryn True, Seattle Times, Seattle, WA, Aug. 18, 2005, p. G8. “Design for learning: values, qualities, and processes of enriching school landscapes,” Julie M. Johnson, ASLA: LATIS, www.asla.org/latis1/LATIS-cover.htm, April 2001, Section 3 Fig. 8. “Confluence, water rocks, fruit: essential elements of Wenatchee valley come together in art center display,” The Wenatchee World, April 11, 2000, p. A2. “Second time around”, The Wenatchee World, Sept. 2, 1999, p. C1. “Center artists get the go-ahead,” The Wenatchee World, Jan. 27, 1999, p. A1. “NCW’s history will tell the story, artists say,” The Wenatchee World, Feb. 15, 1999, p. A1 “Just showing off, Wenatchee Center artists display past works at NCW Museum,” The Wenatchee World, p.15. “Commissions” section of American Craft, Feb./March 1997 issue. “Environmental sculpture: up some creeks,” Elizabeth Bryant, Art Access, Nov. 1996. “Best bets for the week of Sept. 19-25,” Alec Clayton, Choices, Sept. 19, 1996.
Collections: Washington State Arts Commission Boise State University Foundation, Boise, ID City of Seattle, Office of Arts & Cultural Affairs, Seattle, WA North Pacific Insurance Company, Bothell, WA City of Wenatchee, Wenatchee, WA Elisabeth & Randy Squires Port of Seattle, Seattle, WA
2 SHEILA KLEIN Bow, WA sheilaklein.com [email protected]
Site is my material. I am an artist who enjoys the potential of the site. I often use the history of a place to tell me what should happen and filter it through the desire to make powerful civic works that are relevant, unique, and useful. My work manipulates the familiar and makes the connections between things visible.
There are many possibilities for all projects. The artwork will be about location; it will exist only to create a special atmosphere associated with this place. Much of my work includes interaction; it's about being in the work as well as seeing it. You are in my work: looking at it, getting inside it, seeing it while driving, walking, and waiting. I'm interested in the idea of passive kinetic surfaces, components that make use of available light, seasonal changes and the location of the sun. I am especially interested in complex integrated projects that provide the opportunity for creating major works.
I am interested in projects that use resources wisely, and environmental concerns have been an integral part of my work in both concept and fabrication. I am equally comfortable in the studio, on site, in the field, working in the fabricating shop, and in office environments. Collaboration, model building, drawing, research, re-envisioning existing spaces, and construction are essential to my process. Retrofitting, reuse, and unique uses of material are central to my vision. The ability to fabricate the work at our farm allows me to maximize the budget.
I come to the table with a wide range of experience ready to be applied. I like working with the existing groups to learn about the goals of the project, the place, and the opportunities. I can meet all of the stated goals and my qualifications match the desired criteria. My projects exceed all standards; they are engaging and award winning. I have an excellent understanding of materials, engineering and public safety. Tradition and innovation are hallmarks in my work. In every project
Working between art and architecture for over 35 years, I have completed both temporary and permanent projects of all types. I began making installations early in my career. In the early 1980s, I was part of the award-winning art and architecture collaborative A2Z based in both Seattle and Los Angeles. Since 1995 I have lived and worked in the Pacific Northwest while producing monumental works and exhibitions.
A goal of my work is to retranslate and transform Top to bottom: Comfort Zone, 2004, Seattle, WA: information, and give it a visual order that points out Columnseum, 2008, Seattle, WA; Shady Liberty, 2012, relationships. Collaborating within the situation yields Pittsburgh, PA positive results Sheila Klein | 6988 Bayview-Edison Road Bow, Washington 98232 | 360.766.6102 | [email protected] | sheilaklein.com
SELECTED SOLO EXHIBITIONS 2013 Linking Sarkhej, National Institute of Design and the Sarkhej Roza Monument, Ahmedabad, India Sheila Klein, L&P Hutheesing Visual Art Centre, K.I. Campus, CEPT, Ahmedabad, India 2010 The Return, Pittsburgh Glass Center, Pittsburgh, Pennsylvania 2009 Map of Everything, Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania 2006 Made In Bow, Lucia Douglas Gallery, Bellingham, Washington 2004 Solo, The Foundry, Houston, Texas 2002 Cozy, Dirt Gallery, Los Angeles, California Objects between Subjects, Lewis and Clark Gallery, Portland Oregon More questions than answers, Centre d’Etude d’Architecture et d’Urbanisme, Saintes, France 2000 Sown, Esther Claypool Gallery, Seattle, Washington Clearing, Consolidated Works, Seattle, Washington 1999 Industrial Strength Art, Port Angeles Fine Arts Center, Port Angeles, Washington 1991 Sculpture, Nancy Lurie Gallery, Chicago, Illinois 1990 Vocabulary, MIA Gallery, Seattle, Washington 1988 City Bejeweled, MIA Gallery, Seattle, Washington 1983 Cultural Relativity, Rubin/Mardin Gallery, Seattle, Washington America in a Box, Memory and Lands of the 20th Century, Florence, Italy 1981 International Furnishings, Rubin/Mardin Gallery, Seattle, Washington 1980 The Princess and the Pea, Rosco Louie Gallery, Seattle, Washington 1979 Domestic Set Up, Foster White Gallery, Seattle, Washington
SELECTED EXHIBITIONS 2015 her land, Good Neighbor Gallery, Seattle, Washington 2014 Physical Conversation, Punch Gallery, Seattle, Washington Islamic Art Revival Series, Lumin Arte Gallery, Dallas Texas 2012 Exceptional: Pacific Northwest, Davidson Gallery, Seattle, Washington Biennial 2012, Bellevue Arts Museum, Bellevue, Washington Ladies’ Choice, Greg Kucera Gallery, Seattle, Washington 2011 Primary Structures, San Jose Museum of Quilts & Textiles, San Jose, California 2010 Cutting Edge, Textile Arts Center, Brooklyn, New York Imagining Home, Heinz Architectural Center at the Carnegie Museum of Art, Pittsburgh, Pennsylvania Show of Hands, Whatcom Museum, Bellingham, Washington 2009 Fashionista’s, Orange County Center for Contemporary Art, Santa Ana, California Odd Fits, Pasadena City College, Pasadena, California 2007 Similar Differences, Art League Houston, Houston, Texas Radical Lace & Subversive Knitting, Museum of Art and Design, New York, New York 2005 Exposed, Rudolph Projects and Cultural Arts Council of Houston/Harris County Gallery, Houston, Texas 2003 Fashion is Art, curated by Thread for Art: Rhonda Howard and Rebecca Richards, Seattle, Washington 2002 Art of the Americas, Art Basel Miami Amigos, Miami, Florida 2000 Materials, Process, Meaning, Pritchard Art Gallery, University of Idaho, Moscow, Idaho 1998 Metalcraft, Western Gallery, Bellingham, Washington 1996 Let ‘er Rip, Edison Eye Gallery, Edison, Washington 1995 The Language of Form, Channing Peake Gallery, Santa Barbara, California 1992 Nine One Special, Union Station, Los Angeles, California Summer Lighting, Dreadnought Seamens Hospital, Greenwich, England 1991 Legacy of Karl Blossfeldt, Jan Turner Gallery, curated by Malinda Wyatt, Los Angeles, California Empty Pedestal Project, Storefront for Art and Architecture, New York, New York Front and Back/In and Out, Nancy Lurie Gallery, Chicago, Illinois 1990 Metro/Metro, New Art from Atlanta and LA, curated by Madeleine Grynsztejn, Atlanta, Georgia Recycled Los Angeles, Artists Space, New York City, New York and Municipal Art Gallery, Los Angeles California 1989 Sculpture Chicago, Equitable Building and Northwestern University, Chicago, Illinois Rites of Spring, Suzanne Rezak Gallery, Chicago, Illinois Before and After, Center on Contemporary Art, Seattle, Washington Information as Ornament, Feature/Suzanne Rezak Gallery, Chicago, Illinois 1986 American Pop Culture, La Foret Museum, Tokyo, Japan 1985 Magical Mystery Tour, Municipal Gallery of Los Angeles, Barnsdall Park, Los Angeles, California Workshop Experiments, Brattleboro Museum and Art Center, Brattleboro, Vermont 1981 The Figure in American Art, Museum of the Southwest, Corpus Christi, Texas Choice & Chance, P.S. 1, Institute for Art and Urban Resources, Long Island City, New York Win, Place, or Show, Henry Art Gallery, University of Washington, Seattle, Washington Sheila Klein | 6988 Bayview-Edison Road Bow, Washington 98232 | 360.766.6102 | [email protected] | sheilaklein.com
COMMISSIONS AND PUBLIC ART 2014 Imaginary Landscape, Tukwila Longacres Sounder Station, Sound Transit, Seattle, Washington 2012 Skyon Tryon, North Tryon Streetscape, Arts and Sciences Council, Charlotte, North Carolina 2011 Bunting Hub, Dundalk Avenue Streetscape, Baltimore Office of Promotion and the Arts, Baltimore, Maryland 2010 Civic Lantern, Auburn City Hall Plaza Renovation, Auburn, Washington Souvenir, Bell Street Park, Seattle Parks and Recreation, Seattle, Washington 2009 Sky Within, McClellan Station, Sound Transit Link Light Rail, Seattle, Washington 2008 Shady Liberty, ELDI Pedestrian Bridge, Pittsburgh, Pennsylvania 2007 Roosevennavelt, 4Culture, 10-Are Park-and-Ride, Seattle, Washington 2004 Comfort Zone, Harborview Hospital, Pat Steel Building, Seattle, Washington 2002 Mounds, Roosevelt Park Master Plan, City of Bellingham, Bellingham, Washington Leopard Sky, George Bush International Airport, Houston, Texas 2001 Garden Panels, Wiggum Park, Everett, Washington (in collaboration with Ries Niemi) Show and Hide, Mead Building, Portland, Oregon 2000 Underground Girl, Metro Redline Subway Station, Hollywood, California Light Overhead, Pico Boulevard Street Improvements, Santa Monica, California 1997 Castro Valley Welcome, Redwood Road Street Reconstruction, Castro Valley, California Gateways, Standards, Memory Pins, Kent Regional Justice Center, Kent, Washington 1996 City Yard, Wisconsin Center, Milwaukee, Wisconsin XX Marks the Spot, Federal Aviation Agency Tower, LAX Airport, Los Angeles, California
SPECIAL PROJECTS 2015 Low Corners, Buenos Aires, Argentina 2013 Don’t Curb Your Enthusiasm, Tour of City Maintenance Yards, Charlotte, North Carolina 2009 New Trade Route Clothing Launch, Buenos Aires, Argentina and Edison, Washington Capuchas Para Pensar, Espacio Tramando: 5 Bienal Internacional Arte Textil, Buenos Aires, Argentina 2007 Run’erway, Performance, Samish Flats, Bow Washington 2006 We’re Busy, Performance, Lucia Douglas Gallery loading dock, Bellingham, Washington 2002 Palmear, Temporary installation, Hedges and Edges, West Hollywood, California 1999 River Walk, Milwaukee, Wisconsin 1996 Garden Matrix, Abington Art Center, Jenkintown, Pennsylvania 1994 Island of Lights, Hoover Union Community Initiated Project, Los Angeles, California 1992 Urband: Traffic Signal Ring, Union Station, Los Angeles, California Traffic Necklace, Honeymoon Project, Las Vegas, Nevada Vermonica, Urban Candelabra, Los Angeles, California 1989 Commemorative Ground Ring, Sculpture Chicago, Chicago, Illinois 1988 Water Palace, Portable Fountain made of bathtubs and sinks, Formica Corporation, New York, New York 1981 Interior, Raison d’Etre, Seattle, Washington
APPOINTMENTS AND AWARDS 2013 Artist Trust Fellowship Grant, Seattle, Washington McColl Visual Art Center Residency, Charlotte, North Carolina 2012 Association for Bridge Construction and Design, Outstanding other structure award, Shady Liberty, with SAI Engineer Artist Trust Gap Grant, Seattle, Washington Foundation for Contemporary Art Emergency Grant, New York, New York 2009 Year in Review, Columnseum, Public Art Network 2008 Grand Prize for Design, Underground Girl, Metal Architecture 2005 Public Art in Review, Comfort Zone, Art in America 2004 Public Art in Review, Leopard Sky, Art in America 2002 Public Art in Review, Show and Hide, Art in America 2001 Lumen West Awards: Award of Merit, Illuminating Engineering Society, Los Angeles Section Best Subway Station, New Times, Los Angeles, Carfree Guide to L.A., March 8-14 Los Angeles Business Council Beautification Award, Highland Metro Rail Station, Los Angeles, California 1999 Westside Urban Forum: The Westside Prize, “Pico Boulevard Streetscape Plan,” Santa Monica, California 1993 Ojai Arts Commission member, Ojai, California 1992 City of Los Angeles Meritorious Achievement Award, Vermonica, Los Angeles, California 1989 Barnsdall Art Park Board of Overseers, Los Angeles, California 1986 40 Under 40 Award, Interiors Magazine, September Issue 1962 Carnegie Museum Tam o’Shanter Award, Pittsburgh, Pennsylvania
KIPP KOBAYASHI Claremont, CA kippkobayashi.com [email protected]
As an artist and environmental designer I am focused on the creation of public places. My work explores the human dynamics that occur within these spaces and how they merge with the physical characteristics of the specific environment, transforming them into living entities composed of our collective thoughts, actions and experiences.
I have a keen interest in the nature of human interaction in public environments and my work reflects a constant search for ways to initiate dialogue and to promote sociability within these spaces. My method involves extensive field observation and community interaction, not only to identify the individual elements that create the identity of a place but also to understand the specific mechanics of how they relate and come together. Through this process, the unique ecosystems become visible and I am intrigued by opportunities to examine the evolution and structure of these overlapping narrative threads in order to understand how they are connected and to tap into their vast potential to stimulate dialogue and form social bridges.
My medium is informed by the specific mix of these elements, resulting in unexpected combinations that are unique to each project. By focusing on these intersections of the human, cultural and natural factors, I aim to create active and engaging situations that reflect what is at first not apparent; hoping that by revealing those elements, one will forever perceive a particular place or thing in a new and different way. I seek active solutions that require the participation of the viewer in order to make the vision complete and in this way, I hope to create artwork that can continue to change, grow and evolve along with the world around it.
With an extensive background in environmental design, I have experience working in a wide variety of media, including, lighting, image projection, optics, metal, concrete, and glass and with project budgets ranging from $50,000 to $4.3 million. In addition, I have worked with a full range of design and construction professionals including architects, engineers, landscape architects, interior designers and specialty contractors from concept through permitting and final installation.
Top to bottom: Building Blocks, 2014, Baltimore Redline Art-in-Transit; Guardians of the Garden City, 2010, San Jose, CA; Fluid Dynamics, 2012, Alondra Park, CA K I P P K O B A Y A S H I w w w . k i p p k o b a y a s h i . c o m EDUCATION: University of Southern California, Master of Fine Arts University of California at Berkeley, Bachelor of Fine Arts
PUBLIC ART PROJECTS: 2016 FIRE STATION 143 - Public art component for a new Los Angeles County Fire Station in Santa Clarita, CA. DOWNTOWN LONG BEACH STREET CROSSINGS - Artwork to be incorporated into crosswalks for historic downtown core. COLLECTIVE BEHAVIORS– Public art component for a new mixed-use project in Pasadena, CA. 2015 METRO GOLD LINE PHASE 2B - Selected as the alignment artist for the second phase of the Metro Gold Line Foothill Extension in Los Angeles County. CONNECTING FLIGHTS– Public art component for a plaza in a new mixed-use project in Pasadena, CA. 2014 BUILDING BLOCKS - Finalist Proposal for the public art component for the Harlem Park Station on the Baltimore Red Line. FLIGHT TIME - Finalist Proposal for the public art component for the Lambert-St Louis Terminal 1 Atrium in St. Louis, MIssouri. COLLECTIVE TRANSITIONS - Public art component for the renovation of the Meacham Airport Terminal Building in Fort Worth,Texas. 2013 RE•BERTH- Finalist Proposal for the public art component for the Southeast Community Facility, San Francisco, CA UNDERSTORY - Public art component for new retail center in Los Angeles, CA NATURALIZED GROWTH– Finalist Proposal for the Migrant Agricultural Memorial at the Orange County Fairgrounds. 2012 FLUID DYNAMICS – Public art component for the new swimming pool, skate park and children’s water play area in Alondra Park, CA SKY DANCES– Finalist Proposal for the public art component for the Athens Classic Center Expansion in Athens, GA COMMUNITY FABRIC– Finalist Proposal for the public art component for the Rowland Heights Community Center in Los Angeles County COLLECTIVE VISION– Finalist Proposal for the public art component for the 24th Street BART Station in San Francisco, CA 2011 STAGES OF GROWTH– Finalist Proposal for the public art component for the Hacienda Heights Community Center in Los Angeles County EYES ON THE STREET – Finalist Proposal for artist designed street medallions for the Little Tokyo district of Los Angeles. BRANCHING NARRATIVES – Finalist Proposal for the public art component for the Main Library and Art Center in Palo Alto, CA. 2010 GUARDIANS OF THE GARDEN CITY– Public art component and plaza for a new Fire Station located in the Berryessa area of the city of San Jose, CA. FAIRYTAIL MESA – Artist designed educational space for age group 0-5 to be located at the Serra Mesa- Kearney Mesa Branch Public Library in San Diego, California. 2009 OMNITRANS sbX E STREET CORRIDOR PROJECT – Finalist Proposal for one of nine transit stations in San Bernardino, CA. MULTI-VERSE – Public art component for entry plaza of a medical ofice building located in Claremont, CA ABSORPTION/REFLECTION – Finalist Proposal for the public art component for the Creative Arts center on the MiraCosta College campus in Oceanside, CA. 2008 ON GROWTH AND FORM – Finalist Proposal for the public art component for the entry bridge at Kenneth Hahn State Park in Los Angeles, CA. LAFAYETTE LIBRARY AND LEARNING CENTER - Finalist Proposal for the public art component for the Children’s Activity Deck at the Lafayette Library and Learning Center in Lafayette. CA. 2007 FLORESCENT – Finalist Proposal for the public art component for the New Mexico School for the Deaf; a facility focused on education for children ages 0-5. 2006 WISHING WELL – Public art component and plaza for residential mixed use project in Pasadena, CA EARTHSHINE – Finalist proposal for the Acton-Agua Dulce Branch Los Angeles County Library. 6 6 9 w e s t 8 t h s t r e e t • c l a r e m o n t • c a l i f o r n i a • 9 1 7 1 1 • p h: 8 0 0 4 1 9 1 5 8 5 TRIPPING THE LIGHT FANTASTIC – Finalist Proposal for the public art component for the library at the Central Los Angeles Learning Center located on the site of the ballroom of the historic Ambassador Hotel. 2005 THE BIRDS - Public art component for the Live Oak Branch Library, County of Santa Cruz, CA THE GROVE - Public art component and plaza for Historic Citrus Packing House, Claremont, CA 2002 PLANTINGS - Artist designed seating areas for the MTA Metro Center station. Los Angeles, CA Winner of 2004 Portland Cement Association Concrete-in-Transit Award CONTRAPPOSTO- Public art component for men’s wear retail facility. Los Angeles, CA POWER GRID- Artist designed fence for a public park in the city of Ontario, CA. 2001 FOUNDER’S GARDEN - 13 acre historical park serving as an icon to the Ontario Center. Interstate 10 between Haven St. and Millikin Ave, Ontario, CA.
PREQUALIFIED ARTIST LISTS: Los Angeles County Civic Artist Prequaliied List San Francisco Arts Commission Prequaliied Artist Pool Washington State Arts Commission Public Art Roster Sound Transit Artist Roster Oregon Public Art Roster New York City Percent for Art Program Artist Registry Fort Worth Public Art Prequaliied List Austin Art in Public Places Pre-Qualiied Artists Pool. City of San Antonio Capital Projects Artist Pool Iowa Art in State Buildings Program Prequaliied List City of Temple City Prequaliied Artist List City of Palm Desert Art in Public Places Artist Registry UrbanArts Commission Artist Registry
HONORS AND AWARDS: 2004 Portland Cement Association – Concrete in Transit National Award 2003 Getty Family Room Design Competition, Part of selected Finalist team (Merry Norris Contemporary Arts) 2002 Metropolitan Water District of Southern California, Winning Entry, Inaugural Liquid Art Exhibition, Founder’s Garden, Ontario, CA
PUBLICATIONS/MEDIA: 2010 San Diego Union Tribune, Library’s FairyTale Mesa is a wonderland, March 11, 2010 2009 Daily Bulletin, Environmental Artists, August 1, 2009 2006 Lighting – Art and Science for International Designers, The Birds…, Vol. 26, No. 2, April 2006 POL Oxygen Magazine website, News, February 2006 2005 Inland Empire Magazine, Creative, April 2005 2003 L.A. Architect, Learning Cubed, September/October 2003 The Press Enterprise, Founder’s Garden is Ontario’s Secret, June 15, 2003 2002 Artweek, LA’s Metro stations showcase new works, November 2002 L.A. Downtown News, Calendar, Art In Train-ing, September 23, 2002 Los Angeles Times, Calendar Weekend, Best Bets, September 12, 2002 Westways Magazine, Perpetual Thirst, September/October 2002 El Pais (National Paper of Uruguay) Tercera Seccion, Equipo formado por Arquitecta uruguaya y su esposo/ artista diseña un gran parquet urbano en los Estados Unidos, August 29, 2002 LA Downtown News, Around Town, August 5, 2002 The Press Enterprise, This Art Makes a Splash, June 18, 2002 “Straight from the Tap- Liquid Art”, cable television news magazine, March 2002 The Press Enterprise, Unusual Setting Off I-10, February 15, 2002 2001 Daily Bulletin, Ontario Oasis, December 20, 2001 2000 L.A. Architect, Exposure, March/April 2000
ACADEMIA: 2007-Present Cal Poly Pomona, School of Environmental Design, Lecturer 2003 “Water in a New Way”, SomArts Gallery, SF, CA, Guest Panelist 1996-8 SOFA.net, USC School of Fine Arts Alumni Committee 1995-7 Woodbury University, Design Studio Juror 1985 Los Angeles County Museum of Art, Assistant Lecturer 1985-6 University of Southern California, Assistant Lecturer ADAM KUBY Portland, OR adamkuby.com [email protected]
My artworks are collaborations with the built and natural world that foster a sense of connectedness in our increasingly fractured environment. For 20+ years I've been creating sculptures, temporary site-specific installations and permanent public artworks that have been integrated into storm water facilities, city infrastructure, streetscapes, playgrounds, public parks, and other parts of our built environment.
The palette of materials I use varies depending on the project, but I often work with materials of the urban landscape––stone, soil, plants, metal, concrete, etc. My previous work in the fields of landscape architecture, urban forestry and zoo design inform my ideas and helps me create artworks where site, sculpture and process come together in natural yet unexpected ways.
My works are almost never pristine nor do they require a static setting. Instead they thrive on evolving interactions with ecological forces or human activity. Some actively enlist and incorporate the elements of time, change, decay and erosion as an essential part of their formal and conceptual existence. Others create habitat for wildlife in urban areas, acknowledging that we must actively welcome other species into our cities to increase our planet's ecological carrying-capacity.
Very often my projects lead me to collaborate with or enlist the help of other artists, designers, engineers, environmentalists and scientists. My studio work and public work overlap, inform and stimulate each other.
My previous work in the fields of landscape architecture, urban forestry and zoo design allows me to work easily with other designers in complex urban settings, creating works that straddle the line between sculptural object and fully integrated environmental installation.
Top to bottom: Breaker, 2013, Aberdeen, WA; Quarry Rings, 2010, Seattle, WA; Nature Playground, 2014, Portland, OR Adam Kuby, FAAR Resume [email protected] www.adamkuby.com 7019 SE Morrison St. Portland, OR 97215 (503) 752-5241
SUMMARY OF QUALIFICATIONS 15+ years of experience & international recognition creating landscape-based, ecological public art commissions and temporary installations. 10+ years of work experience in the field of landscape architecture and design, working in the public sector & nationally recognized design firms.
AWARDS, RESIDENCIES, GRANTS 2015 Black Cube (Nomadic Art Museum), Denver, CO. Fellowship to create site specific artworks in Denver region. 2015 Public Art Network 2014 “Year-in-Review” Award for Westmoreland Nature Playground, Portland, OR. 2015 ASLA Oregon Chapter, Honor Award for Westmoreland Nature Playground. 2014 Rome Prize, Fellow of the American Academy in Rome, Italy (FAAR). 2014 Yaddo Artist Residency, Saratoga, NY. 2014 Public Art Network 2013 “Year-in-Review” Award for Breaker, Aberdeen, WA. 2011 Public Art Network 2010 “Year-in-Review” Award for Portland Acupuncture Project. 2008 Oregon Arts Commission, Professional Development Grant. EDUCATION 1992 University of North Carolina, Greensboro, NC. MFA in sculpture. 1987 Vermont Studio Center, Johnson, VT. Studies in sculpture. 1983 University of Pennsylvania, Phila, PA. BA, Design of the Environment & Environmental Studies.
PUBLIC ART COMMISSIONS & DESIGN TEAM COLLABORATIONS 2015 Seattle Recycling & Disposal Station. Commissioned to create artwork for new facility. Budget: $300,000. In process. 2015 Point Defiance Park, Tacoma, WA. Design team artist selected to help develop overall landscape design, park amenities and public art plan for a new park on a current Superfund cleanup site of previous copper smelter. In process. Budget: $200,000. 2015 Clark College, Vancouver, WA. Commission to create art for new STEM building. In process. Budget, $100,000. 2014 Westmoreland Park Nature Playground, Portland, OR. Artist on design team. Designed and supervised construction of sculptural, natural play elements. Budget: $400,000. 2014 Poetry & Geology Works, Tualatin Hill Regional Parks System, Beaverton, OR. Installed 5 stone sculptures designed to act as nature interpretation as they interact over decades with growing trees. Budget: $80,000. 2013 Tres Rios Wetlands, Phoenix, AZ. Selected as artist and design team leader for 3-mile long engineered wetland for treated wastewater. Budget: $1.5 million for art and landscape amenities for humans and wildlife. In process. 2013 “Shells/Mounds”, City of Emeryville, CA. Artwork for Point Emery along San Francisco Bay. Budget: $141,000. In process. 2013 “Breaker”, Aberdeen, WA. Administered by 4Culture, Seattle, WA. Artwork repurposes salvaged architectural stone blocks from a historic high school. Budget: $104,000. 2011 “Hydro-Bio-Geo”, Seattle, WA. Commissioned by Seattle Office of Arts & Culture. A stone facade design on a Storm Water Tank incorporating bird habitat and storm runoff. Budget: $100,000. 2010 “Incrementally”, Seattle, WA. Commissioned by Seattle Office of Arts & Culture. Four related stone/tree interactions at a storm water detention site. Budget, $100,000. 2010 “Quarry Rings”, Seattle Parks and Recreation, Seattle, WA. Artwork for a new city park on the site of an old gravel quarry. Budget: $110,000. 2009 “The Falls”, Oregon City, OR. Administered by RACC (Regional Arts & Culture Council). Artwork integrated into a new river esplanade. Collaboration with artist Brian Borrello. Budget: $220,000.
Kuby/Resume/Page 1 of 2 2008 “Eventually”, District of North Vancouver, BC, Canada. A triptych of sculptures created for three separate parks. Budget: $107,000 (CAD) for all 3. 2007 “Bridge, Abridged”, City of Calgary, AB, Canada. Artwork integrated into a pedestrian overpass bridge structure. Budget: $195,000 (CAD). 2006 “Walkwave”, Regional Arts and Culture Council (RACC) Public Art Commission, Portland, OR. Artwork is a skateable entry path to the skate park. Budget: $27,000.
TEMPORARY EXHIBITIONS & INSTALLATIONS 2015 Cinque Mostre Exhibit, American Academy in Rome, Italy. 2010 “Portland Acupuncture Project”, Portland, OR, RACC in situ Program, City-wide installation of 35 ft. tall needle sculptures at multiple locations. 2006 “The Bigger Picture”, Portland Building Installation Space, Portland, OR. Sponsored by RACC. Installation: “The Bigger Picture”. 1999 “Shielded Pools”, In Situ, Sculpture Exhibition, Kansas City Art Institute, KC, MO. 1998 Spirit of Place, Ackland Art Museum, University of North Carolina, Chapel Hill, NC. Invited to develop proposal to transform museum's entrance. Proposals exhibited at the museum. 1995 “Soft Corral”, Annual Sculpture Invitational, Connemara Conservancy,Plano, TX. 1994 Urban Paradise: Gardens in the City, sponsored by the Public Art Fund of New York & PaineWebber Art Gallery, NYC.
LANDSCAPE DESIGN ‘95-99 Exhibit Designer, Bronx Zoo, NYC. Designed and supervised construction of animal habitats and public viewing spaces for gorillas, guenons and other animals of the African Congo. Developed sculptural elements, landscape components and interactive devices for the animals and educational elements for the public. ‘94-95 Landscape Designer, Central Park Conservancy Office of Landscape Architecture, NYC. Worked on the design and restoration of Great Lawn, Columbus Circle, Museum of Natural History & Frederick Douglass Circle. ‘88-90 Urban Forester, City of Chapel Hill, NC. Responsible for the management and protection of trees in streetscape right-of-ways and city parks. '85-86 SERE, Ltd. Native Landscape Restoration. Phila., PA. Co-founder and partner. Clients included City of Philadelphia, DuPont, Frank Lloyd Wright's Falling Water Conservancy and residential property owners. ‘84-85 Landscape Designer, Hanna Olin, Landscape Architects, Phila., PA. Projects worked on include Philadelphia Zoo, Bryant and Riverside Parks, NYC, & IBM Headquarters.
TEACHING/PANELS 2016 Guest Leccturer, Reed College, Portland, OR
2014 Roma Tre University, Rome, Italy
2014 Art + Ecology Unite, Portland Institute for Contemporary Art, Portland, OR
2008 Guest Artist Lecture, Washington State University, Vancouver, WA.
1998 Guest Artist and Studio Critic, Art Dept. University of North Carolina -Greensboro.
1997 Guest Critic, Princeton University Graduate School of Architecture Princeton, NJ.
ARTICLES & MEDIA COVERAGE 2015 Landscape Architecture Magazine, “Go Wild Oregon Child”. Review of Portland's Westmoreland Playground. https://oregonplay.files.wordpress.com/2015/04/lam_03mar2015_oregonplaygrounds-spreads.pdf 2015 C-Print Contemporary Art Journal. http://www.c-print.se/#!archive/c4ba/milk-revolution 2014 Landscape Architecture Magazine, Foreground on Quarry Rings. 2014 Public Art Review “Recent U.S. Projects”, Fall/Winter, 2014. 2010 Public Art Review “Recent U.S. Projects”, Fall/Winter, 2010. 2010 Oregon Public Broadcasting “A Dose of Acupuncture for the City”, Oct 24, 2010. http://news.opb.org/article/16563-dose-acupuncture-city/
Kuby/Resume/Page 2 of 2 LC Studio Tutto Hennessy Chrisophel and Sofia Lacin Menlo Park, CA lcstudiotutto.com [email protected]
LC Studio Tutto works collaboratively to create large-scale artwork that infuses structures with life and identity while furthering the connection between people and their environments. Over the past decade, we have executed over 70 pieces of public art throughout the country for municipalities, schools, architects, developers, and businesses of all sizes. We translate concepts into visual works of art that are timeless, innovative, and tailor-made for each specific locale.
A passion for the power of paint to transform large expanses has thus far propelled our career. Having completed a 70,000 square foot mural, we look forward to expanding our practice in ways beyond scale. Our vision is to create painted spaces that incorporate elements such as sound, light, and programming, continually seeking resonance with audiences while igniting a sense of curiosity and wonder
LC Studio Tutto has collaborated with architects, developers, interior designers, landscape architects, and government organizations to create artwork that is integrated safely and cohesively into its environment. We often approach the design process by working with all involved parties to establish materials and keywords
Top to bottom: Bright Underbelly, 2016, Sacramento, CA; Hanging Mist, 2014, Sacramento, CA; Influence of the Earth, 2016, Yountville, CA LC STUDIO TUTTO RESUME
CURRENT PROJECTS
2016 Knoxville Emporium Underground Mural Project, Summer 2016 400 square foot acrylic mural on concrete Commissioned by the Arts & Culture Alliance of Greater Knoxville
LC Studio Tutto was awarded the Knoxville Emporium Underground Mural Project through a national call for artists. Lacin and Christophel will design and fabricate a custom piece of public art that will add color, life and identity to the Emporium Center, a gallery and studio space in downtown Knoxville, Tennessee.
2016 Yountville Mural Underpass Project, Fall 2016 3,000 square foot acrylic mural on concrete Commissioned by the Town of Yountville
LC Studio Tutto was awarded the Yountville Mural Underpass Project through a national call for artists. Lacin and Christophel will design and fabricate a custom piece of public art that will visually welcome residents and visitors into the beautiful town of Yountville, the heart of the Napa Valley.
AWARDS AND RECOGNITION
2016 — LC Studio Tutto projects Hanging Mist and Bright Underbelly were placed in the CODAawards Top 100
2016 — LC Studio Tutto was awarded a California State Assembly Resolution and publicly recognized by Congresswoman Doris Matsui for the contribution Bright Underbelly makes to the Sacramento community.
2013 — LC Studio Tutto was presented with a Resolution from the City of Sacramento recognizing LC Studio Tutto’s artistic contributions to the community.
2012 — Lacin and Christophel were selected as residents of a year-long Sacramento Arts & Business Council residency, The Flywheel Arts Incubator Program.
2011 Same Sun, as part of the East Area Water Tank project, was awarded Project of the Year by the American Public Works Association.
LC Studio Tutto’s artwork has been featured in front-page articles, television, and public radio, both regionally and nationally.
PRESENTATIONS & LECTURES
Journey: A Collaborative Painting Experience, American Institute of Architects | Central Valley October 22th 2015, Sacramento, CA Designers and facilitators of an interactive painting event
Top of the City, American Institute of Architects | Central Valley October 22th 2015, Sacramento, CA Speakers at a guided public art tour
[email protected] | 916.225.2773 | www.lcstudiotutto.com Architecture and the City Festival, American Institute of Architects | San Francisco February 18th 2015, San Francisco Coordinators of a guided public art tour
The Creative Process, University of California, Davis, Design Department October 6th 2015 & October 22nd 2014, Davis, CA Guest lecturers
The Vine Conference, Pacific Coast Builders Conference June 23rd 2015, San Diego, CA Featured Speakers
The Character of Place, The Ideas District October 28th 2014, Sacramento, CA Featured speakers
PRINCIPALS
SOFIA LACIN University of California, Davis Bachelors of Art, 2008 Majors: Art Studio and Italian Language Academia Italiana, Florence, Italy 2006-2007 Honors in Art Studio & Italian Language John and Terry Kubota Grant for excellence in painting
HENNESSY CHRISTOPHEL University of California, Santa Cruz Bachelors of Art, 2007 Major in Art Studio
[email protected] | 916.225.2773 | www.lcstudiotutto.com JANET LOFQUIST Minneapolis, MN janetlofquist.com [email protected]
As a public artist with over twenty years of experience I have developed a wide range of public art projects, including works for educational institutions, libraries, parks, transit stations and civic sites. Completed works have ranged in scope from architecturally integrated treatments, freestanding sculptures, and sculptural environments to gathering spaces that have included sculptural elements, lighting, seating and/or landscaping.
I believe that public art has the potential to humanize our public spaces, provide a frame of reference and give insight into a community. My role as a public artist is to listen to that community and to create an artwork that will add to the experience of our shared spaces, with the hope that each piece communicates a sense of identity, place and connection.
My approach to public art has been guided by context and conceptual intent, exploring the relationship between site and context, art and landscape / architecture, artist and community. During the development of a concept I begin with a community conversation and research of the site in order to provide a contextual framework for the work, considering historical, cultural, environmental or scientific phenomena as a source of inspiration. The architectural or natural qualities of the site play a role in the decision- making process as do the various vantage points in which a work may be viewed or the manner in which it may be experienced.
Materials are selected by their inherent aesthetic qualities, the potential to reinforce a concept, durability, required maintenance, site conditions and project budget. Working with experienced fabricators I have used a wide range of materials including aluminum, Cor-ten, painted and stainless steel, glass, mosaics, bronze, stone, cast concrete and rammed earth.
The majority of my work has been sited outdoors. In the future I would like to expand my spatial exploration to include indoor suspended works, investigating more “ephemeral” materials and/or fabrication techniques that, for durability reasons, are not possible with an outdoor work. In addition, I would like to start to consider a greater use of color when appropriate; either through the use of glass, plastic, painted metal and/or color LED lighting.
My experience in working with a wide range of concepts, materials and techniques give me the tools to translate my past experience into a variety of possibilities. I recognize Top to bottom: Engage, 2013, New Britain, CT; Plunge, 1997, the complexities of the public art process and that St. Paul, MN; Beacon, 2013, Minneapolis, MN cooperation and collaboration is key to a successful outcome. JANET LOFQUIST 2013 STEVENS AVENUE • MINNEAPOLIS, MN 55404 • 612.872.1491 • [email protected] WWW.JANETLOFQUIST.COM
SELECTED COMMISSIONS AND PUBLIC ART PROJECTS 2016 University of Oregon, Corvallis, Valley Football Center, multiple sculptural elements w/ lighting, finalist Illuminate, So. Connecticut State Univ., New Haven, sculptural environment w/ seating and lighting, finalist Zumbro, Mayo Civic Center, Rochester, MN, large-scale sculpture on plaza, finalist 2015 Boundary Waters, Niagara Falls, New York, monumental sculpture w/ lighting, finalist 2014 New Growth, Minneapolis Community and Technical College Workforce Center project, finalist Radio Wave, San Antonio Tezel Rd./Great N.W. Streetscape, sculptural elements along median strip, finalist Grove, Ohio State University, Columbus, multiple sculptural elements, finalist 2012-14 I-35W Transit/Access project, design team member with S.E.H., developed a public art framework and 3 design concepts for concrete retaining walls for the Orange Line BRT station at I-35 W & Lake St., Minneapolis, MN 2009-14 Ancient Waters, Ice Palaces, Memory Imprint, Central Corridor (Green Line) Light Rail Transit, design team member, integrated mosaics, platform design and column wraps for 3 light rail stations in Mpls../St. Paul, MN 2013 Engage, E.C. Goodwin School, New Britain, CT, multiple sculptural elements w/ seating and lighting Beacon, Mayor Sharon Sayles Belton Tribute, Minneapolis, MN, sculpture w/ lighting, seating, landscaping Dance, Woodlawn Lake Park, San Antonio, TX, multiple sculptural elements w/ lighting, finalist Still Life with Iceberg and Sea Fans, Florida Atlantic University Harbor Branch, freestanding sculpture, finalist 2012 Phenomena, Hennepin County Library, Maple Grove, freestanding sculpture Water Cairns, Point Emery/San Francisco Bay, Emeryville, CA, multiple sculptural elements, finalist Stream; Cedar Rapids Public Library, Iowa, multiple sculptural elements w/ seating, finalist, project cancelled St. Cloud State University, St. Cloud, MN, suspended work and outdoor sculpture, finalist 2011 Cellular Topography, Univ. of Florida, Research and Academic Center at Lake Nona, suspended work, finalist Minnesota State University, Moorhead, sculptural gathering space, finalist with Close Landscape Quinebaug Valley Middle School, Danielson, CT, art glass for curtain wall w/ exterior sculpture, finalist City of St. Paul Street Department, public art seminar participant 2010 City of Seattle, Maple Leaf and West Seattle reservoir project, finalist Kent State University, Warren, OH, sculpture, finalist Central Corridor Light Rail, St. Paul, MN, finalist for 3 additional station designs 2009 Hive, Arts in Transit, St. Louis, MO, sculpture for transit plaza Two Mountains, Municipal Service Center, El Paso, TX, rammed earth sculpture City of Denver, Speer Boulevard, freestanding sculpture, finalist Inver Grove Community College, exterior suspended wall piece and outdoor seating, finalist Northland Community College, East Grand Forks, suspended work, finalist 2008 University of Wisconsin, Madison, South Memorial Union, finalist 2007 Infinite Library, Metropolitan State Univ. Library, St. Paul, sculptural elements w/ lighting, seating & landscaping Flow, University of Wisconsin, Oshkosh, multiple sculptural elements with landscape design/seating/lighting 2006 Infinite Voices, St. Cloud State University, Foreign Languages Building, St. Cloud, MN, entryway sculpture Pages, East Lake Public Library, Minneapolis, MN, integrated art glass for curtain wall University of MN, Minneapolis, Molecular and Cellular Biology, finalist 2004 Landscape of Memories, Blue Line Light Rail, VA Station, Minneapolis, MN, sculptural elements w/ seating University of Wisconsin, River Falls Student Center, suspended wall relief over fireplace, finalist 2003 Spiral Growth, Kent State University, Cunningham Hall, Kent, OH, sculptural elements with seating Study Knoll, Ridgewater College, Hutchinson, MN, multiple sculptural elements and landscaping 2002 UW-Madison, Microbial Sciences Building, integrated plaza treatment and seating, finalist University of Minnesota Plant Growth Center, Minneapolis, finalist 2001 UW-Madison, Health Sciences Center, integrated bronze and carved stone wall and terrazzo floor, finalist Mpls. Arts Commission, Peace Garden Gateway, sculptural landforms and sculptural components, finalist 1999 Preserved and Valley, Food Innovation Center, Portland, OR, plaza sculpture and interior wall installation Salt Lake City Main Street Beautification Project, sculptural environment, finalist, project cancelled 1998 Passage, Anoka Ramsey Community College, Coon Rapids, MN, multiple sculptural elements with seating University of Toledo, S.W. Academic Center, sculptural environment, finalist Minneapolis Art Commission, E.C.C.O. Gateway project, sculptural environment and landforms, finalist 1 1997 Plunge, Univ. of St. Thomas, St. Paul, MN, outdoor sculpture with earthworks 1996 Eastern Connecticut State University Library, Willimantic, sculptural environment, finalist 1995 University of Wisconsin, Milwaukee, School of Business, multiple sculptural elements, finalist 1994 Voices of the Prairie, Ames, Iowa City Hall, multiple sculptural elements with seating Spin, Minn. State Univ., Mankato, Trafton Science Center, multiple sculptural elements with plaza design Miami University, Hamilton, Ohio, sculptural environment with landforms, finalist 1993 Nature’s Secrets, UNI, Cedar Falls, Earth Sciences Building, multiple sculptural elements 1992 Ohio Community College, Columbus, sculptural elements with landscape/plaza design, finalist 1991 Ames Entryway Project, Ames, Iowa, design team member for entryway concept for Ames and Iowa State Univ. Iowa Town Squares Project, Iowa Arts Council, design team member for the Mount Ayr Town Square Central Connecticut State University, New Britain, sculptural environment, finalist 1990 Crosswater, 47° 28′ 46″, Minnesota State University, Bemidji, MN, multiple sculptural elements with seating Spirit of U232, Sioux Gateway Airport memorial, Sioux City, Iowa, finalist 1989 Habitat, Worthington Rest Area/Information Center, MN, sculpture 1988 St. Cloud State University, Minnesota, sculptural environment and landforms, finalist 1987 What Lies Beyond, Bloomington, MN, multiple sculptural elements 1985 Facility Systems, Eden Prairie, Minnesota, private commission Weisman Art Museum, University of Minnesota, Minneapolis, purchase
GRANTS 2005 Minnesota State Arts Board, Artist Fellowship 1989 Minnesota State Arts Board, Artist Fellowship 1988 Minneapolis Arts Commission, Public Art Design 1985 Forecast Public Artwork, Environmental Sculpture 1983 Jerome Foundation Emerging Artist Fellowship 1981 National Endowment for the Arts, Visual Arts 1980 Minnesota State Arts Board, Project Grant 1979 Met Council, Jerome and Dayton-Hudson Foundation Project Grant 1978 Minnesota State Arts Board, Project Grant Rome Prize, American Academy in Rome, visual arts finalist
PUBLICATIONS CODAmagazine, Placemaking Art, May 2015 Soundpoint, MPR radio, interactive audio tour of public art along the Green Line, 2014, http://www.metrotransit.org/10th- street-station, http://www.metrotransit.org/robert-street-station, http://www.metrotransit.org/Prospect-Park-station MN Original, Twin Cities Public Television (TPT), Episode #307 aired February 12, 2012 Stop, Look, Art, Art at Hennepin County Library, Twin Cities Public Television (TPT), aired May 15, 2011 Scene from the Sidewalk, A Guide to Public Art in the Twin Cities, book by Glenn Keitel, 2010 Public Art Review, U.S. Recent Projects, spring/summer 2010 Art in Any Language, essay by Susan Andre, Architecture MN magazine, Jan/Feb 2007 The Hiawatha Line, essay by Gügün Kayim, Public Art Review, spring/summer 2005 Linking Development with Culture, essay by Phil Lindsay, Public Art Review, winter/spring 1989
EDUCATION Minneapolis College of Art and Design, BFA
JANET LOFQUIST • 2013 STEVENS AVENUE • MINNEAPOLIS, MN 55404 • 612.872.1491 • [email protected] • WW.JANETLOFQUIST.COM
2 DANA LYNN LOUIS Portland, OR danalylnnlouis.com [email protected]
I am interested in new artistic challenges and the collaborations between artists and communities that foster strong public art. It has been important to me to strike a balance between time spent on public artwork and studio work as they feed and strengthen each other.
My public work is site specific. I approach each project differently and work in a variety of media, both temporary and permanent in nature. I am comfortable working in many media including cast bronze, aluminum, glass, stone, painting, landscape materials, ceramic mosaic and murals, projected light drawings and mixed media projects. I have successfully completed several public projects and understand the needs for permanence and maintenance. I have completed all of my projects on time and within budget.
I am interested in further pursuing both interior and exterior opportunities that are achievable with public budgets thus extending the scope of possibilities. I seek opportunities to create more exterior works--interactive, sculpturally based installations that expand my experience working with light and form in the landscape that coalesces with architecturally defined spaces. I am also interested in pursuing projects that have the potential to combine 2 and 3 dimensional works and suspended interior works of a multitude of media. It is my intention to continue to bring a fresh perspective to the individual sites and concerns of each project and create unique works that are informed by previous experience yet push the boundaries.
Conceptually, my work has long been inspired by the timeless and fascinating systems of the body, the natural and constructed world and their interconnections. Various imagery stems from suspension of thought, emotion, experience and decision where the delay of action creates space to pause and observe.
Since 1995 I have worked on several design teams with other artists, engineers, architects and community members, and enjoy the challenges they present. Collaboration on many levels has been a consistent component of my artistic life for years. I have worked with choreographers, musicians, performers and artists in a variety if disciplines for productions both temporary and permanent in nature as well as multimedia time based performances for the public. All of these experiences have intermingled and enhanced my life and work and continue to inspire me to pursue collaborative opportunities such as those that design teams present. Top to bottom: Crystallization, 2015, Portland, OR: Clearing, Hoffman Gallery, Lewis and Clark College, Portland, OR; The Color of Breath, 2005, Tacoma, WA DANA LYNN LOUIS - danalynnlouis.com 503 227 7114
COMMISSIONS 2015 The Breathe Building , Portland Oregon, Drawing Breath a full building tattoo, glass doors and windows 2014 Oregon State Hospital Junction City Oregon Mixed media suspended sculptures and Glass entry doors 2011-15 Tri-Met Light Rail, Portland Oregon commission award: Install-2015 2009 Clackamas Community College “A Delicate Wandering” Mixed media suspended Installation 2007 City of Portland outdoor mural project @ Yoga Union Portland Oregon- painted mural Ann Sacks – New York, NY – suspended installation 2006 Northgate Library - Seattle, WA – glass wall 2005 Mary Bridge Children’s Hospital - Tacoma, WA – glass curtain wall North Atrium of City Hall – Portland, OR – four-story mixed media suspended installation 2003 Firehouse #9 - Portland, OR – mixed media sculptural wall Oregon Convention Center – Portland, OR – glass sculptures and paintings 2002 The Street Car Lofts - Portland, OR – cast glass and steel sculptural wall 1999 College Housing NW – Portland, OR – fountain, stairway and sculptural garden Goosehollow Apartments – Portland, OR – exterior installation 1998 Doernbecher Children's Hospital – Portland, OR – ceramic tile installations 1997 Multnomah County Central Library – Portland, OR – bronze sculpture
SELECTED AWARDS, RESIDENCIES 2016 Thread, Artist Residency in Senegal West Africa sponsored by,Joseph and Anni Albers Foundation Contemporary Northwest Artist Award Portland Art Museum 2015 Ford Family Foundation Career Opportunity Grant Oregon Arts Commission Career Opportunity Grant
2014 Franz Mayer Glass Studio Residency Munich, Germany Oregon State Hospital, Salem Oregon Ford Family Foundation Career Opportunity Grant Oregon Arts Commission Career Opportunity Grant Regional Arts and Culture Council Project Grant
2013 Museum Of Glass Artist in residence Tacoma Washington Camp Caldera Golden Spot Residency Sponsored by the Ford Family Foundation Sisters Oregon Jordan Schnitzer Printmaking Award Residency Sitka Center for Art and Ecology
2008 Pollock Krasner Foundation Grant Award 2007 Nocturnal Notations – Artist-in-Residence at South Waterfront – Portland, OR Individual Artist Project Grant – Regional Arts & Culture Council – Portland, OR
1997 Artist-in-Residence, Bullseye Glass Factory – Portland, OR 1996 Artist-in-Residence, City of Portland Waterfront Park renovation, Portland, OR Design Team and Project artist, Replacement Headworks - Portland, OR 1995 Artist-in-Residence, Columbia Blvd. Wastewater Treatment Facility for the Bureau of Environmental Services - Portland, OR SELECTED SOLO EXHIBITIONS 2016 As Above,So Below Museum of the San Juan Islands, Friday Harbor Wa. 2015 Thread :The Laura Russo Gallery, Portland Oregon 2014 Clearing: Hoffman Gallery at Lewis and Clark College 2013 Draw: Laura Russo Gallery Portland Or 2012 Container of Essence -Pioneer Courthouse Square Festival of Flowers Portland Or 2010 Surfacing: Kuhl Gallery Oakland Ca Whisper: Gallery 111 Sausalito, Ca 2008 Reflection: Nine Gallery, Portland Oregon 2007 Faith: Suspended, The Art Gym at Marylhurst University – Marylhurst, OR 2001 Drawing Breath: Laura Russo Gallery Portland OR 1998 Glass Sculpture and Drawing: Laura Russo Gallery Portland OR
SELECTED GROUP EXHIBITIONS 2016 Northwest artist Awards Exhibition, Portland Art Museum, Portland Oregon Light Festival PDX: Interactive temporary light installation Portland Oregon 2015 Recent Acquisitions of Prints and drawings spanning 500 years, Portland Art Museum, Portland Oregon 2014 Laura Russo Gallery 2013 Encircled, Dunedin Fine Art Center Dunedin Florida New York Art Fair: Beaux Arts Contemporary Gallery Group Show Laura Russo Gallery Portland Oregon 2010 San Francisco International Art Fair: Donna Seager Gallery, San Rafael, CA 1998 Common Ground: Exhibition of Artists-in-Residence - Bullseye Glass Factory - Portland, OR The Garden, Contemporary Crafts Museum & Gallery - Portland, OR Pure Form: The Intensity of Process, curated by Beth Sellars for PICA at The Art Gym
SELECTED PUBLICATIONS
Clearing: Dana Lynn Louis book published in conjunction with exhibition Dec 2014 Essays by curator Linda Tesner, Author David James Duncan, Poet Jennifer Boyden Allyn Cantor, Preview- Draw at Laura Russo Gallery Portland Oregon July 2013 Daniel Duford, Dana Lynn Louis at the Nine Gallery,Portland OR, ARTWEEK, September 2008 Lois Alan, Dana Lynn Louis at The Art Gym, Marylhurst University Sculpture Magazine, December 2007
EDUCATION !989 - MFA Ohio State University, Columbus Ohio 1985 – BS Studio art and education, University of Wisconsin , Madison Wisconsin
PROFESSIONAL AFFILIATIONS 2013 –present Mentor to Graduate Students at Pacific Northwest College of Art and OCAC 2012- present - Teacher: Living Yoga, Founded to bring yoga underserved populations . 2000-present Board of Directors Member, KoFalen Cultural Center – Bamako, Mali, W. Africa Founded to enhance a cultural exchange between Westerners and Malians through visual arts, dance and music 1992-97 Founding Board Member ORLO which explores environmental issues through the arts DIMITAR LUNKANOV Brooklyn, NY dimitarlukanov.com [email protected]
I do transparent sculptures that converse with nature. They are not in competition with the landscape or standing against it, but rather a peaceful continuation, an “air-full” addition to the wind, soil, clouds, sky, etc. The work I create differs with each instant of the day and night; it absorbs the passage of time – seasons, light and darkness, all surroundings. The end result is an abbreviated script of matter dissolved within the air. My sculpture is not concerned with how much space it needs, but how it more freely and naturally complement the rest of what is around it. To live within nature.
Upon approach of a public project I aim for creating a veritable “anima locus”, soul of location. I reckon a sculpture in concert with urban and architectural settings – a sculpture that would act as a welcoming. It will bear the notions of beauty, optimism and lightness. It might possess a striking silhouette as the initial visual signage of the place; a point toward everyone from the community would be drawn to, united. I envision a sculpture that will initiate and inspire positive, contemplative experience and renewed energy.
I envision a public art sculpture as an aerial crossroad, a cumulative, focal point as if all in the community come together; its heart, a unifying and compelling core. Sculpture would “live” to be a beacon, a symbol of growth, renewal and continuum. As a magical, filigree presence, the monumental piece will become a bona fide destination within destination, a defining artistic emblem, indeed the soul of the location.
Top to bottom: Outside Time, 2014, JFK International Airport; Voice of Tomorrow, 2014, JFK International Airport; Waterfall of the Sun, 2003-4 Dimitar Lukanov Dimitar Lukanov Studio 299 Bay 19 St, Brooklyn, NY 11214, USA www.dimitarlukanov.com
education 1997: MFA, Visual Arts, Columbia University, New York 1995: Skowhegan School of Painting and Sculpture, Maine 1994: BFA, honors, Parsons School of Design, NY 1993: Ecole Parsons a Paris, France 1991: Hudojestvena Akademija, Sofia, Bulgaria 1988: Secondary School of Fine Arts, Plovdiv, Bulgaria selected exhibitions 2016: Winner, public art sculpture commission competition, GSP International Airport, South Carolina, to be installed August 2016 2016: Finalist, Georgia Tech University Public Art Competition 2015: Finalist, Price, Utah Public Art Competition 2012-2014: JFK International Airport Terminal 4, NY, public art commission Monumental sculptures: Outside Time, Voice of Tomorrow, History of Time 2008: Silent Wave, House of Yue-Sai Kan commission, Shanghai, China 2006: Light to Sky, sculpture commission, permanent installation, International Air terminal, Arrivals hall, Terminal 4, John F. Kennedy International Airport, New York 2006-7: Moscow International Art Exhibition, Manezh, galerie George de Bartha, Geneva 2007: Sculpture, Maison d’Art, Monte Carlo 2006: Shanghai International Art Festival Exhibition, Shanghai, China 2006-7: Art Loves Design, Sculpture exhibit, NiBa Home, Miami, FL 2005: Hodgell Gallery, Sarasota), Forecast Gallery; Holly Hunt, Miami, FL 2005: Lo River Arts Gallery, Beacon, NY 2003: Sculpture at Ordway, Sculpture/Prints, Washington DC 2002: Firewind, Galerie Hopkins-Custot, Paris, France 2001: Transparent Volcano, Sculpture, Olivier Mousson Artpluriel, Paris, 2001: Salto de Agua, International Sculptural Garden Punta Sur, Isla Mujeres, (permanent installation, Mexican Government commission); 2001: Invited Artist, festival de Arte, Expresarte, Mexico City, Mexico 2000: Storms, Sculpture, Drawing, Painting, Axel Raben Gallery, New York 2000: New Outlooks, New Jersey Center for Visual Arts, Summit, NJ 1999: Conversation with Mountains, International Art House Lilia Yakov, Plovdiv 1998: Holzhausen Sculptural Park Concept, Neiheim, Germany 1998: Sculptural Vectors, York College Art Gallery, Jamaica, Queens, NY 1997: Four Invited Artists, Casa de Chavon, Casa de Campo, Dominican Rep. 1997: Museo Arquelogico, Altos de Chavon, Casa de Campo, Domini. Rep. 1997: WorkSurface Exhibit, American Institute of Architecture, Chicago, IL 1996: Lithographs & Other Prints, Maison Francaise, Columbia University, New York 1993:Sculpture, International Film Festival,New School Social Research, NY experience 2015/2016: Artist-in-residence, Brooklyn Studio Secondary School, Brooklyn, NY 2011: Guest artist, Graduate School, Arizona State University, Phoenix, AZ; 2011; Founding Co- Director, Art-In-Motion Inc., New York, art educational programs; 2010/11: Le Roy Neiman Art Center faculty, Harlem, New York; 1998 - 2006: Adjunct Professor, Parsons School of Design, New York; Drawing; Sculpture: Portrait; Intensive Drawing; Core Fine Arts; 1999, 2000, 2001: Advanced Painting/Drawing, faculty, Summer Intensive Studies, Parsons, Paris, France; 2000: Faculty, New Jersey Center for Visual Arts, Summit, NJ; 1999: Education Department Lecturer, Metropolitan Museum of Art, New York; 1998 - 2012: Artist-in-Residence, Arts Horizons, collaborative projects, New York Public Schools; 1997: Artist-in-Residence, Altos de Chavon School of Design/Parsons; 1997: York College Visiting Professor and Sculptor-in-Residence, New York awards/publications 2015: Wall Street Journal Profile and slide show, Dream Space 2015: JFK T4 Nomination: Most Innovative Airport Project for North America, ACI-NA 2015/16: San Francisco Arts Commission Prequalified Artist Pool Selection, CA 2015-2018: Washington State Arts Commission Competition – Public Art Roster 2015-2017: City of El Paso’s Museums and Cultural Affairs established artist selection, TX 2015-2017: Iowa Art in State Buildings Program Roster Selection, IA. 2015-2017: FWPA National established Public Arts List, Fort Worth, Texas 2014: Federal Art-in-Architecture Registry, General Service Administration, Wash. DC 2014: State Council of Culture/Apech Invited Speaker, Santiago, Chile 2010/2011: Pollock-Krasner Foundation Grant recipient 2010: Manager Magazine Editorial Profile, January issue 2009: Honorary Member, Association of Painters and Sculptors of Chile, Santiago, Chile 2009: Frame Magazine, China, Person of the Issue 2009: Los Angeles County Art Registry Selection, Calif. 2009: Atlanta Art Registry Selection, Atlanta, Georgia 2007: Person of the Issue, Elle Décor Russia, May 2007 2006: Top 20 Public Art Projects, Art-in-America Editorial Highlight, Art-in-America 2006: ArtCultureStudio Grant, Geneva, Switzerland 2006: Top 100 Alumni of all times of Parsons School of Design, New York 2006: Associated Press News Communique, January 2007: Interior Design China Editorial Profile 2007: Elle Décor Russia, Person of the Issue, May’07 2003: Noyes Museum of Art, Guest artist and visiting lecturer 2001: Medal for Sculpture, First International Sculpture Symposium, Mexico 2001: Honorary Citizen, Isla Mujeres, Quintana Roo, Mexico 2001: Fellow, Altos de Chavon Cultural Foundation, Dominican Rep. 1993: Winner, Parsons Printmaking Competition, New York 1991-1997: Mr and Mrs Michel David-Weill Scholarship, New York and Paris 1995: Skowhegan Fellowship, Maine 1994-1997: Columbia University Scholarship, New York 1991-1993; International Foundation “Sts Cyril and Methodius”, Sofia, Bulgaria 1991-1993: Soros Fund Open Society Grant, Sofia, Bulgaria 1988: Valedictorian, Secondary School of Fine Arts, Plovdiv, Bulgaria, selected collections JFK Terminal 4, permanent collection, JFK International Airport Terminal 4, New York, 2014, Hélène and Michel David-Weill Collection, Paris and New York: 2006; Waring Hopkins Collection, Paris, 2003; Anthony Forward Collection, New York, 2011; Altos de Chavon Cultural Foundation, Dominican Republic, 1998; Dominique Bluhdorn Collection, Santo Domingo, 1998; Mexico’s First International Sculpture Symposium permanent collection: Isla Mujeres Sculpture Park Collection: 2001, Quintana Roo, Mexico; Olivier Mousson Collection, Paris, 2003; Dan Snyder Collection, Washington DC, 2005; National LeCoultre, Geneva, Switzerland; Parsons School of Design Trustees Collection, 1994; Mikhail Golub, Moscow, 2007, 2008; Victor Chuchkov Collection, Sofia, 2011, 2012; Yue-Sai Kan Collection, New York and Shanghai, 2006, 2009; Alexei and Tatiana Voinov, Moscow, 2010; Lisa Arrowood, Boston, 2007; 2012, Dr. Alfred Singer, National Institute of Health, Washington DC video JFK Terminal 4 sculpture Outside Time: https://vimeo.com/853490200 JFK Terminal 4 sculpture History of Time: https://vimeo.com/100802787 JFK Terminal 4 sculpture Voice of Tomorrow: https://vimeo.com/100796469
Fluent in English, French, Spanish, Russian, Bulgarian Contact: +1-917-495-9800, Email: [email protected] www.historyoftime.info
PAUL MARIOINI Seattle, WA [email protected]
My primary concern is making an artwork that the people who use the facility can relate to, addresses the architecture, and is successful in its execution. I see each public art project as an opportunity to remind the community of our humanity and creativity. I look for a fundamental concept in order to include as large a percentage of the public as possible, while creating a warm, welcoming environment and an enduring experiential delight.
My primary medium is glass, because it has a unique ability to capture, magnify, and manipulate light in any light situation.
Using glass architecturally over the past 42 years, I have completed more than 100 commissions, both private and public, many of which were “design-team” public art projects. My experience throughout the realm of public spaces includes a Federal Courthouse, Airports, Police and Fire Headquarters, Schools, Hospitals, Libraries, and Community Centers. I have also completed nine terrazzo floors, designed furniture and entire lobbies (walls, ceilings, colors choices, skylights) and have collaborated with metal, wood, and concrete fabricators. I enjoy having an open and honest dialogue, solving problems, and infecting others with my enthusiasm. My “design team” experience has been particularly rewarding and has resulted in a whole greater than the parts.
I can commit to existing budgets and time frames and have often used construction budget to create a completed environment. I carefully consider existing light conditions along with maintenance and safety issues.
Top to bottom: Cascades, 2007, Seattle, WA; Consilience, 2005, Houston, TX; Shelter, 1996, Pullman, WA Paul Marioni 4136 Meridian Avenue North Seattle, Washington 98103 206 633 1901 [email protected]
Born Cincinnati, Ohio 1941
Education Bachelor of Arts, English and Philosophy University of Cincinnati, Cincinnati, Ohio 1964-67 San Francisco State University, San Francisco, California 1963-64
Honors Lifetime Achievement Award, Glass Art Society, 2004 Fellow of the American Crafts Council Board Member APAC, Pilchuck Glass School, WA Honorary Life Member, BC Glass Arts Association, Canada Board of Directors, Glass Art Society, 1984-86
Awards National Endowment for the Arts, Fellowship Grant 1976 National Endowment for the Arts, Building Arts Fellowship 1982 National Endowment for the Arts, Fellowship Grant 1989 “Kristallnacht Project”, Silver Award 1992 Pacific Northwest Annual, Bellevue Art Museum, WA, First Prize 1993 National Terrazzo Association, IL, Recognition Award 1997
Select Exhibitions “MARIONI FAMILY”, Tacoma Art Museum, Tacoma, Wa., 2012 “All Over The Place”, William Traver Gallery, 2011 “The Premonition”, Bellevue, Wa. Art Museum, 2007-08, one man show “12 PAINTINGS / 12 SCULPTURES, William Traver Gallery, Seattle, Wa. 2006 “SPACE/TIME, Imago Gallery, Palm Springs, Ca. 2005 “American Studio Glass: A Survey of the Movement”, Fairfield Art Museum+7 Museums National Tour, 2003-05 “A New Millennium, A New Light:A Survey of Architectural Glass Art”, Louisville Visual Art Ass., KY 2003 “Northwest Masters,” City Space, Seattle, WA . “Agnosia“,William Traver Gallery, Seattle, WA 2001 “Trashformations: Recycled Materials”, 12 Museums National Tour, 1997-2000 “Enigmas”, William Traver Gallery, Seattle, WA 199 “You and Me”, Bush Barn Art Center, Salem, OR 1998 “Marioni/Marioni”, Fresno Art Museum, Fresno, CA 1998 “Telling Compelling Tales”, Holter Museum of Art, Helena, MT 1998 “Calido!: Contemporary Warm Glass”, 10 Museums National Tour, 1997-99 “Pilchuck Pioneers”, William Traver Gallery, Seattle, WA 1995 “Light Interpretations: Menorah Invitational”, Jewish Museum, San Francisco, CA 1995 “V. Internationales”, Glasmuseum Frauenau, Germany 1995 “Form and Light”, American Craft Museum, New York, NY 1994-95 “Clearly Art”, 12 Museums National Tour, 1992-95 “The Beauty of Painted Glass”, Bellevue Art Museum, Bellevue, WA 1994 “100 Years- California Crafts”, Oakland Art Museum, Oakland, CA 1993 “3rd International Symposium”, Stolzle-Oberglas Barnbach, Austria 1993 “Intern. Conferences on Environmental Glass”, Corning Museum of Glass, Corning, NY 1993 “Craft Today USA”, 15 Museums, European Tour, 1989-93 “200 Objects”, Corning Museum of Glass, Russia Tour, 1990-91 “Craft Today: Poetry of the Physical”, American Craft Museum, New York, NY 1986-88 “New Glass: A Worldwide Survey”, Corning Museum of Glass, World Tour, 1978-82 “Das Bild In Glas”, Hessisches Landesmuseum, Darmstadt, Germany 1979 “Americans in Glass”, Leigh Yawkey Woodson Art Museum, National Tour, 1978-80 Museum of Contemporary Crafts, New York, NY 1978 Renwick Gallery, Smithsonian Institute, Washington, DC 1975-78 and 1980
Collections The Museum of Glass, Tacoma, Wa. WA State Arts Commission Art Collection King County Public Art Collection, Seattle, WA Smithsonian, National Museum of American Art, Washington, DC American Crafts Museum, New York, NY Corning Glass Museum, Corning, NY Yamaha Corporation, Tokyo, Japan Oakland Art Museum, Oakland, CA Verein Steinsches Glaskunstmuseum, Barnbach, Austria Glasmuseum Frauenau, Frauenau, Germany Hessisches Landesmuseum, Darmstadt, Germany "The Microsoft Collection", Redmond, WA "The Safeco Corporate Art Collection", Seattle, WA
Select Architectural Commissions “Cascades”, Seattle City Light, Seattle, Wa., 2009 “Consilience, University of Houston, Texas, 2006 “Reflection Fountain”, US Courthouse, USGA, Seattle, WA 2004 “Our Place In Space”, King Co. Intern. Airport, Cultural Development Authority of King Co., Seattle, WA 2003 “Liquid Light“, Safeco Redmond Campus, Seattle, WA 2001 “Hetch Hetchy”, 150 California Street Financial Building, San Francisco, CA 2000 “Sonora”, George and Jane Russell, Tucson, AZ 1999 “River of Glass”, WA State Liquor Board, WA State “% for Art” program, Seattle, WA 1999 “Nest”, King County Court House, King County Arts Commission, Seattle, WA 1999 “Water=Energy”, Seattle City Light South Center, Seattle “% for Art”, Seattle, WA 1999 “Energy=Light”, Seattle City Light Apprentice Training, Seattle “% for Art”, Seattle, WA 1999 “The Journey”, Ron and Carol Margolis, Seattle, WA 1998 “Grasses”, Doug and Dale Anderson, Palm Beach, FL 1997 “Reflection Wall”, Swedish Medical Center Interfaith Chapel, Seattle, WA 1997 “Pillars”, Burbank Police/ Fire Facility, Burbank “% for Art” program, Burbank, CA 1997 “Shelter”, Veterinary Teaching Hospital, WA State “% for Art” program, Pullman, WA 199 “The Further I Look, the More I See”, Eye Clinic, University Medical Center, Seattle, WA 1993 “Light Columns”, Pier 69 Headquarters, Port of Authority, Seattle, WA 1993 “Reflections”, Chapel, Salvation Army 's NW Headquarters, Seattle, WA 1993 “Check It Out!”, Bellevue Regional Library, Bellevue, WA 1993 “Hohuq and Kotsuis”, Doug and Dale Anderson, New York, NY 1991 “Elements”, Easthill Fire Station Headquarters, Kent “% for Art” program, Kent, WA 1991 “Jungle Garden”, Stoel Rives Boley Jones and Grey, Seattle, WA 1990 “Seven Figures” and “Portal”, Greenlake Community Center “% for Art” program, Seattle, WA 1989 “Khadi”, Police Precinct North, Seattle “% for Art” program, Seattle, WA 1984 “The Human Spirit”, Timberline Lodge (Federal), Mt. Hood, OR 1983 “Stanford”, Stanford University, Palo Alto, CA 1977
Select Teaching “What’s The Big Idea? Our Collaboration And More…” Ireland 2003 Pilchuck Glass School, Stanwood, WA 1974-88, 1996 and 2001 Penland School of Crafts, Penland, NC 1978,1988-1990, 1994, 1996 and 2000 San Francisco State University, San Francisco, CA 1974-77 California College of Arts and Crafts, Oakland, CA 1974-77 San Francisco Art Institute, San Francisco, CA 1973-74 ARNOLD MARTIN Long Beach, CA arnoldmartin.com [email protected]
As a sculptor and public artist who works individually and collaboratively, I am committed to the idea of artist as citizen and believe in the transformative potential of artwork in the community. My work is characterized by a strong visual profile, a sense of humor and whimsy, and excellent craftsmanship. I am particularly interested in projects where there is an opportunity to integrate my sculptural work with the site. My goal is to create artwork that engages its audience in a lively and intelligent manner and contributes to a dynamic, memorable public space. I am especially attracted to works that change from different points of view - this creates a sense of intrigue and allows for repeated discovery upon subsequent visits.
Public spaces that contribute to the common good seem more important than ever today. Cultivating a sense of rapport with the visitors to the space is a strength of mine. Artwork can visualize and interpret the character of a place in a way that nothing else can, creating a space for imagination and possibility.
The subject matter of my work is often site specific with a direct reflection of the cultural function of a place or a fanciful contrast to the site for a sense of wonder and excitement. Creating a truly site specific work is a discussion to understand the function of a site, the surrounding culture, and interests of stakeholders, to arrive at a design that incorporates artistic intent with the aforementioned interests. Many of my projects have had strong participation and input from the communities being served by the project, and as a result of these experiences I feel committed to developing projects that are integrated through dialogue with those involved with the site. I am very qualified to execute projects of any scale or budget, and work in durable low maintenance materials. Public art projects are an opportunity to overcome the apprehension many people feel about contemporary art by generating a connection between artist and audience, and if all goes well the result is a permanent addition to the community that is appreciated, discussed and valued.
Through my public artwork and my art and design consultancy, I have had experience working with design teams made of various stakeholders including city agencies, architects, engineers, public art consultants, and local community members. My studio expertise includes working from concept to fabrication, using software to realize the conceptual goals of a project and to translate those into a final design ready for outsourced fabrication. I also have extensive experience collaborating and communicating with fabricators, architects, and engineers Top to bottom: Under the Surface (with Gail Simpson and who are all essential in the success of a piece of this scale. Aris Georgiades), 2012, Madison, WI; Archimedes’ Goose, 2014, Vista, CA; Monster of Monterey, 2016, Monterey, CA Arnold Patrick Martin 221 ½ Mira Mar Ave Long Beach, CA 90803 2485087484 [email protected] www.arnoldmartin.com Public Art and One and TwoPerson Exhibitions 2016 Monument to Curiosity, El Paseo Exhibition, Palm Desert CA. The Monster of Monterey Bay, sculpTOUR piece, Santa Cruz CA. Presbyornis Zeppelinus, Public Sculpture Search, Los Altos CA. Faculty Project Grant, Art Center College of Design, Pasadena CA. Presbyornis Zeppelinus, Manhattan Beach Sculpture Garden. Skyline Hills Branch Library, in collaboration with Actual Size Art, San Diego CA. 2015 Transporters, in collaboration with Actual Size Art, Kansas City One Percent for Art Program, Kansas City MO. Now and Then: Connecting the Visual Past with the Present, Pasadena Our Town Program, Pasadena CA. Spirit of the Sea, Public and Local Artists Creating Environments (PLACE), City of Ventura. Presbyornis Zeppelinus, Manhattan Beach Sculpture Garden. Finalist, Horace Mann Elementary School, Washington, D.C. 2014 Prequalified Artist, Scottsdale Public Art Temporary Projects FY 2015. Finalist, Memorial to Honor West Covina Residents. Presbyornis Zeppelinus, Kites Over Vista, Vista CA. 2013 “A Monument To Curiosity” Public Commission, City of Pasadena Rotating Public Art Program Phase II, Pasadena CA. Finalist, City Hall Plaza, Boise ID. 2012 “Under the Surface”, Dejope Hall Public Art Project, in collaboration with Actual Size Art Works. Madison WI. 2011 Union South Escutcheon Design, in collaboration with Peter Flanary, Madison WI. Construct: Some Dissembling Required, Art Loft Gallery, Madison WI. Finalist, Hank Aaron State State Trail project, Milwaukee WI. 2010 Tangentle Giant, Flint Children’s Museum permanent collection, Flint MI. INKOMPRIHENSUHBUHL, Art Loft Gallery, Madison WI. 2009 Gesamtkunstwerkversteckenerschrekenruinen, University of Wisconsin – Madison.
Group Exhibitions 2015 HaleArts Space, Santa Monica CA. 2014 “King of Red Lions” Published in “Every Day is Play — A Celebration of the Video Game” Edited by Matthew Kenyon and Gamepaused.net. Ossuary, Herron Gallery, Indianapolis IN. DRONES Group Exhibition, Gallery Project/Ann Arbor Arts Center, Ann Arbor MI. 2013 DRONES Group Exhibition, Gallery Project, Detroit MI. Ossuary, University of Tennessee Downtown Gallery, Knoxville TN. Pop Uber Alles Juried Group Exhibition, Gallery 825, Los Angeles CA. “Bits to Its” 3D printed Juried Art Exhibit with the Maine FabLab, Rockland Me “We’re Not Playing Anymore” Custom Toy Art Show!, The Spot Barrio Logan, San Diego. Snap to Grid, Los Angeles Center for Digital Art, Los Angeles CA. 2012 Ossuary, Chazen Museum of Art, Madison WI. Creature, Gallery Project, Ann Arbor MI. Games+Learning+Society Art Exhibition, Memorial Union Gallery, Madison WI. “Skulking Dragon”, Bookless, Madison Public Library, Madison WI. 2011 A Dozen Something Twenty Somethings, Dean Jensen Gallery, Milwaukee WI. UW – Milwaukee Faculty Exhibition, Cedarburg Community Art Gallery, Cedarburg WI. th Games+Learning+Society Art Exhibition, 7 Floor Gallery, Madison WI. Game Show NYC, Macy Gallery, Columbia Teacher’s College, New York, NY. Strange Combinations, Electric Earth Café, Madison WI. 2010 Uncompromised, Gelsy Verna Gallery, University of Wisconsin – Madison. Forward: UW Madison Graduate Student Exhibition, The CoProsperity Sphere, Chicago IL. rd Triple Crown: 3 Year Review Exhibition , University of Wisconsin – Madison. Wordplay, Kohler Arts Center, Sheboygan WI. nd 15 Seconds: 2 Year Review Exhibition , University of Wisconsin – Madison. 2009 5D: Sculpture Exhibition, University of Wisconsin – Madison. Oshkosh UW Madison Graduate Student Exhibition, University of Wisconsin – Oshkosh. What’s the Big Idea: 3D/4D Review Exhibition, University of Wisconsin – Madison. st It’s My First Time: 1 Year Review Exhibition , University of Wisconsin – Madison. 2008 New Kids on the Block, Project Lodge, Madison WI. Silver Medal Exhibition, Scarab Club, Detroit MI. 2007 Arts in the Legislature, Michigan State Legislature, Lansing MI. nd 2 Annual Intercollegiate Metals Exhibition, Arizona State University Herberger College of the Arts, Tempe AZ. Michigan Silversmiths Guild Member’s Exhibition, Ann Arbor Arts Center. Snag 2007 Annual Juried Student Slide Exhibition, Annual SNAG Conference, Nashville TN.
EDUCATION M.F.A StudioArt/Sculpture, University of WisconsinMadison 2011 M.A. StudioArt/Sculpture, University of WisconsinMadison 2010 B.F.A. Metalsmithing, Sculpture, Photography, Wayne State University 2007
PROFESSIONAL EXPERIENCE Parttime Faculty Industrial Design, Art Center College of Design 2014 – Present Proprietor, Absurd Realities Art and Design Studio. 2011 – Present Designer, 3D Modeler, CAD/CAM Operator, Drift Studio LLC. 2011 – 2012 HUGO MEDINA Phoenix, AZ hugosart.com [email protected]
I am recognized for my work in a wide range of multicultural projects which have given a voice to the city through artistic expression utilizing line, shape, color, form and space. I have worked together with the community to create a conduit not only for art, but for cultural discussion that tells a story of this vibrant cultural city. I am an accomplished artist who has a wide range of experiences stemming from a 30 year career of teaching, coordinating and managing community art projects, fabrication with various materials, murals and educating Phoenix citizens in arts related projects.
The world is becoming a mecca for murals and community projects where non artists and artistic citizens have worked tirelessly to create a destination that tell stories and changes lives. The art scene tells a diverse multi-cultural story of not only present day inhabitants, but also the rich heritage that is a narrative in color. Murals are a visual way of telling stories, a form of communication as old as humankind. From the 1st cave painting to the newest Banksy, artists are telling a story. These visual story tellers share a story for all who view it. Taking the viewer into their next adventure. I am recognized for my work in a wide range of multicultural projects which have given a voice to the city through artistic expression utilizing line, shape, color, form and space. I have worked together with the community to create a conduit not only for art, but for cultural discussion that tells a story of this vibrant cultural city.
My ability to develop and organize programs, and events, desire to give back to the community, led me to being a co- founder of the Calle 16 mural project. A nonprofit grassroots project to build communities through the arts. Calle 16 utilizes my ability to inspire others and organize events that builds on community and education. With this new found passion, and direction, I not only organized and paint murals for Calle 16, but have moved on to creating, organizing and curating other community murals throughout Arizona.
Top to bottom (all sites in Phoenix, AZ): Rough Rider mural, 2013; Walace and Labmo mural, 2011; Butterfly Garden, 2011 Hugo’s Art HugosArt.com Phoenix, Az 85006 602.602.405.4684
Resume
2009- Current •Hugos A t, Phoe i , AZ Self-employed Artist / owner 2016- Current •PSA Art Awakenings – Resident Artist
2015- Current •Phoe i College – Adjunct Faculty, Art History
2013- 2015 •A izo a “tate U i e sit “ hool of A t – Faculty Assoc.
2012- 2014 •The Coe House Galle , Cu ato
2010- 2014 •Calle Mu al P oje t, Phoe i , AZ Co-founder / Artist 2012- 2014 •A tli k Boa d e e
2010- 2014 •Cit of Phoe i Co issio of A ts a d Cultu e Boa d e e
2007- 2010 •I o Co E te p ises, Phoe i , AZ Sales Engineer, PM Special Projects, Solar division designer, Artist Education
3/06 •University of Phoenix, Phoenix, AZ. Masters of Arts In Education with a Specialization in Curriculum and Instruction 1/98 •Long Island University/C.W. Post Campus Brookville, NY Bachelor of Fine Arts Degree with a Teaching Certificate Teaching Experience
2005-2007 •Madiso Pa k “ hool, Phoe i , AZ 2000-2002 •“ ua Peak Ele e ta “ hool, Phoe i , AZ
Honors/ Awards
2016 •Go er or’s Art award – Nominee 2012 •Mayor’s Art award – Public Art 2012 •Co Co u icatio s Hispa ic Heritage o th Ho oree Exhibitions
2009 • Canciones de mi padre - Barrio Cafe 2010 • Cigar Rollers Barrio Cafe 2010 • Father / Daughter show The Ice House 2010 • Cigar Rollers, The Series Cubanos Cigar Lounge 2010 • “B | A A tist Poi t of Vie Arizona Latino Arts & Cultural Center 2010 • chair - Group Show Jones Studio 2010 • Cigar Rollers – Portraits Paisley Violin 2010 • Dollar Days Barrio Cafe 2010 • Con Passion Gallo Blanco 2010 • Sabor! Guitaras, Cigaros, Y Tequila! First Studio 2010 • Quick before it melts! , The Ice House 2011 • Sabor! Revisited Barrio Cafe Hugo’s Art HugosArt.com Phoenix, Az 85006 602.602.405.4684
2011 • Reception to Benefit Greg Stanton for Phoenix Mayor, Kitchen Sink Studios, Inc. 2011 • Ca as A adas Xico galería, 2012 • UNION: ELECTRO MUSIC SHOWCASE Push Gallery 2012 • Cigar series – Grand Havan Cigar Club – Beverly Hills 2012 • "Mi Tierra" Paintings and Photos of Bolivia Barrio Cafe,, 2012 • The Great Paint Escape – Part 2 – 335 west McDowell 2012 • Guitars – new series – Gallo Blanco 2013 • Cigar Magazine west coast event – Newport Beach Calif. 2013 • Teritro Wine bar – Mi Tierra 2013 • The Renaissance Hotel - cigars 2013 • Willo North Gallery – Solo show, La Figura 2014 • MonOrcihid Gallery – “olo sho , Ho e 2014 • MonOrcihid Gallery – Group show, 2015 • Luna cultural lab opening – Group Show, - Phoenix 2016 • Solo Show at the Olney Gallery at Trinity Cathedral
Murals
2010 • El Jimador Barrio Cafe 2011 • The Lot: What Should go Here 2011 • Youth At Risk Community Mural – Phoenix 2012 •DYI Community Mural - Phoenix 2012 • The Great Paint Escape – harper developments, Phoenix 2012 • Wallance and Ladmo – First studio, Phoenix 2012 • Hispanic Heritage Month Mural – ASU West Phoenix 2012 • DES mural – Mesa 2012 • Mural at Vovomeena – Phoenix 2012 • Phoenix Festival of the Arts Community Mural - Phoenix 2013 • Singh Farms Mural – Scottsdale 2013 • Global day of discovery Mural –The Renaissance Hotel – Phoenix 2013 • Hispanic Heritage Month Mural - ASU West Phoenix 2013 • Cigar Mural – Breadfruit / Rum Bar 2013 • Phoenix Festival of the Arts Community Mural - Phoenix 2013 • Miles Davis Mural - Avondale 2013 • Teddy Roosevelt Mural – Marque Apartments 2013 • 300 ft long fountain Hills Mural – fountain Hills, AZ 2013 • Hispanic Heritage Month Mural – Mesa Community College 2013 • Good things grow Mural – South Phoenix 2013 • Crockett Elementary school mural – Phoenix 2013 • Goodyear pool Mural – Goodyear 2013 • Keith Haring tribute mural / Kaboom build day - Phoenix 2014 • Holiday Park Elementary school mural - Phoenix 2014 • Hispanic Heritage Month Mural – ASU West 2014 • Phoenix Festival of the Arts Community Mural – Phoenix 2014 • Author M Hamilton Elementary school Mural – Phoenix 2014 • Influx cycle 5 Mural - Tempe 2015 • DeSoto building mural and signs – Phoenix 2015 • Somos Familia - A queer & Mexican/Chicano/Latino community mural – Phoenix 2015 • Phoenix Photo District Mural – Phoenix 2015 • Fate Brewing company Mural – Phoenix 2015 • Mesa Community College Mural– Mesa
JACQUELINE METZ and NANCY CHEW Vancouver, BC metzchew..com [email protected]
We are visual artists who have worked collaboratively since 1997. Our practice is centered on the public realm, an exploration of place, perception and culture. We have experience in permanent site-specific artworks from $8000 to $800,000, in Canada and the United States.
Our practice is conceptual yet grounded in a place, its’ people, and the choreography of the site. The work is informed by materiality, light, space and movement; by context and perception, the filters of personal and cultural memory and experience, by literature and by the collaborative process.
Areas of interest are interwoven and include reflections on how we interpret and reinterpret the world, on how we position ourselves within the world around us, on the (implied) figure in the landscape; an interest in landscape as a metaphor for permanence and transience, and for ideas of connection; an interest in landscape - and the marks we make on the land. The work reflects on perception and interpretation, on re-contextualizing the familiar or iconic, on how we mythologize the world around us.
We develop a conceptual framework playing off the inherent qualities of the site - from the urban design to the tactile experience, from personal experience to historical and cultural memory. We work in different media - whatever is most appropriate to the concept and the context.
We have many years of experience working collaboratively with clients, public agencies, design teams and general contractors to incorporate permanent public artworks into buildings, plazas and parks.
Top to bottom: Where the Sky Began/A Map of the Land, 2012, Winnipeg, MB; Stillness & Motion, 2013, Richmond, BC; Wall of Memory/Lantern of Light, 2006, Calgary Resume Jacqueline Metz & Nancy Chew 2117 West 48th Avenue (laneway), Vancouver, Canada V6M 2P6 604.685.6184 [email protected] www.metzchew.com
A Collaboraive Art Pracice: Site Specific Art in the Public Realm
Hearsay “Jacqueline and Nancy created an engaging, thought-provoking and site-specific install- Selected Exhibiions, Arist Talks, Interviews aion for the Lynn Valley Library that is decepively simple and yet powerfully evocaive 2014 City as Site: Public Art in Richmond, Richmond Art Gallery, on a number of levels.... [their] work finds an exciing balance between the representa- September 6-October 26, 2014 ional and the abstract, the raional and the intuiive, the local and the global – all found- 2014 CBC Radio Story featuring You You + You ed on and connected through a profound conceptual approach that remains strongly htp://www.cbc.ca/player/Radio/Local+Shows/Manitoba/ID/2470674914/?page=7 implicit in its expression.” 2014 Arist Talk, CASA Lethbridge Community Arts Centre, May 14 John Rice, Cultural Services Officer, North Vancouver Office of Cultural Affairs 2011 Rearview Mirrorball II, Revolv-a-luion, Illuminate Yaletown, February 2010 A Window Looking In: Muse Atelier, “... the best projects are the result of working with creaive and accessible people who htp://vimeo.com/17101042, are able to work collaboraively with a team of designers. Throughout the project Nancy video by Two Story Producions Inc., commissioned by Knowledge Network and Jacqueline have been very communicaive and have demonstrated great 2010 Public Art & Space, North Vancouver Arts Office video on: professionalism in a respecful and approachable style.” arboreus, ater Rodchenko Joseph Fry, BCSLA CSLA ASLA htp://www.artsoffice.ca/news/video_vignetes/aricles106.php 2010 YOU YOU + YOU opening, Interview for Winnipeg Arts Commission, Selected Commissions $100,000 - $800,000 November 2010 htp://www.youtube.com/watch?v=0O0RkVmgwyU current cathedral, Port of Seatle, $350,000 Awards & Recogniion current byde your ime, Staion 606, Silver Line, Washington Metropolitan Area Transit 2014 CODAmagazine’s Technology + Art issue, July: htp://flip.it/hkuOT Authority, Washington DC, $250,000 2013 Selected for Top 100, Internaional Public Art Awards, CoD+A Awards current birds on a branch, Waterfront Parkade, New Westminster, Canada, $190,000 2013 Public Art Award of Excellence, City of North Vancouver, for view current lightness of being, Milano Development, Burnaby, Canada, $262,500 2011 Diana Krall Plaza, of which songbird is a part, Great Places in Canada Award current bound unbound, Southern Oregon University, Ashland, Oregon, $140,000 Best Commercial Street, Canadian Insitute of Planners 2015 HOUSE (red fox black cat), Red Brick Development, Burnaby, Canada, $150,000 2009 Public Art Award of Excellence, City of North Vancouver, for out/look 2014 shed & shed II/blacktail, Silver & Metroplace Developments, Burnaby, $225,000 2009 Public Art Recogniion Award, City of North Vancouver, for voyage 2013 mirrored earth, CASA Community Arts Centre, Lethbridge, $175,000 2009 Art for Art’s Sake: what and why, Public Art, architectureBC, Issue 31 2013 Sillness & Moion, River Green, Richmond, $380,000 (incl. glass and installaion) 2008 Award of Excellence, District of North Vancouver Public Art, for 2013 (peek-a-boo), Porter Development, Vancouver, $175,000 arboreus, ater Rodchenko 2012 (S, M, L), Saffron Development, Richmond, $150,000 2008 City of Seatle selecion for Americans for the Arts Year in Review Award, 2012 where the sky began/a map of the land, Winnipeg Internaional Airport, $160,000 for bamboo, luminous 2011 at the sill point, Mountlake Terrace Freeway Transit Staion, WA, $160,000 US 2008 City Project Case Study: Seatle Fire Staion 10, City Green Building, 2010 YOU YOU + YOU, United Way Building, Winnipeg, $130,000 Dept.of Planning & Design, p3, Dec. 2009 topographies, Environmental & Oregon Public Health Lab, Hillsboro, $100,000 US 2005 PriceTags, e-magazine by Gordon Price, Director of the City Program 2005 walls of memory/lantern of light, Calgary Police Officers’ & Firefighters’ Tribute at Simon Fraser University, Issue 77 Plaza, $532,000 2004 ‘Best of Vancouver: best new poeically inspired waterfall’, 2004 between the earth & the sky: measuring the immeasurable, Brookfield Bankers Hall, Georgia Straight, 2004, sliding edge Calgary, $800,000 2004 sliding edge, Cascina & Denia Residences, Coal Harbour, Vancouver, $231,000 Other Selected Commissions Clients 2016 rorschach/seninel, Gateway, New Westminster, Canada, $75,000 Amacon DEvelopments, Vancouver, Briish Columbia 2015 ebb & flow, City Centre Community Centre, Richmond, $75,000 Appia Development, Burnaby, Briish Columbia 2013 Made in China, Prado Residences, Richmond, $85,000 ASPAC Developments, Vancouver, Briish Columbia 2013 versaile, Versaile Residenial Development, North Vancouver, $50,000 Aviaion Art Program, Port of Seatle, Washington State 2010 cloud/forest, Trico Centre for Family Wellness, Calgary, $75,500 Brookfield Properies, Calgary, Alberta 2009 Lulu, a memory garden, Paulik Gardens Community Park, Richmond, $30,000 Calgary Police Officers’ and Firefighters’ Tribute Plaza, Parks Foundaion Calgary 2009 view, Vista Place, North Vancouver, $50,000 Canadian Pacific Hotels, Whistler, Briish Columbia 2009 vessel, Thunder Bay Skate Park, $75,000 Canada Sunrise Developments Ltd., Richmond, Briish Columbia 2009 land/mark, Bishop Grandin Greenway, Winnipeg, $86,000 City of Burnaby, Briish Columbia 2009 out/look, Keith Road Boulevard Redevelopment, North Vancouver, $50,000 City of Calgary, Alberta 2009 songbird, Diana Krall Plaza, Nanaimo, $90,000 City of Lethbridge, Alberta 2008 bamboo, luminous, Fire Staion 10 & Emergency Centre, Seatle, $70,000 USD City of Richmond, Briish Columbia 2008 fragments, Donor Recogniion, North Vancouver Main Library Plaza, $50,000 City of Nanaimo, Briish Columbia 2008 counterpoint/voyage to the mountain, Centerpoint Residences, Burnaby, $60,000 City of New Westminster, Briish Columbia 2008 voyage, Ventana Residences, North Vancouver, $30,000 City of Seatle, Office of Arts and Cultural Affairs 2007 arboreus, ater Rodchenko, Lynn Valley Library & Plaza, North Vancouver, $72,500 City of Surrey, Briish Columbia 2005 mapping, Internaional Building, Thompson Rivers University, Kamloops, $45,000 City of Thunder Bay, Ontario 2005 poised/moion study, Dixon Rec Center, University of Oregon, Corvallis, $50,000 US City of Vancouver, Briish Columbia 2004 WAVE , Skateboard Park Integrated Art, North Vancouver, $40,000 Cressey Developments, Vancouver, Briish Columbia 2004 sill point/from the centre outwards, Semiahmoo Library, Surrey, 2004, $50,000 Intracorp Developments Ltd., Vancouver, Briish Columbia 2002 SillMoion, Gilmore Skytrain Staion, Burnaby, $66,000 Ledingham McAllister Developments 2002 Lines in the Landscape, Rupert Skytrain Staion, Vancouver, $66,000 North Vancouver Arts Council, Briish Columbia 2001 fallen leaf, Through the Looking Glass, Jack Loucks Court, N. Vancouver, $75,000 Oregon Arts Commission, Oregon State 2001 Mind & Body, Guildford Community Centre, Surrey, $86,250 Rapid Transit Project 2000 Ltd., Briish Columbia 2000 The Garden & the Wilderness, Chateau Whistler, CP Hotels, $40,000 Solterra Group of Companies, Delta, Briish Columbia 1999 Nature & Culture: A Work in Progress, Naional Capital Commission, Otawa, unbuilt SoundTransit, Washington State Thompson Rivers University, Kamloops, Briish Columbia Finalist - Selected Naional & Internaional Compeiions University of Oregon, Corvallis, Oregon 2016 echo, Edward C. Allworth Oregon Veterans Home, Lebanon, Oregon Washington State Department of Transportaion 2015 Canadian Building Trades Monument, NCC, Otawa, $660,000 Washington Metropolitan Area Transit Authority, Washington DC 2015 unitled, uOtawa Staion, Confederaion Line Phase Two, Otawa, $200,000 Winnipeg Arts Council, Manitoba 2015 sky shaped like a dragon, 40 Years of Vietnamese Immigraion, LA, $100,000US Winnipeg Internaional Airports Authority, Manitoba 2015 Welland Canal Fallen Workers Memorial, St. Catherines, Ontario, $650,000 2013 Public Art for Great Plains Recreaion Facility, City of Calgary 2012 O, WinSport Canada, Calgary, Alberta 2011 totem, Edmonton Zoo, Edmonton Arts Council 2011 mirror, mirror, DC Village Bus Garage Project, Washington DC 2009 a walk through the forest, Tynehead Greenway Pedestrian Overpass, Surrey, BC 2008 Three Harbour Green, Coal Harbour, ASPAC Developments, Vancouver, BC 2008 Peace Bridge, Fort Erie Public Bridge Authority, with LDI Ltd., $1,000,000 2007 the vessel in the forest, Gaineau, Naional Capital Commission 2006 Roosevelt/Greenlake Corridor Art Corridor, Seatle, Washington 2005 Fallen Firefighters’ Memorial, Salem, Oregon 2001 the luminous void, Pearson Internaional Airport, Toronto Airports Authority 2001 Silent Form, 401 Burrard, Vancouver, Canada Lands Corporaion 2000 Inflecions, Chinatown Monument, City of Vancouver 2000 Earth’s Curve/Skyview, Commission for Mississauga Reciprocal Git to Japan 1999 Presence & Absence, Humanitarian Aid Workers’ Monument, Otawa SUSAN NARDULI Los Angeles, CA naradulistudio.com [email protected]
My work has never been defined by media. At the creative core of my practice is a belief in an IDEAS-driven approach, exploring new technological paradigms to reflect the diversity of context and experience that shape our modern perspective.
I often use ephemeral phenomena that can be understood through movement and that shift and change over time. From my prior work as an installation artist, I have come to understand ways to craft space that build on nuance. So my relationship to content and form comes from that sensibility – to look for the inherent meaning beyond the physical and to be mindful of the subtleties of perception within a larger ontological awareness. I believe that a physical environment, in large part, is an emotional and intuitive experience.
My recent work draws from a shift in the parameters by which we define and understand that environment, and the implications this has on the intersection between private and public space. Most of us spend a good portion of our day in the virtual world. This sensibility has seeped into our traditional notions of public space, and out of that has come a new construct that is experience and content-driven.
Several of these projects are time-based works that bring together the virtual and physical in one environment, positioning real-time data, generative art and interactive media alongside content derived from our experience of the physical world. I am most interested in layers of information that co-exist in our cultures –apparent and latent- and alternate or parallel histories. I seek to explore how we see ourselves within this milieu and relative to the natural and constructed world. In these works, the individual becomes a catalyst by which the hidden dynamics of contemporary culture are manifested. And to see oneself within that context, explores the duality whereby the most personal and the most public exist simultaneously.
I was originally trained as a sculptor, and then studied architecture to pursue my interest in large-scale public projects. My dual background means that I have extensive experience working with engineers, contractors, fabricators, and other consultants and am well acquainted with the timelines, schedules, and budgets associated with integrating public art elements into complex construction projects. My studio frequently works with pre-established teams and welcomes the collaborative process.
Top to bottom: Weaving and Inheritance Garden, 2009, Fresno, CA; Columbarium and Garden of the Senses, 2008, Orange, CA; Metlox Public Plazas, 2006, Manhattan Beach, CA NARDULI STUDIO is an interdisciplinary design practice whose identity has been built on its ability to create spaces that engage people through the integration of art, technology, landscape and media. At its creative core is a belief in a research-based approach, exploring new technological paradigms to relect the diversity of context and experience that shape our modern perspective. Narduli Studio has received awards for its work and has exhibited nationally and internationally.
LAND AND TIME | Natural History Museum of Utah AMERICANS FOR THE ARTS BEST PUBLIC ART OF 2011
SELECTED COMMISSIONS Convergence | current | 100’ X 20’ New Media Facade and Virtual Environment | Los Angeles, CA | Greenland USA | Collaboration with Reik Anadol Pasea‘ | current | 60’ X 20’ Digital Facade overlooking Paciic Coast Highway, Huntington Beach, CA | R. D. Olson Development A Well Remembered Place | current | Digitally Drawn Laser Cut Metal and Light Facade | West Hollywood, CA | Kings 1826 LP Cabinet of Curiosities | current | Digital Mapping and Storytelling | Inglewood, CA | City of Inglewood Fire | Water | current | Chinatown Gateway | Sixty foot high video installation at gates of Chinatown | Downtown Los Angeles Route 66 | current | Interactive Media Wall and Streetscape Installation | Santa Monica | OTO Development Object Permanence | current | New Media Installation | Community Memorial Hospital Contemporary Art Collection | Ventura, CA Conversation | Interactive Realtime New Media Installation | Palo Alto City Hall Lobby | City of Palo Alto | Completed 2016 Public Art Rosters 2016 | current | Public Art San Antonio | Washington State Arts Commission Passage of Remembrance | San Francisco Civic Center | Completed 2014 | CODA Awards 2015 Top 100 Art Projects Earth and Sky Becoming | Finalist | AIDS Monument and Digital Environment | West Hollywood, CA TimeKeeper | Westgate Plaza | Interactive New Media facades around public plaza | Old Town Pasadena, CA | CODA Video Awards 2015 NOMA | Light and New Media Underpass Project | Finalist | Interactive Projection and Light Artwork, Washington DC. Veterans Garden and Plaza | L A County Arts Commission | Whittier, CA | Completed 2015 Land and Time | Video Projection and Data Visualization Installation | Natural History Museum of Utah | Americans for the Arts Best Public Art of 2011 Weaving | LED/LCD Video Triptych | Madden Library | Cal State University, Fresno | Americans for the Arts Best Public Art of 2009 Brea War Memorial | City of Brea Civic Center CA | Garden and Integrated Memorial | Completed 2013 Columbarium & Garden of the Senses | Chapman University, CA | 2009 AIA Award of Excellence Metlox Public Plazas, Manhattan Beach, CA | Site-speciic artworks for Public Plazas | 2008 AIA Award for Urban Design Urban Stream | Public Plaza Fountain and Lightwork | Downtown Los Angeles, CA Ventura Memorial Park |City of Ventura | Redesign of Historic Cemetery LightWash/7 | Gateway Streetscape Lightwork Downtown Los Angeles, CA | CRA and Related CA Francis Scott Key Bridge | State of Maryland | Dynamic Interactive Bicentennial Artwork sited in Baltimore Harbor Riparian Parks | Integrated artworks for two Riparian | Parks Playa Vista, CA | Playa Capital Company The Wave | Zoo Miami | Finalist | Florida Exhibit Children’s Play Area | Miami-Dade County, Miami, FL Corporate Pointe | Intergrated LED Light Facade for Ofice Tower | Culver City, CA | IDS Real Estate Court Park | Playa Capital Company | Freestanding sculptural environment | Playa Vista, CA Dragon Play | Entry courtyard suspended sculpture | Arcadia, CA | Westield Corporation Lightwave | LEED Light Environment | Finalist | Newport Beach Civic Center, CA | City of Newport Beach Riverwall | County Administration Building | Finalist | San Joaquin County | Interactive Light Facade Studio 1452 | Academy and North American Headquarters | Goldwell USA | 2009 International Design Award: First Place Multi-Flex | re-imagining of the single family home site | Venice, CA | AIA Next L.A. Award Control Tower Facade | Façade and Light Installation for Historic Control Tower, Burbank Airport, CA Church of our Saviour | Site-speciic Integrated Artworks | San Gabriel, CA Alice Fountain | AMC Entertainment | Fountain & Mural | Burbank, CA NOHO Streetscape | Urban Streetscape | North Hollywood Arts District, CA Memorial Pier, Revisioning of Historic Pier and Site-speciic artworks | City of Long Beach Abraham Lincoln Brigade | Monument to the Americans of the Spanish Civil War | Finalist | San Francisco American Airlines Terminal, Los Angeles International Airport | Integrated Site-speciic Artworks Pedestrian Bridge (with Hiro Yamagata), Los Angeles County Museum of Art | Laser installation American Eagle Terminal, Los Angeles International Airport | Facade Artwork City Market | Hologram Light Installation for Downtown Garment District | Los Angeles, CA California Institute of the Arts | Site-Speciic Commissions | Valencia, CA | AIA Honor Award Anheuser- Busch | Streetscape Facade and Light Installation | Northridge, CA Sonsbeek | International Art Exhibition in Park Sonsbeek | Arnhem, Netherlands | Collaboration with Liz Larner NARDULI STUDIO www.nardulistudio.com SUSAN NARDULI leads the design team and guides the conceptual evolution of the work. After obtaining a BFA in sculpture with a focus in Inter-Media, she studied architecture to pursue her interest in large-scale public projects. She received a Masters degree from the School of Architecture and Planning at UCLA, and for the next 5 years was Project Designer in the ofices of Frank Gehry. There, she completed projects ranging from sculptural objects and installations to urban master plans. She formed Narduli Studio in 1991 as a practice that could unite the solution strategies of architecture with the critical inquiry of art. SELECTED EXHIBITIONS & PUBLICATIONS HIC ET NUNC: Blasted Landscapes, San Vito al Tagliamento, Italy A New Spirit: Art & Architecture of Southern California, Kultur Ban Hoff; Kassel, Germany Moderne Arkitektur I Los Angeles, Danish Architecture Center; Copenhagen, Denmark Sonsbeek International, (Collaboration with Liz Larner), Arnhem, Netherlands; Sexual Politics, Armand Hammer Museum of Art, Los Angeles, California Unveiling the Future, Santa Monica Museum of Art, Santa Monica, California New Blood 101, Paciic Design Center, West Hollywood, CA DRAWN; Perloff Gallery , UCLA Houses of God, Images Publishing Group Pty Ltd. HIC ET NUNC; Rassegna di Arte Contemporanea, Edizioni Biblioteca Dell’Immagine, Italy L.A. LOCAL; Pilgrimage of Architecture Series, Maruzen Publishers, Japan Outdoor Rooms, Rockport Publishers SONSBEEK , Snoeck-Ducaju & Zoon Publishers, Netherlands Juliet Art Magazine, Italy, “Narduli / Grinstein” CODAmagazine:Light as Art lll: https://lipboard.com/@codaworx/codamagazine%3A-light-as-art-iii-paom665by Archive of Digital Art, 2016 Artillery Magazine, March/April 2016: PUBLIC DISPLAY, SoCal Sculptures that Don’t Disappoint, O’Brien CODAmagazine,Technology + Art:lipboard.com/section/codamagazine%3A-technology-%2B-art-bLM64 The Washington Post, October 1, 2014, DC’s NoMa rail project Finalist designs revealed MUSEUM WITHOUT WALLS:culturenow.org/?page=search&search_param_item=narduli&submit=SEARCH CODAmagazine:Light as Art: https://lipboard.com/section/codamagazine%3A-light-as-art-bOhNnI ABC News; http://abc7news.com/politics/82-years-later-san-francisco-inally-gets-war-memorial/345298/ Los Angeles Times, October 7, 2014, San Francisco Veterans Memorial San Francisco Chronicle, October 5, 2014, San Francisco Veterans Memorial Dynamic Architecture; May 2013, Weaving Architects Newspaper, July-August 2011 San Francisco Chronicle, July 17, 2011 Angeleno Magazine, March 2011. “Art-chitecture?” FORM Magazine, “The Garden of Earthly Delights” November/December 2010 Architect’s Newspaper, February, 2010 VMSD, February 2010 Public Art Quarterly, Winter 2009 LA Observed, December 15, 2009.” Native Intelligence”, Susan Narduli interviewed. Reuters US Edition: reuters.com/article/idUS175514+16-Sep-2008+BW20080916 American Style Magazine, October, 2009 California Home and Design Magazine, Sept/Oct 2009 Fiberarts, September/October, 2009 Architect’s Journal, London, September 2009 Fabric Architecture, July/August, 2009 California Real Estate Journal, June 15th, 2009 Tommywood Blog: tommywood.com/blog/2009/06/cool-art-installation.html
NARDULI STUDIO www.nardulistudio.com ERIN SHIE PALMER Honolulu, HI erinshiepalmer.com [email protected]
I have been making places … imaginary and otherwise … for as long as I can remember. I create visual experiences by arranging unexpected physical constructs that can be entered and occupied by the imagination.
Working in site-specific venues including gallery- encompassing temporary installation, fully integrated permanent artworks, and environmental landscapes, I explore non-tangible qualities of place and perception of space, working with architectural elements and space to physically engage viewers and create richly textured physical and psychological topographies. I seek to heighten awareness of place, layering experiences revealed through exploration and making visible that, which exists beneath the threshold of the readily apparent.
My background in art, textiles, and architecture interweave in the material sensibility and sense of hand that distinguish the work. This background leads me to look very expansively at environment and cultural context, and offer a unique and insightful perspective and approach to integrated team projects.
I work with a broad range of materials including metal, glass, stone, concrete, fiber, wood, and landscape. The scope and scale of my work includes intimately scaled wall pieces, gallery-encompassing temporary installation, fully integrated site-specific permanent artworks, and landscape-scaled works. Formally and structurally, there is an underlying consistency that spans these varied settings. In public commissions, I layer imagery and metaphor grounded in the activity and meaning of a place itself, bringing focused attention to both the larger context and to details that reveal information over time to build visual and physical memory.
I feel strongly that involving artists in the design process encourages the development of conceptual work that grows out of the place itself, and that collaboration with the architect strengthens the integral quality of each piece in relationship to the building. I have collaborated in public and community based projects, as I find that combining diverse backgrounds can lead to a challenging process with rich results.
My experience in design team includes work as arts planner, project lead designer, and design team artist, working on projects from from inception to installation. I have teamed with designers, communities, and clients to conceptualize, plan, and develop projects. I enjoy Top to bottom: Temple of Music, 1998, Seattle; Cumulus involvement in the design process to facilitate conceptually Facta, 2012, Gresham, OR; Clearing, 2004, SeaTac Airport cohesive approach to art, architecture, and landscape, and have worked creatively to leverage art budgets through thoughtful planning. . ERIN SHIE PALMER . 2349 Liloa Rise 206 852-8653 Honolulu, HI 96822 [email protected]
Public and Private Commissions In progress Kahului Airport Consolidated Rental Car Facility. Kahului Airport. Maui, HI In progress Whatcom Community College. Bellingham, WA 2016 Sotto Voce. Los Angeles County Department of Coroner. Los Angeles, CA $125,000 2012 Cumulus Facta (Accummulated Deeds) East County Courthouse. Rockwood, OR $138,000 2010 Paene Insula Ilwaco Middle/High School, WA. Washington State Arts Commission. $28,000 2008 Letter Cloud with Susie Kozawa, sound artist. Wing Luke Museum. Seattle, WA $7000 2008 Echoing Home with Susie Kozawa, sound artist. Wing Luke Museum. Seattle, WA $7000 2004 Clearing. SeattleTacoma International Airport. Seattle, WA. $438,000 2003 Umidori. Commissioned for private yacht. 2002 Puyallup Library. Puyallup, WA. Budget $60,000 2000 Light Pylons. Tacoma Dome Area Streetscape Improvements. 2000 Portolani (Pilot Book). Bainbridge Island City Hall. Bainbridge Island, WA. Budget $26,500 1998 Heartstring. Harborview Medical Center. Seattle, WA 1998 Temple of Music. Seattle Symphony Hall Transit Tunnel Entrance. $100,000
Design Team Artist / Arts Planner 2008-2009 Los Angeles County Department of Coroner. Design Team Artist. Los Angeles County Arts Commission 1999-2000 Tacoma Dome Area Streetscape Improvements. Arts Planner and Design Team Artist 1998-1999 Bainbridge Island City Hall. Design Team Artist. Bainbridge Island Arts & Humanities Council. 1995-1996 Benaroya Hall. Design Team Artist. Seattle Arts Commission. Seattle, WA
Installations 1999 Salt: a distant hunger. Mixed media installation. Bellevue Art Museum. Bellevue, WA 1999 Intimate Topography. Mixed media installation. Here and There Exhibition. CoCA. Seattle, WA 1996 Salt: a distant hunger. Mixed media installation. King County Art Gallery. Seattle, WA 1996 Hand Held. Collaborative installation with Ruth Marie Tomlinson. Seafirst Gallery. Seattle, WA 1995 Longing. Mixed media installation. Sense of Place Exhibition. Pauahi Gallery. Honolulu, HI 1995 Reading with a Fawnlike Elephant. Collaboration with Ruth Marie Tomlinson. Bellevue Art Museum. 1994 Object Not Sighted. Collaboration w/Ruth Marie Tomlinson. Green River Comm College. Auburn, WA 1992 Utsuroi. Mixed media installation. Security Pacific Gallery. Seattle, WA
Selected Group Exhibitions 2015 Hawaii Craftsmen. Linekona Art Center. Honolulu, HI 2013 Matchbox Plus IX. Cedar Street Galleries. Honolulu, HI 2008 HotHouse: Expanding the Field of Fiber at Cranbrook. Reading Public Museum. Reading, PA 2007 HotHouse – Redefining Fiber at Cranbrook 1970-2007. Cranbrook Art Museum. Bloomfield Hills, MI 2006 Arts Parts. Gallery4Culture. Seattle, WA 2001 Kustom Purse. Kuhlman. Seattle, WA 2000 Millenium Art Project. Seattle Center. Seattle, WA 1999 Within. ArtSpace Gallery. Seattle, WA 1998 A Celebration of Women. A Women’s Gallery. Seattle, WA 1997 More Than Words Can Say. Soil Gallery. Seattle, WA 1997 Five Artists / Five Works. The Contemporary Museum. Honolulu, HI Alterations: Relationship Between Material and Memory. El dorado Gallery. Kansas City, MO 1996 Beyond the Rock Garden. Wing Luke Asian Museum. Seattle, WA 1995 New Directions. Hoffman Gallery. Portland, OR West / Line / East / Space. Textile Arts Centre. Chicago, IL 1994 Pacific Northwest Annual. Bellevue Art Museum. Bellevue, WA 1993 Cranbrook Fiber at University of the Arts. University of the Arts. Philadelphia, PA The Body of Work. Pontiac Center for Creative Arts. Pontiac, MI 1992 Paper/Fiber XV. The Arts Center. Iowa City, IA 1991 Northwest International Art Competition. Whatcom Museum of Art. Bellingham, WA
Architectural Practice Erin Shie Palmer is a licensed architect. She has worked with firms in the Midwest and on the East Coast, and maintains an independent practice in Seattle and Hawai’i comprising residential and small commercial projects.
Education 1993 Master of Fine Arts. Cranbrook Academy of Art 1980 Master of Architecture. University of Michigan 1978 Bachelor of Science. University of Michigan
Selected Awards/Honors 2008 Jack Straw Artist Support Program (collaborative project with Susie Kozawa, sound artist) 2000 Artist Trust GAP Grant 1999 King County Arts Commission Special Projects Grant (collaborative project with A C Peterson) 1998 King County Arts Commission Special Projects Grant 1996 Artist Trust GAP Grant 1995 King County Arts Commission Special Projects Grant 1994 Allied Arts Foundation Grant Ruth Chenven Foundation Grant Pacific Northwest Annual Award 1992 Jack Lenor Larsen Scholarship Michigan Fine Art Competition Award 1991 Perspectives from the Rim - the Next Generation. Award 1987 Artists' Housing National Design Competition Award 1986 American Institute of Architects Honor Award for Austin Hall Renovation
Selected Publications Andrews, Pat. “‘Pilot Book’ Plots City Hall Course.” Bainbridge Island Review. September 4, 1999. Anderson, Grace. "Salomon Center for Teaching-Brown University." Architectural Record. August 1990. Best, Sherry L. “Where This Becomes That.” The Pitch Weekly. May 29, 1997. Boylan, John. "Bellevue Art Museum: Plenty of Latitude." Reflex. October/November 1995. Brown, Betty J. "Perspectives from the Rim." FiberArts. January/February 1992. Conner, Jill. “Land/Use/Action.” Art Access. July/August 1999 Crosbie, Michael J. "Austin Hall Renovation - Harvard Law School" Architecture. November 1986. DeVuono, Frances. “‘Here and There’ at CoCA.” Artweek. September 1999. "Exposure." Surface Design Journal. Winter, 1993. Goodnow, Cecelia. "Kids - Book Artists Get Their Due." Seattle Post-Intelligencer. December 16, 1994. Goss, Lee. "Great Books." Eastside Week. January 4, 1995. Grant, Adriana. “Letters Aloud: Susie Kozawa and Erin Shie Palmer at Wing Luke.” Seattle Weekly. March 3, 2009. Hackett, Regina. “1999 Northwest Annual: a Very Good Year at Bellevue Museum.” Seattle P-I. July 12, 1999. Hushka, Rock. “When Our Protection Poisons Us.” FiberArts. Summer 1998. Kangas, Matthew. “Trying to Get a Handle on Public Art.” Seattle Times. November 17, 2006. Keely, Pam. "Ruth Marie Tomlinson and Erin Shie Palmer at Green River Community College" Visions. Winter 1994 Kofoed, Kristian F. “Art for Our Sake.” Seattle Weekly. September 24, 1998. Margeson, Doug. "Illustrious Art." Journal American. December 9, 1994. Palmer, Erin Shie. "Art and the Urban Fabric." Reflex. December 1995/January 1996. Rose, Joan. "A 'Sense of Place' in Downtown Honolulu." Honolulu Advertiser. September 3, 1995. Rose, Joan. "Artists Transform the Invisible into Visual Form." Honolulu Advertiser. March 2, 1997. Rothstein, Edward. “Seattle Asian Museum Move Around the Corner & Into Its Identity” New York Times. June1,2008 “Seattle Public Commissions.” Artweek. January 1996. Talley, Charles. "Reunion at Cranbrook." American Craft. October/November 1992. Updike, Robin. “An Artist’s Symphony of Images.” Seattle Times. September 15,1998. Updike, Robin. “Here, There and Everywhere.” Seattle Times. July 1, 1999. Updike, Robin. "No 'Men at Work'." Seattle Times. June 6, 1996. Wilner, Lucy. "Walking the Line." Reflex. October/November 1994.
MATTHEW PASSMORE Oakland, CA morelab.com [email protected]
I am an artist who thinks about cities. My artwork explores the social, physical and ecological dynamics of urban public spaces through a range of creative tactics, from temporary interventions to permanent monumental sculpture. My permanent public artwork examines the way in which urban infrastructure -- hidden and seen, physical and social -- shapes our experience of public space and the built environment. My work invites people to reimagine the world and their place in it through remixing, repurposing, and re- messaging the familiar and the unexpected.
A number of my public art projects explore the theme of public art that also serves a community function. Until 2013, I ran the Rebar Art & Design Studio (“Rebar”), a studio I founded in 2004 and which is best known as the creator of “PARK(ing) Day” – an annual global art event where artists and residents convert metered parking spaces in parks and other places for people.
In 2013 I created MoreLab, a spinoff of Rebar that is focused specifically on public artworks and spatial designs that enhance the quality and character of public space. At MoreLab, as with Rebar, I work closely with large collaborative design teams on projects with a range of stakeholders. My clients are public agencies, private developers, architects and community organizations. I thrive on collaboration and enjoy working closely with community groups to develop artworks that strengthen a sense of community identity and pride.
MoreLab, my current studio, undertakes both art and design projects. We design and create artwork, objects and spaces for cities and private clients. In doing so, we have have significant and ongoing experience working on large collaborative design teams that include city agencies, developers, architects, designers, engineers, builders and other stakeholders
Top to bottom: Intersection, 2015, Portland, OR; Street Life, 2010, San Francisco, CA; Parklet, 2011, San Francisco, CA
Matthew Gates Passmore b. 1970, San Francisco, California, USA. Lives and works in Berkeley and Oakland, California.
Completed Public Art Commissions Intersection, 2015, commissioned by Portland TriMet. Budget: $275,000. Zephyros, 2015, commissioned by the San Francisco Arts Commission. Budget: $140,000. Door/Viewer, 2014, commissioned by Wood Partners (1% for art) San Mateo, CA. Budget: $125,000. Burrows Pocket Park, 2014, commissioned by Architecture for Humanity. Budget: $130,000. Gigantry, 2015, commissioned by the San Francisco Redevelopment Agency. Budget: $80,000. Handsignals, 2014, commissioned by the San Francisco Arts Commission. Budget: $51,000. Street Life, 2010, commissioned by the San Francisco Arts Commission. Budget: $35,000.
Selected Exhibitions Stanford University, Anderson Collection Museum, Groove Grove, Stanford CA. 2015. Oakland Museum of CA, Vinyl: The Sound and Culture of Records, Oakland, CA. 2014. Berkeley Art Museum, Kaleidoscape, Berkeley, CA. 2013-16. de Young Museum, Urbanauts, San Francisco, CA. 2012-2013. Istanbul Design Biennial, Adhocracy, Istanbul, Turkey. 2012. Venice Architecture Biennale (American Pavilion), Spontaneous Interventions, Venice, Italy. 2012. Contemporary Jewish Museum, Do Not Destroy, San Francisco, CA. 2012. Benaki Museum Athens, Against All Odds Project, Athens, Greece. 2011. Carriageworks, Urbanition, Sydney, Australia. 2011. San Francisco Urban Planning Association (SPUR), DIY Urbanism, San Francisco, CA. 2010. San Jose Museum of Art, Retro-Tech, San Jose, CA. 2010. Venice Architecture Biennale (Italian Pavilion), Out There, Venice, Italy. 2008. Venice Architecture Biennale (American Pavilion), Into the Open, Venice, Italy. 2008. ExperimentaDesign Amsterdam 2008, Urban Play, Amsterdam, The Netherlands. 2008. Yerba Buena Center for the Arts, The Gatherers: Greening Our Urban Spheres, San Francisco, CA. 2008. Canadian Center for Architecture, Actions: What You Can Do with the City, Montreal, Canada. 2008. Univ. of Massachusetts, Amherst, Art in the Public Sphere, University Gallery, Amherst, MA. 2008. Sainsbury Center for Visual Arts, Garden Greats. University of E. Anglia, Norfolk, U.K. 2007.
1 Passmore CV – 2016
Van Alen Institute, The Good Life. New York, NY. 2006. Southern Exposure Gallery, Between The Walls. San Francisco, CA. 2006.
Teaching, Curatorial, Grants and Awards Arts Commissioner, Berkeley Civic Arts Commission, Berkeley, CA. 2016-2018. SPUR Urban Center, Sound and the City exhibition (lead curator), November 2015-May 2016. de Young Museum Artist Advisory Council, 2014-present. Taliesin West, The Frank Lloyd Wright School of Architecture, Artist Residency, 2015. de Young Museum Artist Fellowship, San Francisco, CA. 2012-2013. San Francisco Art Institute, Visiting Professor, The City is the Sculpture, Urban Intervention, Fall 2013. Adaptive Metropolis, U.C. Berkeley, September 27-29, 2013 (lead curator). Urban Prototyping Festival, 2012 (curator and project partner). Creative Work Fund, Visual Arts Grant recipient, 2010.
Selected Lectures and Symposia EcoMobility World Festival 2015, keynote address, Johannesburg, South Africa, October 8, 2015. World Bike Forum 2015, closing keynote address, Medellin, Colombia, Feb. 28, 2015 Riga Forum, 100% City, Riga, Latvia, Dec. 6, 2014. d.Talks, Calgary, AB, Canada, Oct. 1, 2014. TEDxVienna, Vienna, Austria, Sept. 20, 2014. Art & Aesthetics Symposium, Benaki Museum, Athens, Greece, June 5-6, 2011. SmartCity Conference, Cité Internationale Universitaire de Paris, France, Jan. 22 – 28, 2010. Harvard University Graduate School of Design, Ecological Urbanism symposium, April 3-5, 2009.
2 Passmore CV – 2016 ROGER PEET Portland, OR toosphexy.com [email protected]
My public art practice is currently focused on murals. I have painted several murals around the Portland area, and I administer a national project called the Endangered Species Mural Project which aims to paint murals about endangered species in the cities and towns near to where those species are found.
My art practice aims to provide resources for communities and educators to increase knowledge and understanding of principles of ecology, conservation, environmental responsibility, and biodiversity, with a focus on underserved communities of working-class, migrant, or otherwise marginalized people
I've worked in collaboration with groups of artists on large multimedia installations at local, national and international levels. I'm a founding member of an award-winning artist cooperative, Justseeds, that has produced several cooperative installations, as well as many portfolios of prints by large groups of artists.
Top to bottom: La Union Mural, Chiapas, Mexico, 2013; City Bikes mural, 2013, Portland, OR; Woodland Caribou, 2015, Sandpoint, ID Roger Peet CV
Roger Peet is an artist and printmaker based in Portland, Oregon. Born in South Africa, raised internationally, he came to the US in 1988 and studied sociology at Oberlin College. His current work in graphic art addresses issues of extinction, biocultural diversity and environmental disaster with an emphasis on conflict between culture and nature. He is a founding member of the Justseeds Artists' Cooperative, a group of North American artists producing socially and environmentally engaged works. He creates his imagery by hand, using analog methods of paper and film cutting, linoleum block-printing and stencil to create emotionally expressive, information-rich narrative images. He is also a muralist, writer, installation artist, and puppeteer. He has organized international collaborative printmaking projects and installations, developed artistic tools in the service of conservation, and collaborated with activists, artists and scientists across the globe. He is the president of the board of directors of the Flight 64 print studio in Portland.
Selected Solo exhibits: Predator Culture, Iron Tail Gallery, Lincoln, NE, March 2016 In//Appropriate, Littman Gallery, Portland, OR, July 2015 Traps, Flows and Echoes, PNCA, Portland, OR, November 2014 Old Beginnings, Screaming Sky Gallery, Portland OR, January-March 2014 New Prints, Olympic Mills Commerce Center, Portland OR, July-September 2013 New Prints, Caldera Arts Center, Portland, OR, July 2013 A Hunger, Screaming Sky Gallery, Portland, OR, February 2013 Bioadversity, Vakiopaine gallery, Jyvaskyla, Finland, April 2012 Bioadversity, Screaming Sky Gallery, Portland OR, December 2011 Viande de Brousse, PLACE Gallery, Portland, OR, July-August 2011 New Prints, Flight 64 studio, Portland OR, June 2011 We Agree: A Crisis in Common, Black Butte Center for Railroad Culture, Weed, CA, April 2011 We Agree: A Crisis in Common, SEA Change Gallery, Portland, OR August 2010 Prints, Bedlam Theatre, Minneapolis, MN, July 2009 Noxious, Bedlam Theater, Minneapolis, MN, July 2007 Red in Tooth and Claw, Amsterdam, Dijon, Montpelier, Dublin, Cork, London, March-May 2006 Mark Trail Gets It/ A Good Robot is Hard to Find, Portland, Seattle, Friday Harbor, Bellingham, Summer 2004 Selected Justseeds Exhibits: Gathering Autonomy, Inaugural Exhibit, PNCA 501 Gallery, March-June 2015 Uprisings: Images of Labor, Union Art Gallery, Milwaukee, March 2013 Sowing the Seeds of Love, Munch Gallery, NYC, NY Dec 7th-23rd, 2012 Migration Now, LeCagibi, Montreal, Quebec, Canada, October 20-Dec 2, 2012 War Is Trauma: Justseeds IVAW Collection, Central Texas College, Killeen, TX, June-Aug 30th 2012 Undocunation 2012, Yerba Buena Center for the Arts, San Francisco, CA, May 2012 Agit-prop and Intervention, Neurotitan Gallery, Berlin, April 2012 Justseeds, Miller Gallery, Pittsburgh Biennial, September 2011 Refuge, Grand Prix Winner Installation, Gallery Alkatraz, International Graphic Biennial, Ljubljana, Slovenia, September 2011 No More and Nothing Less, Screaming Sky Gallery, Portland OR, January 2011 (curator) Justseeds Political Print Show, Brecht Forum, New York City, NY, November 2010 Resourced, Marketplace Gallery, Albany, NY, August 2010 Which Side Are You On? Justseeds group installation, University Of Wisconsin Milwaukee, Union Gallery, March 2009
Other Group Shows: Appropriation, Wing Luke Museum, Seattle, November 2015 The Meek Shall Inherit Redux, Hampden Gallery Umass, August 2014 The Meek Shall Inherit, BoxoPROJECTS, NY, NY September 2012
Awards/Recognition: Visiting Artist, Univ. of Nebraska, Omaha, March 2016 Ucross Residency, October 2015 RACC Artistic Focus Grant, December 2014 Sitka Center Residency, November 2014 Signal Fire Residency, July 2014 RACC Artistic Focus grant, December 2013 Caldera Arts Center Residency, February 2013 Ford Family Foundation Grant, September 2012 Signal Fire Residency, July 2011 Caldera Arts Center Residency, February 2013 Ford Family Foundation Grant, September 2012 Signal Fire Residency, July 2011 RACC Public Art Murals Grant, 2011 Oregon Arts Council Opportunity Grant, 2011 RACC Artistic Focus grant, 2010 Grand Prix at International Print Biennial, Ljubljana, 2009 (as member of Justseeds)
Murals:
Migration/Migracion, Endangered Species Murals Project, Minneapolis, MN, August 2015 Mountain Caribou, Endangered Species Murals Project, Sandpoint, Idaho, May 2015 For A Wilder World, Alleyway Bar, Portland, OR, August 2014 Producción, Moises Gandhi, Chiapas, Mexico, November 2013 Lento pero Avanzamos, La Unión, Chiapas, Mexico, November 2013 Water, Portland Community College Student Lounge, Summer 2013 Citybikes Cooperative, Portland, OR, 2011
Press and Publications:
'Whiteness Goggles' Set Out To Change How You See Cultural Appropriation, Huffington Post, July 2015 http://www.huffingtonpost.com/entry/whiteness- goggles-cultural-appropriation-roger-peet_55a7f7d3e4b04740a3df470c Why Do We Protest? Bitch Magazine, September 2014 http://bitchmagazine.org/post/why-do-we-protest-peoples-climate-march-activism-nyc
Setting the stage: theater troupe revives tradition to promote conservation in DRC http://news.mongabay.com/2014/0722-ikarashi-theater-lomami.html
Northeast Portland artist Roger Peet takes on Democratic Republic of Congo conservation, http://www.oregonlive.com/portland/index.ssf/2014/04/northeast_portland_artist_roge.html Printmaker Roger Peet at Caldera, http://www.opb.org/artsandlife/article/gallery-slideshow-printmaker-roger-peet-at-caldera/ Interview with Portland artist Roger Peet about his work in DR Congo http://kboo.fm/node/54200 Warlords, Sorcery and Wildlife: an Environmental Artist Ventures into the Congo, Mongabay.com, http://news.mongabay.com/2013/0225-hance-peet- interview.html Bandanas for Congo: Planning for Park Crosses the Fabric of Culture, Bear Deluxe Magazine, Portland, Oregon, issue 34, Spring 2013 Nothing Shy in the Art of Occupy, Washington Post, Dec. 6, 2011 JOSEPH PENTLAND St. Louis, MO synchrokinetic.com [email protected]
My work is synchronized kinetic sculpture at the intersection of technology and art. For the past several years I have been designing and building prototypes for several different kinds of pattern creation machines. The scope of my work has grown to include interactivity, allowing viewers to input and run their own patterns.
When at rest, each of my designs is an elegant work of art in itself. Set it in motion, however, and a kaleidoscope of patterns appears seemingly out of thin air, continually dissolving and coalescing into new patterns. Even the system's simplest patterns quickly advance to unexpected positions, revealing astonishing symmetries again and again. Each new work, with its 3-dimensionality, colors and shadows, and its subtle sounds and wind currents, engages the viewer in a unique and often mesmerizing way. Because there are an infinite number of different pattern possibilities, the potential for new and unexpected patterns is always there.
One of the great joys of creating public art for a specific site is the inspiration provided by the site itself. Each new site suggests new configurations, new materials and new ways in which to push the technology to reveal unsuspected beauties and harmonies. I am eager to have my art installed in locations that encourage use of the interactive features of my work, allowing users to participate in the creative process.
My approach to designing a public art work is first to meet with the stakeholders of the institution and the project architects and designers to understand the institution, its history, and the vision for the work to be commissioned. I welcome the opportunity to work collaboratively and in particular, to explore with the ways in which we can encourage and maximize viewer interaction with the artwork.
With a master’s degree in electrical engineering, I have a sound understanding of the technical requirements, the collaborative process and the design scale necessary to complete this type of project on time and within budget. When necessary, I have relationships with computer programming and fabrication consultants to ensure both the mechanical and computer programming aspects of each completed piece. When the piece is completed, I personally oversee and participate in all aspects of the installation
Top to bottom: Horizontal Line 264 72y 62, 2014, Connecticut; Blue Square 3, 2009; 24 Tubes, 2017, Ephraim, UT
NOTE: All artworks are kinetic and should be viewed on artist’s website. Joe Pentland 9821 Copper Hill Rd SYNCHROkinetic St. Louis, MO 63124 203.918.2597 [email protected] July 24, 2016
Curriculum Vitae Joseph C. Pentland
Education 1995 - 1999 Trinity College, Hartford CT BS Mathematics, Physics, Engineering
2002 - 2004 University of Michigan, Ann Arbor MI MS Electrical Engineering
Experience 2004 - present: Research and development in advanced motion control and & Work pattern generation. - United States Patents 7,899,576 Method and apparatus for producing kinetic imagery I. Issued 3/1/2011 8,230,625 Method and apparatus for producing kinetic imagery II. Issued 7/21/2012 8,544,199 Method and apparatus for controlling the spatial position of repetitive units. Issued 7/24/2013 8,978,279 Method and apparatus for producing kinetic imagery III. Issued 3/17/2015 - United States Patent applications in process (partial list) Method and apparatus for controlling kinetic flexible member imagery Method and apparatus for controlling falling pattern imagery
2009: State of Connecticut Artist Fellowship Award
2011 - 2012: One year installation of two pieces, 270 Congress St., Boston MA - Li e z Re ta gle R - Two Li es -43x 200-162 38-30-22- Disk R ,
2012 - 2015: Winner, State of Connecticut Art in Public Spaces competition for two permanent installations at CT Department of Public Health Laboratory, Rocky Hill CT - Horizo tal Li e y “phere R , o pleted Fe ruary - Verti al Li e z Pill P , o pleted May
2016 - current: Winner, State of Utah Percent for Art competition for a permanent installation at Snow College, Ephraim UT EDUARDO PINEDA Berkeley, CA storytellingwalls.com [email protected]
At a time of tremendous urban change, I feel my skills as an artist can help people see themselves as engaging with previous histories in the development of contemporary culture. I want to help express the lineage and evolving mixed heritages of our time.
I am inspired by the story of individuals, whether they are famous or unrecognized. We can all become role models, and the possibilities of re/interpreting the actions of better- known figures can be expansive. I also find the events of life – quotidian or historically known – engaging entry points to the visualizing of our shared experiences. As a curious artist, I want to expand the design vocabulary I use to express these narratives. Although I started in paint and like it, I want to continue to experiment in photography, concrete, ceramic tiles, as well as try new materials, processes, and practices.
Participatory process is central to my public art practice. I recognize the importance of building consensus through public processes, particularly to ensure buy-in from people who will live and work around public artworks. This inclusive approach can maximize the longevity and viability of my creative projects. I appreciate the possibility of co- creation with stakeholders and community members because it can stretch my creative thinking and challenge my professional artistic skills when arriving at unique and relevant solutions. The parameters and needs of each project govern the level and format of participation.
I am attentive to the significance of place, and offer my enthusiasm as well as “openness” to the range of potential settings public artworks can be created for. I respond aesthetically, psychologically, and emotionally to the built or envisioned architectural and social environment of each site in order to create a relevant public artwork. This holistic approach can result in enriching aesthetic experiences for people and can continue to reward them after multiple
Top to bottom: Raizes, 2000; UA Homes, 2014, Berkeley, CA; AYC Amphitheater Corner, 2013, Ashland, Oregon; Resume/Vitae Eduardo Pineda • 1342 Hopkins Street Berkeley, CA 94702 USA • c: 510.329.3287 e-mail: [email protected] website: www.storytellingwalls.com
Mural Commissions Energy and Power 2015 9x40’ interior mural at the Ronald T. Weakley Union Hall, Vacaville, CA. Sponsor: International Brotherhood of Electrical Workers 1245 Budget: $15,480
UA Homes Murals 2014 Two exterior murals (13x61’, 15x80’) for affordable living building in Berkeley, assisted by Nadya Voynovskaya, Rob Gibson. Sponsor: Resources for Community Development Budget: $99,500
Walden House 2013 9x50’ interior mural for women’s substance abuse treatment facility. SF, collaboration with Joaquin Newman. Sponsor: San Francisco State University Anthropology Department, Healthright360 Budget: $5,500
Codex to the Future 2013 Cast-concrete enhancements to amphitheater, engraved ceramic pavers in courtyard of REACH Ashland Youth Center, collaboration with Joaquin Newman. Sponsor: Alameda County Arts Commission Budget: $85,000
100 Families Highland Hospital Community Mural Project 2011 7x650', 50 panel digital mural for Highland Hospital, collaboration with Joaquin Newman Sponsor: Alameda County Arts Commission. Budget: $12,600
The Right to Good Health 2011 Mission Neighborhood Health Center 15x14' interior mural, collaboration with Joaquin Newman. Sponsor: Center for Minority Health and Health Disparities of the National Institutes of Health (Grant 1R13MD005792-01) Budget: $7500
Fox Courts 2009 9x34’ exterior murals on affordable housing complex, Oakland Sponsor: Resources for Community Development, Paytok Architects, Inc. Budget: $34,480
Collections Series 2009 A series of five 3x4’ glicée prints for Small Scale Artwork Commission Program Sponsor: Alameda County Arts Commission Budget: $8,000
Bana kumbe ka fusa ni bana furake ye/Better to prevent than to cure 2009 7x90’, exterior mural for regional health clinic, Bamako, Mali, West Africa Sponsor: Global Alliance to Immunize against AIDS (GAIA) Vaccine Foundation, Rhode Island Budget: $8,000
Raizes/Roots 2000/2016 10x72’, hand glazed tile mural for Jose Coronado Park clubhouse, collaboration with Raymond Patlán Sponsors: SF Recreation and Parks Department and SF Art Commission Budget: $14,000
El Mundial 1994/2004 20x50’ mural for World Cup Soccer Competitions, SF collaboration with Raymond Patlán Sponsors: Coca-Cola USA, restoration: Mayor’s Office of Community Development Budget: $10,000
NEL! 1993 12x60’ exterior mural declaring community concern with drug abuse, family violence and AIDS, collaboration with Raymond Patlán Sponsors: Narcotics Education League and City of Oakland Cultural Arts Division Budget: $12,000
Mission Family Center 1992 15x80’ exterior mural for family center, SF, collaboration with Raymond Patlán Sponsor: SF Mayor's Office of Community Development Budget: $10,000
Yerba Buena 1992 9x100’ exterior mural for construction barrier, collaboration with Raymond Patlán Sponsor: Center for the Arts at Yerba Buena Gardens Budget: $7,500
Valle de la Luna 1990 10x120’ exterior mural for winery picnic grounds, collaboration with Raymond Patlán, Sonoma Sponsor: Gundlach-Bundschu Winery Budget: $12,000
Retablo de los Padres 1989 28x32’ exterior mural for Sunshine School site, collaboration with developmentally disabled artists from Creativity Explored of San Francisco Sponsors: Mayor’s Office of Community Development and San Francisco Unified School District Budget: $9,000
ILWU 1986 18x24x6’ mural-sculpture commemorating the 1934 General Strike in SF, collaboration with Miranda Bergman,Timothy Drescher, Nicole Emmanual, Lari Kilolani, James Morgan, Raymond Patlán, James Prigoff, O’BrianThiele, Horace Washington Sponsors: International Longshoremen's and Warehousemen's Union and SF Art Commission Budget: $72,000
Education San Francisco State University, MA Interdisciplinary Arts-Painting 1988 San Francisco Art Institute, BFA Painting 1983 Diversity, Leadership and Museums seminar, Smithsonian Institution Center for Museum Studies 2000 Project Zero Institute Fellow, Harvard University School of Education 2006 MARCO PINTER Santa Barbara, CA marcopinter.com [email protected]
My work explores the underlying mechanisms of perception, creating situations of conflict between our higher level consciousness and lower level perception. I typically use materials which explore a fusion of physical movement with visualizations in the virtual world. I find inspiration in dance and sculpture, but also in cognitive psychology, neuroscience and mathematics.
In installation form, I work with robotic sculpture and computer graphic forms. At the same time I pursue similar themes in performance through the use of dancers, sensors and projected forms. This process becomes cyclical, wherein my observations of public participants with an installation, on the one hand, and my experience with performers and audience, on the other, create a feedback loop of cross-influence in my ongoing exploration.
With my work, through a dialog between dynamic material forms (live participants and/or sculpture) and virtual forms (e.g. via screens and projections), I seek to challenge our cognitive perceptions of what is real and what is imagined. Ideally, this may inspire a viewer to reflect on the illusory realities which our senses create, and how those constructs impact perception and behavior.
In addition to my artistic practice, I have many years of industry experience in interactive software and medical robotics, my PhD is in Media Arts & Technology, and I am an inventor on over 70 patents spanning video, robotics and telepresence. I enjoy finding innovative solutions to artistic challenges using technology and media, as well as making those solutions highly robust and able to function for months and years. I am also Curator of Interactive Media at MOXI, the Museum Of Exploration and Innovation, and that is further honing my skills in helping other artists and artistic teams through these challenges.
I have worked extensively with visual artists, choreographers, sculptors and sound designers, and I would be very interested in any Design Team opportunities. Over half my work is collaborative, and I take great pleasure in the process of artistic collaboration. I believe I have a unique skill set to offer for projects that intersect art, science and technology.
Top to bottom: Thermal Gestures, May 19-21, 2016, Isla Vista, CA; still from Object Permanence video installation, Jan- Feb, 2012, New York; Bisections, exhibit August 2014, Santa Barbara, CA Marco Pinter 485 Los Verdes Dr., Santa Barbara CA 93111 (805) 452‐1577 marco@fusion‐artist.com
Solo Exhibitions & Performances • “Symphonic Picnic”, curated by Discovery Museum board, Bay Area Discovery Museum, Oct. 2015 – April 2016. • “Marco Pinter”, curated by Holly Crawford, AC Institute Gallery, 547 W. 27th St., New York, Jan 12, 2012 – Feb 4, 2012. • “Gravitational Forces,” (live performance,) AC Institute Gallery, New York, Feb 2 2012. • “Residual Energy,” (long‐term hallway installation,) CNSI building, UC Santa Barbara, Fall 2011 to Winter 2012. • “Gravitational Forces,” (live performance,) curated by Heather Jeno Silva, commissioned by Contemporary Arts Forum (NEA‐funded ‘Forum Lounge’ series,) December 2010. • “Gravitational Forces,” (improv performance and presentation,) UCIRA State of the Arts conference, UC San Diego, November 2010. • “Dichotomous,” (live performance,) Pescadrome arts center, Santa Barbara CA, June 2010.
Group Exhibitions & Performances • “Stone Soup”, Arts Fund Gallery, Santa Barbara, CA: April/May 2016. (Upcoming) • “LightWorks”, funded by California Arts Council, curated by Kim Yasuda & Maiza Hixson, Isla Vista parks, Isla Vista CA: March 19‐21, 2016. (with Shannon Willis and Weslie Ching.) • “SBCAST Opening Art Exhibition,” curated by Alan Macy & Lynn Holley, Santa Barbara Center for Art, Science and Technology: Feb/March 2016. (with Shannon Willis) • “ISEA 2014,” Dubai, UAE: Nov 2014. (Three works: one solo, two collaborative.) • “RUCKUS,” Arts Fund Gallery, Santa Barbara, CA: Jul‐Aug 2014. • “Push,” Marjorie Luke Theatre, Santa Barbara, CA: March 22, 2014. (performance with Kaita Lepore & Tim Wood.) • “Call for Entries 2013,” curated by JV Decemvirale, Contemporary Arts Forum, Santa Barbara CA: Sep‐Dec 2013. • “ADaPT Festival,” curated by Misa Kelly, Pescadrome, Santa Barbara CA, Aug 2013. • Run Run Shaw Creative Media Center, Hong Kong, by invitation of Jeffrey Shaw, Nov‐Dec 2013. (with George Legrady & Danny Bazo) • “Mois de la Photo 2013 / Drone: The Automated Image,” VOX Centre de l'image contemporaine, upcoming: Fall 2013. (With George Legrady & Danny Bazo.) • “SIGGRAPH 2013 Art Gallery / XYZN Scale,” Anaheim CA: July 2013. (With George Legrady & Danny Bazo.) • “Standard Deviation,” curated by Ted Mills, Santa Barbara CA, Aug 2012. • “TADEAX” (Tehran Annual Digital Arts Exhibition), Mohsen Gallery, Tehran, July 2012. • “Bits & Pieces,” curated by Xarene Eskander, University of California, Santa Barbara CA, May 2012. • “Questionable Utility,” curated by Xarene Eskander, University of California, Santa Barbara CA, June 2011. • “Dichotomous,” (live performance,) RUCKUS festival, Center Stage Theater, Santa Barbara CA, September 2010. • Block exhibition/performance, Fishbon arts collective, Santa Barbara CA, October 2009. • “Nights/Atelier,” commissioned installations for event, Santa Barbara Museum of Art, August 2009. • “Nights”, commissioned visual performance art, Santa Barbara Museum of Art, May/June 2009.
Education • PhD, Media Arts & Technology, UCSB, March 2015. • M.S., University of California, Santa Barbara. • B.A., Cornell University, Ithaca NY. Graduated with distinction.
Selected Publications and Patents • The McGraw Hill Handbook of Multimedia. New York: McGraw Hill, 1994. (Contributing author.) • The Ultimedia Handbook. New York: McGraw Hill, 1996. (Contributing author.) • AI Game Programming Wisdom, Charles River Media, 1st edition, March 12, 2002. (Contributing author.) • SwarmVision: Autonomous aesthetic multi‐camera interaction. Proceedings of the ACM ‐‐ Multimedia, 2014. (co‐author) • Object Permanence: Graphic/Robotic Interaction in the Exploration of the Machinery of Perception. Media‐N Journal of the New Media Caucus, 2014. • Generation of Engineering Research Directions through Artistic Process. ArtsIT Proceedings, 2014. (co‐author) • Patents: Over 70 patents, issued and pending, in the areas of live video technology, interactivity and telepresence.
Awards and Grants • Artist in Residence. Bay Area Discovery Museum. Fall 2015. • Santa Barbara Arts Collaborative “Enterprise Grant” for development of Object Permanence series. May 2013. • UC Institute for Research in the Arts, Graduate Arts Grant. May 2013. • Visual, Performing, Media Arts Award – Interdisciplinary Humanities Council, University of California. February 2011. • Principal Investigator for NSF Phase 1 grant, and Ben Franklin (Pennsylvania) grant. JODY PINTO New York, NY jodypinto.com [email protected]
The Jody Pinto Studio has developed projects over the past thirty-five years, nationally and internationally, in collaboration with communities, design professionals and fabricators, as a team member or solo. Materials vary from project to project responding to individual sites, history, goals, and aesthetic vision.
Because public art is informed by site and community, the goal has always been to emphasize “pride of place”, to catch people during everyday activities, in a moment of discovery or rediscovery of place. It is stage setting and invention – creating drama, great or small.
My studio has been part of design team projects for many years. The largest project was the So. Beach and Palisades of Santa Monica. We worked with all agencies of the city, special interest groups, in the offices of city engineers, and the lead team offices of, Wallace Roberts & Todd in San Diego and Philadelphia. Specific elements my studio designed were the Santa Monica Beacon, 5 restrooms, beach seat walls. My studio worked with T Y Lin engineers, fabricators, architects, and landscape architects, lighting designers.
Top to bottom: Fingerspan Bridge, 1987, Philadelphia, PA; Land Buoy, 2014, Philadelphia, PA; Light Station, 2008, Charlotte, NC JODY PINTO l JODY PINTO STUDIO 124 Chambers Street, New York, NY 10007 [email protected] www.jodypinto.com
AWARDS / GRANTS (EDITED) 2014 Land Buoy, Commonwealth Award, Pennsylvania. 2008 Beach Improvement Group Projects, (BIG) Santa Monica. Awarded “One of Ten Best Public Places in America”, Planning Association of America 2003 CEC International Partners ArtsLink Project Award, Belgrade, Yugoslavia 2002 Beach Improvement Group Projects, (BIG) Santa Monica. National ASL ADesign Honor Award. 1996 Fingerspan Bridge, Design Excellence Award, AIA, Philadelphia, PA. 1996 Design for Transportation Award, National Endowment for the Arts 1995 Federal Design Achievement Award 1994 Joan Mitchell Foundation Grant 1993 New York Foundation for the Arts Grant 1992 Papago Park/City Boundary, National ASLA Design Honor Award 1988 Fingerspan Bridge, Honor Award “Art in Public Spaces”, American Institute of Architects.
PUBLIC WORK IN PROGRESS 2016 Elwood Pedestrian Bridge. Phoenix, AZ. Presently in design. Bridge is part of new major ADOT highway system. Bridge will connect students with a safe passage over highway to school. Project is community driven. PUBLIC WORKS (EDITED) 2015 Patrick Park Plaza. South Phoenix, AZ. Redesign of 1993 Plaza due to new construction. Updated planting plan; gabion walls for safety and as sound baffle for traffic noise: seating. Plan is based upon the original concept of a double spiral. This motif is a trace of the cultural and agricultural history of South Phoenix from its first canal builders, the Hohokam, to its present. Collaboration: A pilot project generated by community groups, art commission and the city to preserve the unique character of South Phoenix. Sponsor: Phoenix Art Commission. 2014 Land Buoy, Washington Avenue Pier (Pier 53), Philadelphia, PA. Restoration of Pier 53, on Delaware River, through ecologically driven design. “Land Buoy”, galvanized steel and fiberglass, marks the end of the journey, a tribute to one million immigrants who landed at this alternative to Ellis Island from 1875-1915. A spiral stair coils around a 55’ mast ending at viewing platform 16’H. The beacon is solar powered. Collaboration: Applied Ecological Services, (AES) Landscape; South Philadelphia community interest group. Sponsor: Delaware River Waterfront Corporation. 2013 Arizona Multi-use Canal Path. Chaparral Rd. to Indian Bend Wash, Scottsdale, AZ. First phase-Master Plan for completion of 17-mile regional pathway system with public art components; bridge, shade structures, traffic control barriers. Client: City & Scottsdale Public Art Program. Collaboration: City design team, Olsson Associates, engineers. 2009 Light Station. 3rd Street Station, Charlotte, N.C. Design of 20 translucent, illuminated canopies, paving and illuminated seating. Collaboration: Parsons engineering, Keith Crawford AIA, Brandston & Partners Lighting Design, Commission: Charlotte Area Transit System (CATS) Art- in-Transit Program. 2005 Avenue of the Arts Master Plan. Philadelphia, PA. Design Charrette for Broad Street. Led by Alan Greenberger, MGA PARTNERS Architects. Commission: Center City District Business Association & Avenue of the Arts, Inc. 2003 Boone Sculpture Garden. Pasadena, CA. 7 1/2 acres. Designed to respond to students, faculty, and community. Three forms: Plaza, Linear Water Trough, Amphitheater. Concept creates staging ground for contemporary sculpture, installation, performance, collaboration. Night lighting outlines Garden’s forms, path system revealing galaxy framed by surrounding buildings. Collaboration: Maris Peika and Morris l Sato Architects. Sponsor: Pasadena City College. 2002 Light Cylinders. Ft. Lauderdale/Hollywood International Airport Garage Expansion. Housing escalators, four 88'h x 34’w fiberglass cylinders rise through all floors of the garage and are canopied by translucent tensile fabric structures. Vertical events of light and movement, they serve as locator and facilitator. The cylinders are solar/lunar lanterns of various colors. Moving from garage to terminal the traveler becomes part of the interior spectacle of color and light. Collaboration: Morris l Sato Architects. Sponsor: Broward County Cultural Affairs Division, Public Art and Design. 2001 Riverside South Project. New York City. First phase continuation of Riverside Drive Park, 68th to 72nd Streets. Included restoration of 750’ pier, ball courts, playing fields, promenades, and lawns. The Pier design, Entry Stair, Shade Shelter and Lighthouse Beacon introduce dramatic yet compatible contemporary notes. Collaboration: Tom Balsley & Assoc./ Lee Weintraub, Landscape Arch; Morris l Sato Architects. Commission: Riverside South Corporation. 2000 “B.I.G.” (Beach Improvement Group Projects). Three-mile Coastal Area of Santa Monica, CA. Palisades Park: Included restoration of historic pergola; design of 5 restrooms, benches, paths, Santa Monica “Beacon Overlook”; landscaped/ engineered restoration of Palisades. So. Beach Promenade: paving, seat walls, lighting design, playground, exercise/ exhibition area and chess court. Collaboration: Wallace, Roberts & Todd; Maris Peika & Morris l Sato Architects; community interest groups. Sponsor: City of Santa Monica & Cultural Affairs Division. National ASLA Design Honor Award. 2000 Light Islands. Tokamachi City, Niigata Prefecture, "Echigo-Tsumari," Japan. Tinted fiberglass, fiber optics, concrete. Area 60'W. x 320'L. Six oval concrete islands form a "stage" representing the six municipalities. Within each island, colored fiberglass tubes are illuminated by interior fiber optics becoming lanterns at night. As winter snow covers the islands, one sees shafts of light piercing the drifts, casting tinted shadows on a white canvas. Collaboration: Morris l Sato Architects. Sponsor: Tokamachi City. 1987 Fingerspan Bridge. Philadelphia. PA Fairmount Park. 9’H x 4’ W x 59’L. A weathering steel enclosed pedestrian bridge connecting two cliffs separated by a chasm on the Wissahickhon river. Shaped like a bent finger, “Fingerspan” is a practical and symbolic reach. Walking along a popular nature trail,the pedestrian passes over the bridge continuing the physical experience of a hike while metaphorically becoming the muscle of the “Fingerspan”. The bridge skin is perforated steel, permitting light to penetrate the entire structure while protecting the hiker from the dangers of falling. Collaboration: Samuel Y. Harris, Engineer & “Friends of the Wissahickon” community group. Commissioned by the Association for Public Art (formerly the Fairmount Park Art Association). AIA Honor Award, “Art in Public Places”.
2 LILLIAN PITT with Mikkel and Saralyn Hilde Corvallis, OR lillianpitt.com [email protected]
My work is inspired by the spirit of her Native American ancestors. I seek to address community and cultural issues, and give voice to their stories in ways that inform the larger community. These stories teach the lessons that come from our histories and relationships. These are the images that help us recognize and have a deeper respect for the connectedness of all things.
Throughout my life, I have been involved in Native American healing through my mother’s family who were healers in the traditional practices on the Warm Springs Reservation where I was born and raised. They were part of the Feather religion where dancing and singing formed a central part of the healing process. From this I has learned how public art can provide comfort, hope and joy for all who pass by and witness it. It brings up and validates their feelings, and provides an opening and a pathway to personal discovery.
As a team we like to fully engage with the major stakeholders to understand and meet the goals of the project. It is important to follow a path of consultation and research, thorough planning, and well-coordinated construction. Creating public art begins with research and understanding: the connections to the community, the purpose and directives of the proposal. What is this place and how is the art to fit into it?
Public art is community language. Successful pieces should transform the space, inspire as well as educate and challenge the viewer. The art should be a voice that speaks out to the community and beyond. As artists we are both listeners and storytellers, bringing together the parts into a harmonious design.
For any project there is always a vast reservoir of traditional and current information available to manipulate and translate into contemporary terms. Archetypal images provide points of reference to achieving balance within our community, our world, and us. These are the images that can help us recognize, understand, and have a deeper respect for the connectedness of all things, and help guide us to bring a better balance to modern culture. Our goal is to always produce quality art with materials that are durable, low maintenance, and sustainable. We have demonstrated the ability to work with all the parties that are involved in a public art project from the selection committee to contractors. We will always create quality work within budget and on time. Top to bottom: River, 2013, Eugene, OR; She Who Watches, 2007, Bend, OR; Welcome Gate (Confluence Project), 2008, Vancouver, WA Lillian Pitt - 11528 SE Lincoln Street, Portland, OR 97216 - 503 252-1854 - [email protected]
Lillian Pitt www.lillianpitt.com Born: Warm Springs, Oregon, 1943 Heritage: Warm Springs/Yakama/Wasco Tribe
Education Mount Hood Community College, Associate of Arts Degree, 1981
One and two person shows 2014 National Museum of the American Indian, WA, D.C. Evergreen State, Olympia, WA Caswell Gallery, Troutdale, OR 2013 Quintana Gallery, Portland, OR Featured artist. Group show, University of Portland, Portland, OR Two person show Skamania Museum, Stevenson, WA Tedxtalks at Concordia College Portland, OR Together Again CM Gorman Museum, UC Davis CA 2012 Pacific Rim Art Exhibit Emergence from Clackamas College, Astoria, OR Quintana Gallery, April/May 2012 NW by NW Gallery, Cannon Beach OR 2011 Northwest by Northwest Gallery, May, Cannon Beach, Or 2011 Quintana Gallery, May, June, glass show, Portland, OR 2010 Quintana Gallery, glass show, Portland, OR Gardino Gallery, Portland, OR, NW by NW Gallery, Cannon Beach OR 2008-9 Two person show, Atelier 6000, Bend OR Two person show, Art Adventures, Madras, OR One person show, Jeffrey Moose Gallery, Seattle, WA Two Person Show, Talisman Gallery, Portland, OR High Desert Gallery, Sisters, OR
Awards 2012 Twanat-Museum at Warm Springs, Warm Springs, OR 2011 Creative Spirit Award-Native Arts and Culture Foundation. 2010 First Peoples Fund, Rapid City, SD, Community Spirit Award Evergreen Longhouse and Cultural Center, Evergreen State College, Olympia, WA for the National Native Creative Development Program. Native Arts and Cultures Foundation, Vancouver, WA. Inaugural Inspiring the Spirit Leadership Award 2009 University of Portland, Honorary Doctorate 2007 Uncommon Women, one of thirty-five woman awarded by the Profile Theater, Portland, OR Best of Show, Contemporary NW Native American Arts, Washington State History Museum Chiles Foundation Award, High Desert Museum, Bend, OR 2000-5 First People’s Fund, Community Spirit Award, Rapid City, SD Indian Art Northwest, 1st place, Ceramics, Portland, OR Indian Art Northwest, 2nd place, Jewelry, Portland, OR 1990 Governor’s Award for the Arts, Oregon
Notable Public Art Commissions Willamette River Bridge Enhancements – ODOT – Eugene, OR, 2013, $260,000 Free Standing Sculpture (Stainless Steel, Concrete) Vancouver Land Bridge - Confluence Project – Vancouver, WA, 2008, $108,000 Welcome Gate & Seating area (Mixed Media, Cedar, Glass, Basalt, Steel, Stainless Steel) Station Enhancement TriMet Light Rail – Interstate Line – Portland, OR, 2004 - $96,000.00 Station and plaza enhancements (Stainless Steel, Steel, Bronze Castings, Paving) Sculptures - PSU Native American Center – Portland, OR, 2004 - $140,000 Totem pole and two garden sculptures (Wood, Steel, Stainless Steel, Bronze) Ainsworth Green Space – TriMet Light Rail – Portland, OR, 2003, $83,000 Plaza with three freestanding sculptures and seating area (Steel, Bronze, Concrete) Selected Collections National Museum of the American Indian, Washington, DC Portland Art Museum, Portland, OR City of Lake Oswego, Lake Oswego, OR Burke Museum, University of Washington, Seattle, WA Yakama Cultural Heritage Museum, Toppenish, WA Permanent Collection of Contemporary Native American Art, Heard Museum, Phoenix, AZ R.C. Gorman, Taos, NM Indian Arts & Crafts Board, Washington, DC Neiman Marcus, Minneapolis, MN Washington State Arts Commission, Art in Public Places, Three Public Schools, & the Evergreen State College, Olympia, WA City of Oguni, Japan Sapporo City Hall, Sapporo, Japan Seattle Arts Commission, Percent for Art, Seattle, WA Dean Pak, Director Chamgbuk School of Dentistry, Changbuk, Korea University of Hokkaido School of Dentistry, Sapporo, Japan Portland Community College, Portland, OR Percent for Art Purchase Program, Metropolitan Arts Commission, Portland, OR
International Exhibits 2014 Marori Market, Welllington, NZ 2014 Korkiri Putahi, 7th Gathering of International Indigenous Visual Artist, Kaikohe, NZ. 2014 Maori Market, Wellington, NZ. 2014 Nga Puhi Festival, Exhibition of Indigenous Artist, Kokeri. NZ 2007 Marori Market, Welllington, NZ 2002 Munich Art Gallery, Munich, Germany 2000 Gallery Calumet,Heidelberg, Germany 2000 CESTA, Long Ago & Far Ahead Cultural Exchange Festival, Tabor Czech Republic 2000 Native American Art, Far Eastern Museum, Khabarovsk, Siberia 1999 Winitus Tod, Neanderthal Museum, Dusseldorf, Germany
Page 2 Mikkel Hilde - 625 NW 31st Street, Corvallis, OR 97330 - 541-754-7116 - [email protected]
Mikkel Hilde Born: Seattle, Washington, 1947
Education Portland State University Masters Degree Business Administration 1993 Linfield College Bachelor Degree Business Administration 1988
Experience 2010 – Present Artist, Sculptor, Metalworker & Woodworker 1976 - 2010 Marion Construction Company Salem, OR General contractor commercial construction - Project Manager/Estimator 2001-2010 - Superintendent 1981-2000
Group Exhibitions 2011 “Portals”, Winter Show, Corvallis Arts Center, Corvallis, OR 2010 “Where Birds Dream”, Winter Show, Corvallis Arts Center, Corvallis, OR
Commissions/Public Art 2013 Sculpture - Oregon Department of Transportation, Willamette River Bridge Project, Eugene, OR - Free Standing Sculpture (Stainless Steel, Concrete) - Co-artist with Lillian Pitt. 2012-2016 Project Manager - Fishers Memorial Task Force, Columbia River Inter-tribal Fishing Commission, Portland, OR - Facilitate & coordinate task force and artist team activities for the design and construction of a fishers memorial on the Columbia River. - Tasks: proposals and reports, design and development, grant writing, fundraising. 2012 Artist - CRTFAS Map, Army Corp of Engineers, Portland, OR - Limited edition print, artistic map of Columbia River Native American fishing sites. - Co-artist with Lillian Pitt. 2011 Facilitator/Artist - Design Charrette & Funding Proposal, Columbia River Inter-tribal Fishing Commission, Portland, OR - Facilitated artist team to produce a design for a fishers memorial on the Columbia River. - Produced a written & graphic Proposal to be used for fund raising and project development. - Produced a written & graphic Report documenting the charrette process.
Awards - Construction 2002 American Institute of Architects, Salem Chapter Award of Craftsmanship Work at Large 2000 Salem Contractors Exchange Individual Achievement Division I 1994 American Institute of Architects, Salem Chapter Award of Craftsmanship Work at Large 1994 Salem Contractors Exchange Award of Craftsmanship Work at Large Saralyn Hilde - 625 NW 31st Street, Corvallis, OR 97330 - 541-754-7116 - [email protected]
Saralyn Hilde
Education Bachelor of Arts, Liberal Studies Degree, Landscape Architecture Oregon State University, Corvallis, OR 1982
Professional Experience 2004 - 2014 Project Manager, Oregon Arts Commission, Percent for Art Program, Salem, OR - Facilitate Percent for Art Projects at Oregon State University, Western Oregon University, Southern Oregon University and Oregon Insitute of Technology. - Manage projects from inception to completion, define project scope, facilitate selection of artists, generate request for qualifications, proposals and manage reviews, primary liaison between artists, architects, engineers and client, negotiate and monitor contracts. - Budgets for individual projects range from $10,000 – $500,000 - Projects of merit - Western Oregon University, Ackerman Hall, Anna Valentina Murch, Drawing Rain - Oregon Institute of Technology, Dow Center for Health Professionals, Ralph Helmick, Heart and Mind - Oregon State University, Linus Pauling Science Center, Stephen Knapp, Structure, Space and Time
Artist Consultant, Hilde Enterprises - Artist and consultant creating art and providing contracted arts services to a variety of groups and organizations. Work includes curation, exhibit touring, grant writing, freelance writing, consulting.
1999 - Present Current Projects 2013 Sculpture, Oregon Department of Transportation, Willamette River Bridge Project, Eugene, OR - Co-artist with Lillian Pitt and Mikkel Hilde. 2011-2016 Fishers Memorial, Columbia River Inter-tribal Fishing Commission, Portland, OR - Produced and facilitated design charrette for and artist team to produce a design for a Fishers Memorial. - Produced a written & graphic Proposal to be used for fund raising and project development. - Produced a written & graphic Report documenting the charrette process. - On-going project to continue the Memorial design and funding materials. Assistant Director, ARTrageous Adventures, Corvallis, OR - Arts travel program featuring unique, behind the scenes travel experiences to foster understanding and advocacy.Educational outreach of the Corvallis Arts Center, Corvallis, OR
2006 Benton County Foundation, Corvallis, OR, Consultant/Project Coordinator - Contracted to facilitate search and selection of an artist to create a piece for the Holcomb Award.
2003 Eugene Glass School, Eugene, OR, Consultant/Grant Writer - Contracted to research and apply to appropriate funding sources to support the development and implementation of this full service glass school and its educational programs.
2002 Northwest Artists Respond to Global Warming, Greenhouse Network, Portland, OR. - Team-taught a workshop for high school students to explore the effects of global warming and produce artwork for a traveling show.
1999 - 2000 The Museum At Warm Springs, Warm Springs, OR - Curator and Project Director, Spirits Keep Whistling Me Home: The Works Of Lillian Pitt. - Responsible for all aspects of the exhibition; preparation and scheduling for travel; coordinate production of 50-page color catalogue.
1994 - 1998 Gallery Director, Salem Art Association/Bush Barn Art Center - Developed, planned and produced nine exhibitions each year for the Center’s two galleries. - Coordinated activities of the Exhibits Committee to develop a diverse agenda of regional and national shows. - Coordinated all exhibition related correspondence, materials and activities. - Responsible for the marketing of the exhibition. - Maintained a balanced budget and worked with the Executive Director to secure program funding.
1985 - 1994 Assistant Director, Corvallis Arts Center/Linn-Benton Council for the Arts - Gallery Director - Administered the exhibition program for the Corvallis Arts Center - Worked with a twelve-member exhibition committee designed and implemented nine exhibits per year. - Arts-In-Education Coordinator - Administered the Arts-In-Education (AIE) Program for Linn/Benton Counties - Program coordination: designing, developing, and implementing this outreach program. - Financial planning: grant writing, fund-raising, budget preparation, artist/site contracts and payments. - Developed partnerships with public and private organizations to advocate inclusion of the arts into the educational process. - Personnel: manage and supervise 25 artists, provide training and technical assistance to artists and sites, and collected and collated evaluation data to improve future programs and artist performance.
Outstanding Projects and Programs 1998-1999 Panel Member - Oregon State University, Valley Library Percent For Art Project Percent for Art panel member to select artwork for the collection at the Valley Library Oregon State University.
1996-1998 Program Originator and Director - Artist Services Program Program to support the endeavors of local artists with a workshop exploring the relationship between artists and arts organizations and classes designed to assist practicing artists in developing business skills and marketing their work.
1993-1994 Project Developer and Director - Girl Talk Theater An improvisational theatre troupe for at-risk middle school girls. A teen pregnancy prevention project for the Commission on Children and Families.
1986-1994 Project Originator and Director - Artists Collaborating with Teachers On Site (ACTS) An arts education model utilizing the arts as an integrative tool to address educational reform issues. This AIE program, initiated on a statewide level, provides on-site staff development and teacher training within a collaborative framework.
1991 Project Developer and Coordinator - Creative Beginnings Literacy project for pre-schoolers of low-income families. Artists worked with parents, students, and staff to enrich the educational environment.
1991 Project Director and Curator - Crossing Points Project consisting of a symposium exploring the connection between Art, Science, and Technology, and an exhibit entitled Non-Patented, Artist Made Machines, Kinetic Sculpture and Installations.
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TIM PRENTICE and DAVID COLBERT West Cornwall, CT timprentice.com [email protected]
With a background in architecture, I have been involved with public art as a kinetic sculptor for thirty years in this country and abroad. My career has been devoted to meeting the requirements of the space, the schedule and the budget. My hope is that the work will also engage the mind and lift the spirit.
In kinetic sculpture movement is everything. The constantly changing patterns produced by the slightest currents of air are what I count on to repeatedly draw the eye of the viewer back to the work. The movement often suggests organic images from nature such as grazing patterns, clouds, schools of fish, the flight of migrating birds, or the sunlight reflected off the rippling surface of a pond.
A number of factors influence the movement of the works including the time of day, the air handling systems in the building, and the number of people moving through the space at any given moment. The slow dance of the sculptures reveals the forces that act on the air in the building.
I favor lightweight materials, which will glide on gentle air currents and reflect the light in unpredictable ways. In most cases the materials are the non-corroding metals, aluminum and stainless steel for their light-reflecting qualities. For its translucent quality I use Lexan, a a UV resistant polycarbonate developed by GE for use in skylights and greenhouses.
The engineer in me wants to minimize friction to make the air visible. The architect studies matters of scale and proportion. The sailor wants to know the strength and direction of the wind. The artist wants to understand its changing shape.
Meanwhile the child wants to play
As a sculptor and architect I have had the opportunity to collaborate with members of the design and construction communities at all levels.
Top to bottom: Slalom, 2015, Gen. Mitchel Intl Airport, Milwaukee, WI; Staysails, 2009, Hartford, CT; Sidetrack, 2013, St. Paul, MN
PRENTICE COLBERT, INC. In 2012 Tim Prentice and his long time associate, David Colbert, formed Prentice Colbert, Inc. As partners they head a small crew of craftsmen that have worked together for between 20 and 30 years. David Colbert has worked closely with Tim Prentice for 30 years and now is involved in all aspects of the work, from design, to presentations, to contracting, to installation.
TIM PRENTICE 129 Lake Road, West Cornwall, CT 06796 860-672-6728 [email protected] www.timprentice.com
PRENTICE COLBERT COMMISSIONS 2017 Tampa International Airport, Tampa, FL, OSU Valley Football Center, Corvallis, OR 2016 Sandy Hook Elementary School, Newtown, CT 2015 General Mitchell International Airport, Milwaukee, WI; Woodland High School, Woodland, WA; Westmoreland Museum of American Art, Greensburg, PA 2014 Love Field, Dallas, TX; Convexity Capital Management, Boston, MA; Phaeno Science Center, Wolfsburg, Germany 2013 Union Depot, St. Paul, MN; NYU Langone Medical Center, New York, NY 2012 University of Iowa Hospitals, Iowa City, IA; Stanford Law School, Stanford, CA
REPRESENTATIVE PRENTICE COMMISSIONS 2012 Utah State University, Logan, UT; New Mexico State University, Las Cruces, NM 2011 The Home Group, Taipei, Taiwan; City Hall, Mesquite, TX; Dana Farber Cancer Institute, Boston, MA 2010 Eastern CT State U., Willimantic, CT; 11 Times Square, New York, NY; U. Nebraska, Lincoln, NE. 2009 Conrac Facility, Hartsfield-Atlanta Airport, Atlanta, GA; Science Alley, Hartford, CT; U. of Minnesota, Minneapolis, MN; Jersey Shore U. Medical Center, Neptune, NJ 2008 University of Colorado, Denver, CO; Southern Oregon University, Medford OR 2007 New Castle County Courthouse, Wilmington, DE; University of Michigan, Ann Arbor, MI. 2006 Texas Tech U., Lubbock, TX; Citigroup, New York, NY; Wells Fargo, Des Moines, IA. 2005 United States Embassy, Yaounde, Cameroon; Oregon State University, Corvallis, OR 2004 The Bureau of the Public Debt, Parkersburg, WV; New York Hall of Science, Queens, NY 2003 The Mitre Corporation, McClean, VA; U. of Florida, Gainesville, FL; Sunken Gardens, St. Petersburg, FL 2002 National Museum of Modern Art, Kwachon, Korea; AstraZeneca USBC, Wilmington, DE; Palm Beach Gardens Civic Center, Palm Beach Gardens, FL. 2001 Samsung, Noble County, Seoul, Korea; Jacksonville International Airport, Jacksonville, FL 2000 Aurora Place, Sydney, Australia; Odyssey Millennium Project, Belfast, Ireland 1999 Rapid Transit, Yokohama, Japan; Colorado’s Ocean Journey, Denver, CO 1998 University of Cincinnati Hospitals, Cincinnati, OH; Long Wharf Theatre, New Haven, CT 1997 McCormick Exhibition Facility, Chicago, IL; MBTA, Beechmont Station, Boston, MA 1996 Hartford Hospital, Hartford, CT 1994 Hewlett Packard, Andover, MA 1993 Civic Center, Tottori, Japan; Peak Galleria, Hong Kong 1992 Federal Reserve Bank of New York, East Rutherford, NJ 1991 Irving Art Center, Irving, TX 1990 Tempozan Market Place, Osaka, Japan 1989 Summit Office Building, Raleigh, NC 1988 Interlake, Oakbrook, IL 1987 Bradley International Airport, Windsor Locks, CT 1986 New Jersey Bell, Freehold, NJ 1985 Florida Atlantic University, Boca Raton, FL 1984 Mobil Research Facility, Princeton, NJ; Bank of America, New York, NY 1983 L.K. Comstock, Pittsburgh, PA 1981 The Boulevard, Las Vegas, NV 1980 Mobil Oil, Fairfax, VA 1978 American Express Headquarters, New York, NY 1976 AT & T Long Lines, Bedminster, NJ
SELECTED ONE MAN SHOWS 2015 Maxwell Davidson Gallery, New York, NY (’14,’12,‘09,‘08,‘06,‘04,‘02,‘00,‘97,‘94,‘92,‘90) The Century Club, New York, NY 2009 Berkshire Botanical Gardens, Lenox, MA 2006 Savannah College of Art and Design, Savannah, GA 2005 Gallerie VonBartha, Basel, Switzerland 2002 Robischon Gallery, Denver, CO (2001, 2000, 1999). Saint-Gaudens Site, Cornish, NH 2001 Cais Gallery, Seoul, Korea. Grounds for Sculpture, Hamilton, NJ 1999 The Discovery Museum, Bridgeport, CT
SELECTED INSTALLATIONS 2007 BMW Welt, Munich, Germany 2005 Katonah Museum of Art, Katonah, NY 2004 Mass MOCA, North Adams, MA 1994-1998 Decordova Museum. Lincoln, MA 1995 Aldrich Museum, Ridgefield, CT
SELECTED GROUP SHOWS 2013 Chesterwood, Stockbridge, MA (‘12, ‘04, ‘03, 1998-1987) 2011 Sculpture by the Sea, Aarhus, Denmark 2009 Sculpture by the Sea, Bondi, Sydney, Australia 2008 Foundation Brandenburger Tor, Berlin, Germany 2005 Museum Jean Tinguely, Basel, Switzerland 2004 Kunsthaus Graz, Graz, Austria. National Academy of Design, New York, NY.
RECENT AWARDS 2014 Connecticut Governor’s Arts Award 2009 Transfield Kinetic Artist Prize, Sculpture by the Sea, Bondi, Sydney, Australia
PERSONAL 1975-1980 Adjunct Professor of Design, Columbia University, NY, NY 1975-1989 Fellow, American Institute of Architects 1974-1976 President, Municipal Art Society, New York, NY 1973-1974 President, New York Chapter, A.I.A. 1965-1975 Partner, Prentice & Chan Architects, New York, NY 1953-1960 Yale University, B.A., M. Arch. DAVID COLBERT 76 Warren Hill Road, Cornwall Bridge, CT 06754 [email protected] www.davidcolbert.com
COLBERT COMMISSIONS 2012 State of Florida, Florida International University, Miami, FL 2011 State of Ohio, Kent State University, Trumbull, OH 2002 Sabre, Inc., Fort Worth, TX 2000 City of New Haven, Millennium Plaza, New Haven, CT 1999 State of Connecticut, Western Connecticut State University, Danbury, CT 1991 State of Connecticut, Northwestern Community College, Winsted, CT
SELECTED ONE MAN EXHIBITIONS 2014 Marie Louise Trichet Gallery, Wisdom House, Litchfield, CT 2011 New Arts Gallery, Litchfield, CT (2008, 2005) 2005 Hotchkiss Library, Sharon, CT 2003 New Arts Gallery, Litchfield, CT 2001 The Katonah Museum of Art, Katonah, NY 1994 The Washington Art Association, Washington, CT 1994 The Hotchkiss School, Lakeville, CT
SELECTED GROUP EXHIBITIONS 2014 Governor’s Residence, Hartford, CT 2013 Chesterwood Museum, Stockbridge, MA (2003) 1997 Sculpture at Naumkeag, Stockbridge, MA 1995 Ars Scientifica, American Academy of Arts and Science, Washington, DC. 1991 Aldrich Museum, Ridgefield, CT 1989 Mattatuck Museum, Waterbury, CT 1986 New Britain Museum of American Art, New Britain, CT
AWARDS 2006-16 SolidWorks Corporation, Sponsored Artist. 2003 State of Connecticut, Artist Fellowship (Digital Art).
EDUCATION 1979 Middlebury College, Middlebury, VT. B.A. Architectural Studies 1978 Edinburgh University, Edinburgh, Scotland DON REDMAN Santa Fe, NM donredman.com [email protected]
In my 43-year career, I have produced monumental sculptures for public, corporate, and private collections throughout the world. My work consists of a wide variety of styles that reflect a classical sense of design and craftsmanship.
As an experienced artist working with large-scale public art projects, I create sculptures that serve as a powerful connection and symbol to the spirit of the community. I love to explore the laws of nature, to see how they interact, while permitting organic elements to come through. I use materials which balance site specific environments and structural integrity to produce large-scale impressions whose impact is greater than the sum of its parts.
My goal is to create art with cultural significance that visually surprises the viewer and leaves a lasting impression, an impression that promotes an intimate connection between the viewer and the object.
Creating and installing public art is rewarding and becomes a life-giving way to engage the community. This has been my experience while creating pieces in New Mexico, Texas, New York, China, Mexico, and elsewhere around the world.
Previously, I worked with metal and fabric to create purely kinetic sculpture. Since coming to New Mexico I have shifted the focus and have been working primarily with high carbon and corten steel.
The last five years have seen an evolution. I’m exploring ways that use steel to create a line in space similar to drawing with ink on paper. In so doing, I literally create an intuitive dialog with the specific piece of metal as I look for ways to help the object speak to the viewer on a personal level.
After years of creating kinetic pieces that use wind power to create movement and generate light, recently I’ve been creating static pieces that use the path of the sun to create three- dimensional motion. This playful reversal has enlarged the field of expression between the object and the shadows cast by sunlight. The site becomes as important as the object itself as the shadows produce a totem that creates its own effects
I have collaborated with city planners, engineers, architects, designers (interior and exterior), horticulturists, developers, contractors and curators. Everyone has a vested interest and a desire to contribute in large or small Top to bottom: Shadow, Light, Lens, 2016, Santa Fe, NM; ways. I enjoy harnessing this enthusiasm and finding the Parallax, 2006, Santa Fe, NM; Dial X, 2011, artist’s creative juice within the different domains of expertise to collection produce great achievements in public and private art. Don Redman 50 La Barbaria Road Santa Fe, New Mexico 87505 (505) 660-7368 [email protected] Website: donredman.com
GRANTS/AWARDS/COMMISSIONS Shadow Light Lens, temporary installation at Railyard Park, City of Santa Fe, NM, May 15- October 15, 2016 Dial-X, purchased by the University of New Mexico North, Taos, NM, September 2015 Recipient, Go er or’s Awards for E celle ce i the Arts, New Mexico Arts Commission, 2014 Sun Mask, October 2014, City of Rio Rancho, New Mexico, City Centre Obscura, Centennial Project Space, New Mexico Arts; Santa Fe, Sep. 28, 2012-Jan. 15, 2013 The Willows, commission for Presbyterian Health Care; St. Louis, Missouri, 2010 Desert Monarch, purchased by New Mexico Arts Permanent Collection; Taos Center for the Arts, 2009 Guadalupe, purchased by University of New Mexico West; Rio Rancho, New Mexico, 2009 “ol Y “o ra, Georgia O’Keeffe Estate, Artist-in-Residence; 1995-1999 Corpus Christi Municipal Arts Commission, commission for Corpus Christi Int’l Airport; August 1989 Chinese Cultural Exchange Program, Fred Brown Installation, Museum of the Revolution; Beijing 1988 Artist-in-Residence Workspace Grant, Diverse Works, Inc.; Houston, Texas, 1984-1985 Anne Giles Kimbrough Fund Grant; Dallas Museum of Fine Arts, $3,500 work grant, 1984 San Francisco Art Institute; one-year study scholarship, San Francisco, California, 1976-1977 Roswell Art Museum & Anderson Oil Company; grant for study with Luis Jimenez, Roswell NM, 1976
APPRENTICESHIPS Salvatore Scarpitta; Sculpture, Houston and New York, 1980-1982 David Folkman; Lithography and Intaglio, Houston, 1979-1982 James Surls; Sculpture and Wood Construction, Houston, 1978-1981 Luis Jimenez; Fiberglass cast sculpture, Roswell, New Mexico, 1976
EDUCATION University of Houston; Sculpture Department, Houston, Texas, 1979-1981 University of St. Thomas, Art Department, Houston, Texas, 1978-1979 San Francisco Art Institute; San Francisco, California, 1976-1977 High School for the Performing and Visual Arts, Houston, Texas, 1973-1976
SELECTED REVIEWS Christi a Olds, Putti g Mettle to Metal , The “a ta Fea Magazi e, “u er , Arts + Culture special edition Joh Muller, Art Appreciatio - The 4 Go er or’s Awards for E celle ce i the Arts, New Me ico Magazine, October 2014 Michael Abatemarco, Governor's Awards — Elemental Interactions: Donald Redman, Pasatie po Magazi e of the Santa Fe New Mexican, September 19, 2014. Paula “cott, Art i Pu lic Places Beautifies “tate, Al u uer ue Jour al, August , 4. Michelle Laflamme-Childs, Santa Fe Sculptor, Donald Redman Selected for Rio Rancho City Center Public Art Project, NM Arts’ Art i Pu lic Places Progra ews release, No e er 4, . New Me ico Arts Depart e t of Cultural Affairs rochure, TIME: Te porary I stall e ts Made for the Environment, Don Redman, Storm King, catalog. Patricia Joh so , A other art studio rushed aside, Housto Chro icle, Fe ruary , 6. ‘o George, Pu lic Art: Co tro ersy “urrou ds City’s ‘ole i Fu di g Artwork, Corpus Christi Caller Times, May 23, 1992 Art for Our “ake: The Artistic Touch at Alle Ce ter, Ce ter Newsletter, Housto , 1991 Da id Pickeri g, “culpti g the Future," Corpus Christi Caller Times, January 14, 1990 Katheri e Guild, Natural Ally," Houston Metropolis Magazine, September 1989 D. Pickeri g, Artists Eye all Airport, Fi d it ‘ight for “culpture," Corpus Christi Caller Times, Aug 9 Fra Kal yko , Do ‘ed a , Ki etic ‘hy e," Eleven by Fourteen Art, Summer, 1988 Va Hetherly a d Ke Ha o d, Artists," Texas, Houston Chronicle Magazine, April 3, 1988 Patricia C. Joh so , “o e K ow How to Break the ‘ules," Houston Chronicle, May 26, 1987 “usa Chadwick, O A gels’ Wi gs, Do ‘ed a ‘ides the Wi d, Housto Post, May 7, 9 7 Ja et La day, Artists Working Together in Houston, 1969-86,"Collaborators Show Catalog, Sep 1986 I augural “culpture E hi itio ," The Art Center Newsletter, Waco, Texas, May 1984 That’s ‘ight, Those “culptures are Back," Abilene Reporter-News, June 19, 1983 Keith Watso , Bayou “how Takes to the Streets," Houston Post, March 13, 1983 Michelle “a do al, Te as Art “ce e’s New E pressio s," The Daily Texan, July 1982 Pat Da ko, / , a Art E e t," Artscene, Fall, 1981 Trudy Sween, Houston Doors, Houston Festival Foundation, 1979 Greg Props, A&M E hi its UH “culptures," The Battalion, January 1978
SELECTED GROUP EXHIBITIONS Market Value, gf contemporary Gallery; Santa Fe, New Mexico, August 2012 Temporary Installations Made for the Environment (TIME), Art in Public Places Program, New Mexico Arts, New Mexico Department of Cultural Affairs, May 18 – September 15, 2012. Untitled, Coleman Gallery Contemporary Art, Albuquerque, New Mexico, 2006 Sensored, Sanctuario de Guadalupe; Santa Fe, 2002 Journey: Sculpture 2000, 18th International Sculpture Conference; Houston, May – June 2000 Six Houston Artists Beyond the West, Foster/Freeman Galleries; San Antonio, Jan-Feb, 1993 20th Anniversary Exhibition, 1972-1992, Waco Art Center; August 1992-1996 El Paso Museum of Art; El Paso, Texas, January-March, 1990 A Century of Sculpture in Texas, 1889-1989, Huntington Art Gallery; UT Austin; Jun-Aug 1989 Art that Moves, Laguna Gloria Art Museum; Austin, Texas, March-April, 1987 The Works, Di erse Works’ Artist i Residence Exhibition; Houston, September – October 1986 Excellence ’86, Plaza of the Americas; Dallas, Texas, July 1986 Expose, Di erse Works’ Artist-in-Residence Exhibition; Houston, April-May 1985 Dallas Sculpture Symposium, Dallas, Texas, July 1985 Diverse Works Art in Public Places, Hyatt Regency Hotel, Houston, April, 1984 A Salute to Houston Artists, Midtown Art Center, Houston, October, 1983 Bayou Show I & II; Houston, March, 1983 Premiere Event, Midtown Art Center; Houston, November, 1982 Monumental Art, University of Houston; Lawndale Annex, Houston, August, 1982 Mask Show II, Little Egypt Studios; Houston, October, 1981 The Door Show, Houston Festival; March, 1979 Inaugural Pow Wow Show, University of Houston; Lawndale Annex, Houston, 1978 Main Street Festival, Houston, March 1978 Inaugural Exhibition, Texas A&M Gallery; College Station, Texas, 1978 Six on Six; Monumental Sculpture, University of Houston, December, 1977 NORIE SATO Seattle, WA noriesato.com [email protected]
I am an artist with experience in working in public art from big picture planning, conceptualizing and strategizing to the fabrication of small details. I am interested in the unexpected, the wonder and magic that artworks can create within the built and natural landscape. I am committed to creating a unique cultural experience, one that would incorporate art intelligence and details into the specific project. I look to make artworks with layers of meaning that can appeal to a diverse audience and artworks which go beyond one-liners or singular interpretations and will stand up to repeated encounters.
I am committed to making individuals of all backgrounds and ages feel welcome and engaged through the “big” experience but also the smaller details in the artwork and the site as a whole. I am interested in how the artwork is situated holistically within a site and environmental concerns. My work acknowledges the relationship of the specific place to its broader environment and expresses care for that connection.
I have experience working in a variety of different contexts from universities, civic structures, to infrastructure and transit. I have worked in airports, city halls, libraries, parks, art centers and on infrastructure such as roadways, sewer pump stations. I strive to create works that speak with an immediacy and intimacy of scale and texture to the user or passerby, yet holds its own in the greater context. I have worked individually, collaboratively and on design teams on projects. I do not impose preconceived ideas or styles onto a particular project, rather, I work with the constraints and functions of the site and location as well as its specific opportunities to craft a work which integrates well into the site. I work in a variety of materials: metals, stone, glass, terrazzo, landscape materials, for example, selecting materials that will meet the functional needs of a project.
I have experience collaborating in many different contexts and feel that to collaborate with the design teams is a valuable approach for projects. My experience in working with design teams on a variety projects has shown me the need to look at elements beyond the art as well as the variety of roles that the art itself can play in the bigger picture. The process is challenging in very good ways, to encourage new ideas and new ways of thinking that cannot be developed alone.. The ability to make a memory of place is increased by the collaboration as it creates a more holistic and total experience that participates rather than dominates. Top to bottom: Air Over Under, 2011, San Francisco International Airport; Of a Leaf or a Feather, 2015, San Ysidro, CA; The Spirit of Silence: the Reflection Room, 2014, San Diego International Airport NORIE SATO 1045 NE 88th Seattle, WA 98115 206 527.0207 (land line) 501 637.6912 (fax) 206 235.4287 (mobile) e: [email protected] www.noriesato.com
COMMISSIONED PUBLIC AND PRIVATE ART WORK: Current Projects: Cary Old Elementary School/New Community Arts Center (collaborative with Jim Hirschfield & Sonya Ishii), Cary, NC, 2007- 2016 Union St. East-West Corridor, Seattle WA 2014-2016 (on hold) Marston Hall, Iowa State University, Ames, IA, 2015-2016 Wheaton Town Square, Wheaton, MD, 2016-2018 Denny Hall, University of Washington, Seattle, 2016-2017 Selected Completed Projects: San Ysidro Land Port of Entry, San Ysidro, CA 2012-2015 Fort Worth Chisholm Trail Parkway (SH-121 Parkway), Water Markers 2009-2015 Student Union Meditation Room, University of North Texas, Denton, TX , 2014-2015 San Diego International Airport Reflection (Meditation) Room, San Diego CA, 2010-2013 Biochemistry Building, University of Wisconsin/Madison, 2008-2012 Atlantic/Central (Bus) Base Employee Services Bldg., Seattle, WA, 2008- 2011 Hach Chemistry Building, Iowa State University, Ames, IA, 2008-2011 San Francisco International Airport Terminal 2, San Francisco CA, 2009-2011 University of Iowa Hygienics Laboratory, Iowa City, IA 2010 StART “System (lead) Artist” for light rail, Sound Transit (regional transit), Seattle WA, 1998- 2009 including system-wide projects and a plaza. Collaborative. Valley Metro Rail, Phoenix/Tempe, AZ, design team/station artist with Bill Will, 2002-2009 South Charlotte Improvement District II at the Charlotte Trolley Museum, Charlotte, NC, 2007- 2010 Port of Portland Headquarters Building, Portland, OR 2008-2010 Salt Lake City Intermodal Transit Hub, exterior artwork, Salt Lake City, UT, 2008 San Diego Hilton Bayfront, San Diego, CA, light wall artworks, 2008 Miami International Airport, South Terminal Expansion, Large Windows and terrazzo floor, 1998-2007 Arabian Library, exterior & interior artworkScottsdale AZ, 2004-2008, McDowell Mountain Ranch Aquatic Center, exterior artwork, Scottsdale AZ, 2003- 2006 Port of Seattle Police Department Headquarters lobby at Seattle Tacoma International Airport, Seattle WA, interior artwork, 2004-2006 Iowa State Labs, Ankeny Iowa, interior artwork, 2003-2005 City Hall, Federal Way, WA, interior artwork, 2005 Wallace All Faiths Chapel, Chapman University, Orange CA 2005 Seattle Justice Center, Artist Team w/ Pam Beyette, Michael Davis, Richard Turner, 2000- 2002: Courts Lobby, Courts Stairwell, and Police Lobby UW Bothell/Cascadia Community College Campus, exterior artwork, 2000 - 2002 Palmer Human Development and Family Studies Building, Iowa State University, Ames, Iowa, with RDG Bussard/Dikis, Architects, interior water wall, terrazzo floor, 1997- 2000 Miami International Airport, Terminal-wide Refurbishment, collaborative with Brad Goldberg and Garrison Roots, schematic design 1996-1997; Terminal Expansion North, terrazzo floor, 1998-1999; South Terminal, design phase, 1998-2000;
Gallivan Center and Courthouse Stations, Light Rail UTA TRAX, Salt Lake City, UT, 1998-00 North Creek Diverson Project: Bothell, WA. King County/METRO Sewer Pump Station artwork: 1995- 1999. Exterior Sculptural Copper Drain Portland (OR) Westside MAX Light Rail Artist Design Team, 1992-1998. Artwork integrated into the west side expansion stations (11 stations) Collaboration with architects, landscape architects, engineers and five member artist team( with Tad Savinar, Richard Turner, Mierle L. Ukeles, Bill Will). Biochemistry Building, Terrazzo Floor. University of Wisconsin/Madison, 1996- 1998 International District Village Square, Seattle. Non-profit mixed-use community facility. Exterior plaza benches and paving, donor recognition, with Stuart Nakamura, Hai Ying Wu, 1996-98 Portland (OR) City Hall Renovation: Collaborative artwork with Tad Savinar & Bill Will: “Brief Cases”, interior wall work of cast bronze and stainless steel plates in a major public area of the renovated historic structure. 1995- 1998 Dallas Convention Center Expansion, Artist Design Team.. 1991-93. Collaborative project with William J. Maxwell, Garrison Roots, Philip Lamb: Terrazzo floor(1100,000 sq. feet) In Public: Seattle 1991", Seattle Arts Commission Art in Public Places Program, temporary installation on waterfront of Seattle, 1990/91
PLANNINGRELATED PUBLIC ART EXPERIENCE: Seattle Arena Public Art Plan, Seattle WA . 2015 Sound Transit stART: Planning for light rail for Central Link as well as overall art planning for 3 modes of transportation. Collaborative with other artists, agency, designers 1998-2005 Romare Bearden Park Master Plan, Charlotte, NC, 2006-2007 Seattle International Airport: Pooled Funds Art Master Plan, 2002/3 Central Park Trail Art Plan for an urban walking trail through one of Seattle’s oldest and diverse neighborhoods. 1996 Alki/Duwamish Corridor Schematic Design: member of schematic design team for this waterfront & partially industrial corridor in West Seattle. Team with MAKERS (Urban planning/architecture firm), 1995 Denver International Airport, Art Program Master Plan/Artist Design and Planning Team, 1990
FELLOWSHIP/AWARDS (selected): WA State GOVERNOR’S ARTS AWARD, 2014 Public Art Network Leadership Award, 2014 TWINING HUMBER AWARD for Lifetime Achievement, 2013, Artist Trust, Seattle, WA YEAR IN REVIEW: 2012, “Air Over Under”, San Francisco International Airport; 2010, “Spirit of Inquiry” (with Bill Will) at Valley Metro Rail Rural/University Station, Tempe, AZ; 2008, “Ghost Palms”, MIA and “Cactus Mirage”, Scottsdale; 2007, “Safety Spires” (with Dan Corson); Public Art Network Recognition, Americans for the Arts American Institute of Architects Seattle Chapter, Honorary Membership, 2010 Artist Images, Univ. of Washington Libraries, 2008 VALLEY FORWARD CRESCORDIA AWARD 2007, Environmental Excellence/Art in Public Places category: “Cactus Mirage”, McDowell Mountain Ranch Aquatic Center, Scottsdale, AZ GOLDEN TROWEL (1st Place in terrazzo), National Masonry Institute, Wisconsin Chapter, for Biochemistry Bldg, Univ. of Wisconsin GEORGE TSUTAKAWA AWARD FOR ADVANCEMENT OF PUBLIC ART, 1997, Allied Arts of Seattle HONOR AWARD and Special Award, National Terrazzo and Marble Assoc., 1994, 1999, 2009, ARTIST TRUST FELLOWSHIP, Media Arts, 1993
2 CASEY and KURT SCHACHNER Groundswell Creations Sculpture Lolo, MT groundswellcreations.com [email protected]
As an artistic team we have created sculptures locally, nationally, and internationally that reflect our Floridian roots and inspiration drawn from nature. This opportunity aligns with our passion for creating large scale artwork and incorporating environmentally sustainable elements through the materials used. We would like to advance our artistic conversation of sustainability by incorporating solar powered elements into the design of future artwork.
In the past, we have teamed up with general contractors, engineers, and landscape architects to create significant visual statements via large scale, multi-dimensional sculptures at residential properties and for public exhibitions and permanent installations.
We are inspired by the nautical landscapes of the ocean, Floridian terrain, and tropical textures of our native state. When we met, we connected immediately by fusing our two worlds of landscape and sculpture. Inspired by forms present in nature juxtaposed in the industrious materials of metals, wood, and stone, we would welcome an opportunity to create a public artwork.
Being part of a design team is key to achieving the best results in fabrication.
Top to bottom: Coral, 2012, West Rutland, VT; Tilt, 2016, Saint Augustine, FL; Palms, 2015, Saint Augustine, FL Casey Schachner | Sculptor & Fine Art Entrepreneur 4102 Seagate Lane N, St. Augustine, FL 32084 | (561) 706-5357 | [email protected] | www.groundswellcreations.com
Awards 2015-20 Monroe County’s Art In Public Places. Florida Keys Council of the Arts 2012 1st Runner Up. 4 on 4 Miami. Jordan Winery Art Competition & Exhibition. Bakehouse Art Complex. Miami, FL 2009 John D. Kehoe Scholarship. UGA Lamar Dodd School of Art. Cortona, Italy 2009 Faculty’s Choice in Sculpture. La Mostra. UGA Faculty & Student Art Exhibition. Cortona, Italy 2009 Best in Sculpture. Kerrville Arts & Crafts Show Student Artist Scholarship. Kerrville, Texas 2008 Bessie and Dudley Dodson Memorial Academic Scholarship. Baylor University Art Department. Waco, Texas 2008 Harold C. Simmons Friends of Fine Arts Scholarship. Baylor University Art Department. Waco, Texas. 2005-09 Baylor University Presidential Scholarship. Baylor University, Waco, Texas Selected Group Exhibitions 2014-16 Exhibiting Artist. Sea Spirits Gallery. Saint Augustine, Florida 2013-15 Sculpture Garden Exhibit. Vermont Arts Council. Vermont 2012 On the Map Exhibition. Armory Art Center. West Palm Beach, Florida 2012 Wynwood Art Walk Exhibiting Art. Once Arts Gallery. Wynwood Arts District, Miami, Florida 2012 4 on 4 Miami. Jordan Winery Art Exhibition. Bakehouse Art Complex. Miami, Florida 2011 La Mostra. UGA Faculty & Student Art Exhibition. Cortona, Italy 2010 Sculptfest Exhibition. Carving Studio & Sculpture Center. West Rutland, Vermont 2009 La Mostra. UGA Faculty & Student Art Exhibition. Cortona, Italy 2009 BFA Thesis Exhibition. Baylor University. Waco, Texas 2008 Prodigy Exhibition. Cultural Arts Center. Temple, Texas Public Artwork & Commissions 2016 Palm & Tilt sculptures. Six-piece sculpture series for private commission. Collaborative project at Groundswell Creations Sculpture Studio. Saint Augustine, Florida 2012 Coral. Sculpture Garden Permanent Collection. Carving Studio & Sculpture Center. West Rutland, Vermont 2011 Panni Stesi/Laundry Series. In partnership with the Commune di Cortona, Palazzo Casali, and UGA in Cortona, Italy Education, Residencies & Internships 2012 Resident Artist (2012) & Sculpture Studio Intern (2010). Carving Studio & Sculpture Center. West Rutland, Vermont 2011 Visiting Artist & Resident Assistant. UGA Studies Abroad. Lamar Dodd School of Art. Cortona, Italy 2009 UGA studies abroad semester. Cortona, Italy 2009 BFA in sculpture. Magna Cum Laude. Baylor University, Waco, Texas Kurt V. Schachner (904) 429-5500; [email protected]
Education 2000 Bachelor of Interdisciplinary Studies, Florida Atlantic University (Boca Raton, FL) —Journalism, Design and Marketing
Employment 2014-2015 Austin Outdoor, Jacksonville, FL Business Development/ Initiated contact and introduced the company to perspective customers in the northeast region of Florida
2010-Jan 2014 BeachScapes Designs, Inc., Delray Beach, FL Primary contact for all aspects of landscape construction. Secured business relationships, designed, and installed consistent Florida #1 material for projects throughout the south Florida region
2004-2010 Sunny State Nursery and Landscape Co., Lake Worth, FL Senior Director of Estimating/Design. Managed all phases of sales, design and installation. Business contact for Municipal, Commercial and Residential Contractors and Customers.
2003-2004 Annco Landscape Services, Inc., Delray Beach, FL Landscape Designer, Design and Operations Manager for 3-5 crews primarily dealing with Residential Communities Certifications 2014 Best Management Practices, Bureau of Land Management
Project Highlights Sawgrass Pointe II, Sunrise, FL Cultural Revitilization Center, Mizner Park, Boca Raton, FL City of Boynton Beach, Boynton Harbour Marina, Boynton Beach, FL City of Boca Raton Fire Station #3, #5, Boca Raton, FL City of Parkland, Parkland Dog Park, Parkland, FL Multiple private residences, Lost Tree Village, West Palm Beach, FL
Key Skills Extensive plant knowledge Landscape Design & Implementation Business Development, Sales & Marketing Customer Relations (establishing and forging long term business) Site Supervision, Project Management & Site Safety Budgeting & Construction Estimating/Bidding Change Order Management & Mitigations
References available upon request
CRYSTAL SCHENK and SHELBY DAVIS Portland, OR crystalschenk.com; shelbydavisstudio.com, crashstudioart.com [email protected]
Our collaborative work comes out of a shared interest in storytelling, history and symbolism. We search for the most potent icon that inspires us to spend intimate time with its history, learning its stories and form. Our aspirations are to create artworks that have their own personal voice but also engage thoughtfully with the community, architecture, and surrounding environment. In an effort to make work visually commanding from a distance and close up, we feel it is important to make sculptures that can be enjoyed in a brief, passing manner, but also have details creating a sense of wonder for people who take time to investigate. We are particularly interested in creating site-specific artwork that inspires a sense of civic identity and connection.
Our sculptural work is diverse in both form and materials, as we specialize in designs tailored to the context and enhancing a sense of community. We each have a well- rounded individual practice, bringing different yet complementary skills to our collaborations. We both have backgrounds working in the commercial arts field, including sculpting monuments for bronze foundries and creating industrial design prototypes. When choosing materials we consider durability, cost, environmental impact, and inherent conceptual and aesthetic qualities significant to the project. This has included metal casting, wood and steel fabrication, stained & cast glass, concrete and stone. Our work is also evolving to include more computer-aided processes, while setting that precision and design savvy next our personal and approachable hand sculpted styles.
We have a unique working relationship where we each start building a form and then trade them back and forth, contributing and editing as the sculptures emerge. The process is full of trust and compromise, helping us distill our ideas into something that keeps us constantly engaged and surprised. We also have experience working closely with committees and city entities.
Top to bottom: West Coast Turnaround, 2009, temp installation; This All Happened More or Less, 2014, Portland, OR; Greensboro Municipal Bollards, proposal image, 2016, Greensboro, NC
CRYSTAL SCHENK 5140 SE Park Street Portland, OR 97222 (503) 312-5382 [email protected] EDUCATION crystalschenk.com MFA 2007 Portland State University, Portland, OR BFA 1999 The School of the Art Institute of Chicago, Chicago, IL
AWARDS 2015 • Americans for the Arts, Public Art Network Year in Review; National Recognition of 31 Outstanding Public Artworks of 2014 2014 • Regional Arts and Culture Council Professional Development Grant 2013 • Regional Arts and Culture Council Project Grant • Caldera’s Ford Family Foundation Artist in Residence Prize 2010 • Artists Wanted, Top 100 Artist of A Year in Review 2009 • Emerging Sculptor Award, Art-st-urban, St Urban, Switzerland 2006 • Outstanding Student Achievement in Contemporary Sculpture, International Sculpture Center
RESIDENCIES 2013 • Caldera, Artist in Residence, Sisters, OR 2011 • Art-st-urban, Artist in Residence, St Urban, Switzerland 2009 • Rensing Center, Artist in Residence, Pickens, SC • Milepost 5, Artist in Residence, Portland, OR 2007 • Art-st-urban, St Urban, Switzerland, six week fully funded artist residency with Heinz Aeschlimann
PUBLIC ART COMMISSIONS • Municipal Building Bollards, 2016 — Collaboration with Shelby Davis Location: Melvin Municipal Building, Greensboro, NC Commissioning Agency: The Cemela Foundation Budget: $75,000
• Estacada Art Benches, 2015 — Collaboration with Shelby Davis Location: Broadway Street, Estacada, OR Commissioning Agency: Clackamas County Arts Alliance Budget: $10,000
• This All Happened More or Less, 2014 — Collaboration with Shelby Davis Location: Eight locations on SE Division Street between 11th and 36th, Portland, OR Commissioning Agency: City Percent for Public Art Project, administered by the Regional Arts and Culture Council Budget: $67,785
• Raven and Owl, 2010 — Collaboration with Shelby Davis Location: 3 month long temporary installation in the Carl Greve Building, Portland, OR Commissioning Agencies: Regional Arts and Culture Council & Portland Business Alliance Budget: $1200 – materials only
SOLO EXHIBITIONS 2013 • Shelter, Bullseye Gallery, Portland, OR 2012 • Artifacts of Memory, Linfield Gallery, McMinnville, OR • Aurora, TEDx Concordia College, Portland, OR 2011 • New Works: Fragmented Body, Art-st-urban, St Urban, Switzerland • See the Magic? Collaborative installation with Shelby Davis. Wieden & Kennedy, Portland, OR. 2010 • Raven and Owl. Collaborative installation with Shelby Davis. Carl Greve Storefront, Portland OR. 2009 • West Coast Turnaround. Collaborative installation with Shelby Davis. Milepost 5, Portland, OR. 2008 • Unseen Forces Are at Work, Igloo Gallery, Portland, OR • Fingerprint Project, PDX Window Project, PDX Contemporary Art, Portland, OR 2007 • Art-st-urban, St. Urban, Switzerland • Artifacts of Memory – MFA Thesis Exhibition, Autzen Gallery, Portland, OR 2006 • Alchemy, Portland, OR
RECENT GROUP EXHIBITIONS 2016 • Habitats, White Box Gallery, in conjunction with What Is? Conference at the University of Oregon, Portland, OR 2015 • Open 18: International Exhibition of Installations and Sculptures, Hilton Molino Stucky, Venice, Italy 2013 • Selection Artfair; Art Basel – represented by Art-st-urban, Basel Art Center, Hall 33, Basel, Switzerland • Art-st-urban, St Urban, Switzerland (invitational group show and art auction) • Past Future: 2013 PNCA Faculty Biennial, Pacifice Northwest College of Art, Portland, OR • Faculty Exhibition, Manuel Izquierdo Gallery, Pacific Northwest College of Art, Portland, OR 2012 • Faculty Exhibition, Arnold Gallery, Lewis and Clark College, Portland, OR 2010 • Scope Art Fair, represented by myartspace as Top 50 Finalist of Scope Miami Competition, Miami, FL • Sitka Art Invitational, Portland, OR • Windows into Art, Vancouver, WA • Portland 2010: Oregon Biennial, curated by Cris Moss, Disjecta, Portland, OR • Mustang Sally, TCB, Melbourne, Australia
COLLECTIONS • Art-st-urban, St Urban, Switzerland • Wieden & Kennedy, Portland, OR • Regional Arts and Culture Council Portable Works, Portland, OR • Caldera, Portland, OR • Portland Children’s Museum, Portland, OR
RECENT PUBLICATIONS (REVIEWS, ARTICLES, INTERVIEWS) • Oregon Art Beat, OPB, upcoming interview, 2016 • Ana Finel Honigman, Whitewall Magazine, Spring 2015 , 58-59. • CODAmagazine: Placemaking Art, Spring 2015. • “Richard Spear’s 10 Favorite Shows from 2002-2015”, Willamette Week, April 1, 2015. • Interview with Ana Finel Honigman, “In the Studio with Crystal Schenk”, ISC re:sculpt Blog, November 19, 2014. • Interview with April Baer, State of Wonder on OPB, Portland, Oregon, December 7, 2013. • High Desert Journal. Issue 18, Fall 2013, back cover. • Elizabeth Lopeman, Review of Artifacts of Memory, Sculpture, Vol. 32, No. 4, May 2013, 77. • Peter Plagens, “Our Next Art Capital: Portland?”, The Wall Street Journal, May 2, 2012. • Interview with Eva Lake, Art Focus on KBOO, Portland, Oregon, April 8, 2012. • Jennifer Rabin, “The Only Way Around is Through: Artifacts of Memory”, Drain: Supernature, Issue 15, 2012.
TEACHING & PROFESSIONAL EXPERIENCE Jan 2009 – Assistant Professor, Adjunct – Portland State University, Portland OR Present Intro Sculpture I, Intro Sculpture II, Intermediate Sculpture I, Figure Sculpture, Mold Making & Casting, 3-D Design, Idea and Form
Sept 2008 – Assistant Professor, Adjunct – Pacific Northwest College of Art , Portland OR Present Figure Sculpture, Soft Sculpture, Carving and Reductive Techniques, 3-D Design, Experiments in Drawing
Fall 2012 Assistant Professor, Adjunct – Lewis & Clark College, Portland OR Sculpture I
Sept 2008 – Assistant Professor, Adjunct – Portland Community College, Portland OR Dec 2010 Mold Making and Casting, 3-D Design, Basic Design, Color Theory, Drawing
July 2005 – Instructor – The Art Institute of Portland, Portland OR Dec 2008 Sculpture Theory and Practice, Figure Sculpture, Figure Drawing, Drawing 1, Principals of Visual Communication
Oct. 2003 – Stained Glass Artist Jan. 2005 Chuck Franklin Glass Studio, Portland OR
Oct. 2000 – Sculptor/Designer Oct. 2003 Maiden Foundry, Sandy OR
Oct. 1999 – Toy Sculptor/Designer July 2000 Rehkemper ID, Inc., Chicago IL
shelby davis
5140 SE Park St. Education Portland, OR 97222 2008 MFA Portland State University. Portland OR T (864) 420 4836 2004 BA Studio Art, Minor in Geology. College of Charleston. Charleston SC [email protected] shelby-davs.com Awards and Residencies 2015 Americans for the Arts, Public Art Network Year in Review; National Recognition of 31 Outstanding Public Artworks of 2014
2013 Caldera Arts Residency. Sisters OR Caldera’s Ford Family Foundation Artist in Residence Prize Regional Arts and Culture Council Project Grant
2011 Paintallica Residency. Art production Fund. Las Vegas NV
2009 Milepost 5 Artist Residency, Portland OR
Public Art Commissions Municipal Building Bollards, 2016 — Collaboration with Crystal Schenk Location: Melvin Municipal Building, Greensboro, NC Commissioning Agency: The Cemela Foundation Budget: $75,000
Estacada Art Benches, 2015 — Collaboration with Crystal Schenk Location: Broadway Street, Estacada, OR Commissioning Agency: Clackamas County Arts Alliance Budget: $10,000
This All Happened More or Less, 2014 — Collaboration with Crystal Schenk Location: Eight locations on SE Division Street between 11th and 36th, Portland OR Commissioning Agency: City Percent for Public Art, administered by Regional Arts and Culture Council Budget: $67,785
Raven and Owl, 2010 — Collaboration with Crystal Schenk Location: 3 month long temporary installation in the Carl Greve Building, Portland OR Commissioning Agencies: Regional Arts and Culture Council & Portland Business Alliance
Teaching and Professional Experience Owner and operator of Shelby Davis Studios – a product design and furniture company
Winter 2009- Instructor - Industrial Design, Sculpture, Figure Modeling, Foundations Present Art Institute of Portland, Portland OR
Winter 2008 Sculptor / Mold Maker - Assisted in construction of a large scale Dragon Michael Curry Designs, Scappoose OR
Fall 2007, Graduate Instructor – Instructor of record for Art 199: 3-D Design Winter 2008 Portland State University, Portland OR
2003-05 Fine Woodworker JMO Woodworks Custom Carpentry, Charleston SC
2003 Workshop Instructor Sloss Metal Arts, Birmingham AL
2002 Artist Assistant for Michael Garth. Newcastle Arts Foundry Metal Working, Newcastle, Australia Exhibitions 2016 Inventing Problems and Congratulating Myself for Solving Them, Alexander Gallery, Clackamas Community College, Oregon City OR (Solo) Double Vision Quest, Soo Visual Arts Center, Minneapolis, MN
2013 Smell the Bar Oil. Paintallica. Rox Box, Portland OR Faculty Exhibit. Portland Art Institute, Portland OR
2012 Paintallica. Art production Fund. The Cosmopolitan, Las Vegas NV Clackamas College Outdoor Sculpture Show. Portland OR
2011 See The Magic. Wieden + Kennedy, Portland OR. (Installation with Crystal Schenk) Sensativity Training. Paintallica. Rox Box, Portland OR An Educational Event. Paintallica. PSU, Portland OR
2010 Raven and Owl. Carl Greve Storefront, Portland OR. (Installation with Crystal Schenk) Portland 2010. Disjecta, Portland OR Mussstaaangg Sallllly. TCB art inc, Melbourn, Australia
2009 West Coast Turnaround. Milepost 5, Portland OR. (Installation with Crystal Schenk) Outlook: PSU Art Graduates 2005-2009. Autzen Gallery, Portland OR (Juried Show) Disjecta 3rd Annual Art Auction. Disjecta, Portland OR Potluck. Paintallica. Country Club, Los Angeles CA (Group Performance) BIN, Paintallica. Seed Collective, AVA Center, Chattanooga TN Store for a Month. Portland OR
2008 Paintallica. TimeBasedArt Festival, Portland OR (Group Collaboration) Immaterialized. Disjecta, Portland OR Recent Graduates. Blackfish, Portland OR This All Happened, More or Less. MK Gallery, Portland OR (Solo Thesis Exhibition) Art Italy. MK Gallery, Portland OR
2007 As Close as it Gets From a Safe Distance. Jace Gace. Portland OR Kitchen Sink, Step into My Office. Portland OR Clackamas College Outdoor Sculpture Show. Portland OR Pigs in the Ether. MK Gallery. Portland OR
2006 (Re)orientation, Charleston SC Mile Creek Arts Exhibition, Pickens SC
2005 The Floating. Charleston SC The Chapel Hill Public Arts Commission Sculpture Show. Chapel Hill NC
2004 Young Contemporaries. Halsey Gallery, Charleston SC Selections From Young Contemporaries Metropolitan Arts Council. Greenville SC Heavy Line. Simons Center for the Arts, Charleston SC (Solo Installation) 2003 2004 Salon de Refuse. Simons Center for the Arts, Charleston SC 2005 2002 First Edition. Newcastle University Arts Center, Newcastle, Australia
Bibliography CODAmagazine: Placemaking Art, Spring 2015. Richard Spear. 10 Favorite Shows from 2002-2015”, Willamette Week, April 1, 2015. Cyrus Smith. “Interview with Shelby Davis” Art Talk AM, KPSU, September 15, 2008. Celina Monte. “Notions of Accuracy, Let Go: Shelby Davis at the MK Gallery,” PSU Vanguard, April 30, 2008, Arts and Culture Section. Inara Verzemnieks. “Way Out: The Cardboard Tank at Jace Gace,” The Oregonian, December 13, 2007, Visual Arts Section. Jeff Jahn. “Gordon Barnes & Shelby Davis at Jace Gace,” PORT, December 22, 2007.
Professional Organizations 2006-Present Executive Board Member. The Rensing Center, Pickens SC
2003-2006 Executive Board Member. Redux Contemporary Art Center, Charleston SC
BUSTER SIMPSON Seattle, Washington bustersimpson.net [email protected]
I often meld social and ecological concerns into an aesthetic, and continue to employ intervention and temporary prototypes as a way to inform my more lasting works in public. I continue with what has been a career- long interest in combining ecological, historical, and social considerations. This approach brings a meaningful, enduring and unique perspective to my work. Creating either standalone or site specific integrated sculpture requires the same conceptual process. The additional advantage of a collaborative process in the public realm creates a synthesis greater than its parts. My approach to creating public work is process, a series of investigations informing the outcome.
I have been an active artist since the 1970s and have worked on major infrastructure projects, site master planning, signature sculptures, museum installations, and community projects
I have participated and led numerous charrettes and workshops at universities internationally, most recently the 2016 Shenzhen Assembly at Tsinghua University, Shenzhen, China, Urban Headwaters at the University of Minnesota, and Water in Our World at the University of North Carolina, Chapel Hill, NC.
I just completed my second year as the director of the annual Rising Waters Confab at the Rauschenberg Foundation on Captive Island, FL collaborating with artists, scientists, writers, and performers to address issues of climate change.
Top to bottom: Water Table, Water Glass, 2001, Seattle, WA; Aerie, 2012, Seattle, WA; Carbon Veil, SeaTac Airport, 2012
Education
1966-69 MFA, Sculpture, University of Michigan 1963-66 BS, Design, University of Michigan
Selected Public Commissions
2015 Discombobulated Discourse, Duwamish Revealed, Seattle, WA Orange Lining & Impressed Concrete, Portland, OR Cradle, Portland, OR 2014-16 Midden Wikiup Encampment, San Antonio, TX 2014 Offering Cycle, Anchorage, AK 2013-16 Anthropocene Beach, Elliott Bay Seawall Habitat Project, Seattle, WA 2013 Vernacular, Bellevue Regional Library, Bellevue, WA Presence, Salt Lake City Public Safety Building, Salt Lake City, UT 2012 Aerie, US Army Corps of Engineers Headquarters, Seattle, WA Oculus Sol, Indio, CA Carbon Veil, SeaTac International Airport Rental Car Facility, SeaTac, WA Dekumstruction Bike Corral (Collaboration with Peg Butler), Portland, OR 2011 Bio Boulevard & Water Molecule, Brightwater Treatment Facility, Woodinville, WA 2010 Flamingo Arroyo Trailhead (Collaboration with Barbara Grygutis and Kevin Berry), Las Vegas, NV Cloke Plaza, University of Maine, Orono, ME 2009 Bucket Brigade (Collaboration with Peg Butler), Portland, OR Whole Flow, Pasadena, CA 2008 Instrument Implement: Walla Walla Campanile, Walla Walla, WA Poetic License, Walla Walla, WA Parable, Sound Transit Mt. Baker Station, Seattle, WA 2007 Tempe Light Rail Transit Bridge, Tempe, AZ
Selected Installations and One Person Exhibitions
2015 Double Bound, Greg Kucera Gallery, Seattle, WA 2013 Buster Simpson // Surveyor, Frye Art Museum, Seattle, WA 2007 Shard Cornice, Corning Museum of Glass, Corning, NY 2006 Instrument Implement, Sheehan Gallery, Whitman College, Walla Walla, WA
Selected Group Exhibitions
2016 Sublime, Centre Pompidou-Metz, Metz, France 2015 Black Flag and Oil Drum Corp, Fremont Solstice Parade, Seattle, WA Duchamp Effect, Seattle Art Museum, Seattle, WA 2013 Unbuilt San Francisco: The View From Futures Past, California Historical Society, San Francisco, CA Rauschenberg Residency: Fruits of Captiva, Rauschenberg Project Space, New York, NY Depth of Field: Exploring Our Culture Through the Creative Lens, British Columbia Society of Landscape Architects, Vancouver, BC, Canada 2012-13 Moment Magnitude, Frye Art Museum, Seattle, WA 2011 Living as Form, Creative Time, New York, NY 2010 Remediate/Re-Vision, Wave Hill Gallery, Bronx, NY Critical Messages, Western Gallery, Western Washington University, Bellingham, WA
Selected Consulting and Work Experience
2013 Artist/Advisor, US Environmental Protection Agency “Campus RainWorks Challenge”, Master Plan Award Winning Team, University of Florida, Gainesville, FL 2011 Artist/Designer, Atmospheric Analogue (Commissioned Proposal), Edmonton Zoo, Edmonton, Alberta, Canada
Artist/Designer, San Jose / Santa Clara Water Pollution Control Plant, Art Master Plan, San Jose, CA 2010 Consultant/Designer, Kyle Canyon Campgrounds, Art Master Plan, USFS, Las Vegas, NV 2009-11 Systemwide Artist, Portland-Milwaukie Light Rail (Orange Line), Portland, OR 2008 Design Team, Al Rayyan Road Streetscape, Doha, Qatar
Teaching and Workshops
2016 Rising Waters International Confab, Rauschenberg Foundation, Captiva, FL 2015 Rising Waters International Confab, Rauschenberg Foundation, Captiva, FL Charette, “Urban Headwaters,” University of Minnesota, Minneapolis, MN 2013 Worskhop, “Water in Our World,” University of North Carolina, Chapel Hill, NC 2012 Workshop, “Ephemerality in the Public Landscape,” University of New Mexico, Albuquerque, NM
Selected Lectures and Panels
2015 Keynote, Crossroads: Ecology - Mobility - Culture, 2015 FLASLA Conference and Expo, Orlando, FL Keynote, Nature 3.x Where is Nature Now? Symposium, University of MN, Minneapolis, MN 2014 Lecturer, Reed College, Portland, OR Lecturer, Civitella Ranieri Foundation, Umbria, Italy 2013 Workshop/Lecturer, “Fare Thee Well (Again and Again) Water Repurposed: The Poetic Utility of Art and Water,” Water in Our World, University of North Carolina, Chapel Hill, NC Keynote Speaker, International Low Impact Development Symposium, University of Minnesota, St Paul, MN
Selected Grants, Awards, and Honors
2013 Public Art Network Award, Americans for the Arts, Washington, DC 2012 Mayor’s Arts Award, Seattle, WA 2009 Public Art Network Award, Americans for the Arts, Washington, DC 2004 PONCHO Artist of the Year Award, Seattle, WA
Selected Museum Collections
Seattle Art Museum, Seattle, WA Henry Art Gallery, University of Washington, Seattle, WA Tacoma Art Museum, Tacoma, WA Corning Museum of Glass, Corning NY City of Seattle / Seattle Arts Commission, Seattle, WA
Buster Simpson, 2 GAIL SIMPSON and ARISTOTLE GEORGIADES Actual Size Artworksh Stoughton, WI actualsizeartworks.com [email protected]
We are two sculptors who work individually and collaborate as Actual Size Artworks. We believe that our role as artist/citizens enables us to make a meaningful contribution to public spaces. Artwork can highlight and interpret a community, help clarify a busy and visually dense space, and create a space for imagination and possibility. Public spaces that contribute to the common good seem more important than ever today; cultivating a sense of rapport is a strength of ours. It is usually our intention to create an artwork that has a compelling sculptural presence while being compatible with the existing features of the site or architecture. Regarding scale, we try to make works that can hold their own in a larger space but refer to human scale so the viewer doesn’t feel overwhelmed. We work with a wide variety of weather-permanent materials, including steel, aluminum, bronze and concrete, and we are attentive to matters of durability and maintenance. We have a solid track record of on-time and on-budget projects.
As you’ll see from our portfolio, we have had design team experience working with engineers, architects, and landscape architects, and our communication skills are strong. Many of our projects have had strong participation and input from the communities being served by the project, and as a result of these experiences we feel committed to developing projects that are integrated through dialogue with those involved with the site. Public art projects are an opportunity to overcome the apprehension many people feel about contemporary art by generating a connection between artist and audience, and if all goes well the result is an addition to the community that is appreciated, discussed and valued. Thank you for your consideration
We have worked with landscape architects, architects, engineers, graphic designers, city agencies and community groups on a variety of projects. We enjoy collaboration, draw from a wide range of processes, and are interested in others' point of view. We understand construction drawings and are attentive to issues of safety, maintenance and durability.
Top to bottom: Plenty, 2013, Reedsburg, WI; Downtown Las Vegas Benches Phase I, 2015; Today Only, 2008 (temporary), Chicago, IL ACTUAL SIZE ARTWORKS (GAIL SIMPSON & ARISTOTLE GEORGIADES) 673 Center Rd. Stoughton, WI 53589 (608)217-9599 www.actualsizeartworks.com
COMMISSIONS 2016 Skyline Hills Branch Library, San Diego CA (in progress) 2015 Kansas City Streetcar Public Art, Kansas City MO (in progress) 2015/16 City of Las Vegas Downtown Streetscape Public Art Project (in progress) 2012 Dejope Residence Hall, Univ. of Wisconsin - Madison 2012 Minnesota State University Moorhead, Moorhead MN, with Dean Proctor; gathering space/sculpture 2011 Dwight Foster Library, Ft. Atkinson, WI 2009 Lawrence University, Warch Student Center, Appleton WI 2009 Northwest Medical Clinic, Charlotte NC, Arts & Sciences Council of Charlotte 2008 Maxwell Street Market Public Art Project, Chicago Office of Fine Arts , Chicago IL 2007 Fire Station #5, Lawrence KS City of Lawrence Public Art Program 2007 University of Wisconsin – Whitewater, WI % for Art Program, Whitewater, WI 2004 University of Wisconsin – Green Bay Laboratory Sciences Bldg., WI % for Art Program, Green Bay, WI 2004 “Blink” Temporary Public Art Project for Madison CitiArts, Madison, WI 2003 Hedberg Public Library Public Art Project, Janesville, WI 2002 Milwaukee City Campus Bldg., Milwaukee County % for Art Program, Milwaukee WI 2001 City of Milwaukee, 3rd District Police Station Public Art Project 2001 University of Wisconsin / Eau Claire, Chancellor's Hall WI % for Art Program, WI 2000 Mt. Scott Community Center, Regional Arts & Culture Council, Portland OR 1999 Deer Park Library, Spokane County Regional Library District, Deer Park, WA 1999 Lynndale Park Expansion, Lynnwood/Edmonds Arts Commission, WA 1998 Washington State Arts Commission, % for Art Project for Maple Lane School, Centralia, WA 1998 City of Redmond Maintenance & Operations Center Public Art Project, Redmond,WA 1996 Steel Lake Park Project, King County Arts Commission, Federal Way, WA 1992 Linpro Co., Chicago Il for Chicago Title & Trust Bldg.
GAIL SIMPSON M.F.A., School of the Art Institute of Chicago B.F.A., Washington University in St. Louis
COMMISSIONS: (Other) 2013 City of Madison Northside Image Library (with Garret Perry) 2005 City of Madison Water Utility Building, Madison CitiArts Public Art Commission 2003 Milwaukee East Side Business District, North Ave. / Cambridge
EXHIBITIONS 2015 “Today & Tomorrow” series, Carnegie Center for Art & Culture, 3-year Public Art Project “Simpson & Georgiades”, Indianapolis Art Center, Indianapolis IN
2014 “Kingdom”, Manifest Gallery, Cincinnati OH “Outdoor Sculpture 2014”, White River State Park, Indianapolis IN 2014-17 “Wisconsin Artists Biennial” Museum of Wisconsin Art, West Bend, WI “Non-Stop”, Art/Industry/Delta Properties, Madison WI
2013 “Art D’Tour”, Wormfarm Institute outdoor sculpture exhibition, Reedsburg WI “Kitsch Me if You Can”, Dairy Center for the Arts, Boulder CO “40th Anniversary Exhibition”, ARC Gallery, Chicago IL
2012 “Not Like I Remembered”,Unsmoke Artspace, Braddock PA
“Voices From the Warehouse District”, 10th Ave/Jackson Warehouse, Dubuque IA “Compendium 2012...”, Chazen Museum, Madison, WI
2011 “The Woods”, 2-person show, Public Space One, Iowa City IA “PopUp Art Loop”, Chicago Loop Alliance temporary gallery space “Nature Unframed”, Morton Arboretum, Lisle IL “Art on the River”, Dubuque, IA “Eco-Byways”, College of St. Benedict Gallery, St. Joseph MN “The Art of Green”, Ryerson Woods, Deerfield IL
2010 “2010 Outdoor Sculpture Exhibition”, Cary NC “First Annual Outdoor Sculpture Exhibit”, Public Art League, Champaign, IL Wisconsin Triennial, Madison Museum of Contemporary Art, Madison, WI
ARISTOTLE G. GEORGIADES M.F.A., School of the Art Institute of Chicago, Chicago, Illinois B.F.A. Sculpture and Metals, University of Michigan, Ann Arbor, Michigan.
AWARDS AND GRANTS 2004 “Blink” Grant, Madison CitiArts for temporary project 1998 GAP Grant, Washington State Arts Commission. 1994 Artist in Residence, Kohler Arts Center, Sheboygan, Wisconsin 1992 Artist in Residence, Arts /Industry program, Kohler Foundation, Sheboygan, Wisconsin 1991 Illinois Arts Council Special Assistance Grant
EXHIBITIONS 2015 “Armory Show” New York City, represented by Carl Hammer Gallery of Chicago IL “Today & Tomorrow” series, Carnegie Center for Art & Culture, 3-year Public Art Project “Simpson & Georgiades”, Indianapolis Art Center, Indianapolis IN
2014 “Wisconsin Artists Biennial” Museum of Wisconsin Art, West Bend, WI “Non-Stop”, Art/Industry/Delta Properties, Madison WI “Outdoor Sculpture 2014”, White River State Park, Indianapolis IN
2013 Solo Exhibition, Carl Hammer Gallery, Chicago, IL “Art D’Tour”, Wormfarm Institute outdoor sculpture exhibition, Reedsburg WI
2012 “Rework”, Solo Exhibition at Manifest Gallery, Cincinnati, OH. “Not What I Remembered”, two person exhibition, Unsmoke Artspace, Braddock, Pa. “Reflection from a Looking Glass”, Carl Hammer Gallery, Chicago, IL. “Compendium 2012...”, Chazen Museum, Madison, WI “Voices”, 10th & Jackson Warehouse, Dubuque, IA, curated by Holly Flood “Sculpture Downtown“, Champaign IL 2011- 12 (Actual Size Artworks)
2011 “RePurposed”, 1-person show, Chicago Cultural Center, Chicago IL “Nature Unframed”, Morton Arboretum, Lisle IL “Art on the River”, Dubuque, IA “The Art of Green”, Ryerson Woods, Deerfield IL
2010 “2010 Outdoor Sculpture Exhibition”, Cary NC “First Annual Outdoor Sculpture Exhibit”, Public Art League, Champaign, IL Wisconsin Triennial, Madison Museum of Contemporary Art, Madison, WI
2009 “Satisfaction Town”, Southern Graphics Conference at Columbia College, Chicago “Trickledown” Evanston Art Center, Evanston, IL Temporary commission (ASA) MICHAEL SINGER STUDIO Delray Beach, FL michaelsinger.com [email protected]
Since the 1970’s Michael Singer’s work has opened new possibilities for outdoor and indoor sculpture and contributed to the definition of site specific art and the development of public places. Singer’s more recent work has been instrumental in transforming public art, landscape and planning projects into successful models for urban and ecological renewal.
The Studio is a multifaceted art, design, and planning studio focused on understanding and expressing each project’s environmental systems and interactions as well as exploring its social and educational potential. Its projects are noted for specificity to the site, aesthetic beauty, functionality, and artful details in design and fabrication. The studio offers in-house design, planning, fabrication, and construction services, and is experienced in working with teams that include a variety of other professionals from engineers to botanists and policy makers.
Michael Singer Studio’s philosophy toward integrated public art and environmental design of spaces focuses on 4 core principles that are embodied in the Studio’s work: site specificity, ecological regeneration, craft and detail, and interdisciplinary approach.
The Studio has decades of experience working with design teams to create integrated works of art and has collaborated with engineers on power plants and water facilities, landscape architects on parks, and numerous architecture firms on building projects.
The Studio’s approach to projects often includes a range of professionals to engage in a collaborative design process which is critical to informing and guiding the project. Depending on the project type, the Studio builds upon this core team as necessary. The creation of sculptural gardens may call for biologists, masons, structural engineers, water quality specialists, and landscape architects. Larger planning projects often take in anthropologists, urban designers, whole systems engineers, and economists. The goal is to obtain a range of ideas and points of view that then become the Studio’s foundation for integrating systems and programs, creating new and refreshing spaces that are unique to their environment.
Top to bottom: Alterra Atria Gardens, 1999, Wageningen, the Netherlands; Uplifted Ground, 2015, Austin International Airport; Living Docks, 2009, West Palm Beach, FL
Michael Singer Studio Team Bios
Michael Singer - Select Biography Artist and Principal Designer, Michael Singer Studio
Throughout the 1970’s and 1980’s Michael Singer’s work opened new possibilities for outdoor and indoor sculpture and contributed to the definition of site specific art and the reimagining of public places. From the 1990’s to the present his work has been instrumental in transforming public art, architecture, landscape, and planning projects into successful models for urban and ecological regeneration. Singer has also been engaged in the rethinking of infrastructure facilities and systems in the United States and Europe and co-authored Infrastructure and Community published by Environmental Defense Fund.
Michael Singer has received numerous awards, including fellowships from the National Endowment for the Arts and the John Simon Guggenheim Foundation. His works are part of public collections in the United States and abroad, including the Australian National Gallery, Canberra; Louisiana Museum of Modern Art, Humlebaek, Denmark; the Guggenheim Museum, New York; The Museum of Modern Art, New York; and the Metropolitan Museum of Art, New York. He has had several one-person shows, most notably at the Guggenheim Museum, New York City and most recently in 2011-2012 at the Utzon Center in Aalborg and the Danish Architectural Center in Copenhagen, Denmark.
Public Art and Sculptural Gardens
Michael Singer’s sculptural gardens in the public realm have been noted for their unique regenerative qualities with each project shaped to restore environmental function through the creation of the built work. Many of the gardens have intricate layers of materials and can be understood as a gradual evolution from Singer’s early in-situ outdoor installations and sculptures. In Stuttgart, Germany he completed a one acre sculptural Memorial Garden that cleanses storm water through a series of sculpted planes containing plants and water. The Memorial Garden is a place of deep reflection while also a work of gradual ecological regeneration. Similarly, Singer’s Atria Gardens at the Alterra Center for Environmental Research in The Netherlands is a collaborative work that serves as the lungs and kidneys of the complex; filtering both air and water. This sculptural regenerative work has been featured in several international publications and remains one of the most innovative projects of its kind in the world. For the Denver International Airport Singer completed a large interior sculptural garden at the core of Concourse C. This multi-level garden transforms the concourse into a living space within an otherwise sterile airport environment; creating a contemplative place of refuge for travelers. Michael Singer’s collaborative studio has created numerous sculptural gardens for a range of clients including Becton Dickinson, the US Embassy in Athens, Greece, Whole Foods Markets in Florida, and the Food and Drug Administration. Among the most recent sculptural garden is a 40 foot tall Sculptural Biofiltration Wall and aquatic garden created for the Seminole Tribe of Florida. The garden filters 100 gallons of water per minute through mechanical and biological filtration systems powered entirely by solar energy. Singer recently completed an innovative public art and infrastructure project addressing functional environmental solutions for loss of habitat along Florida’s Intracoastal Waterway. The NEA funded Living Shorelines regenerative sculpture was designed, built, and installed in Lake Worth, Florida by Michael Singer Studio in collaboration with county biologists and marine engineers. Also recently completed, Uplifted Ground is a 300 foot long sculptural landscape at the Austin International Airport connecting the main terminal to the airport’s new rental car facility. Designed as a part of the walkway’s structural system, the sculpture is uplifted, rising from the ground, referencing nearby geological formations. The Studio designed, fabricated and led the
Michael Singer Studio – Select Team Biographies and References Page 1 installation of the nearly 400 earth-toned suspended geometric concrete elements embedded with copper, steel, and patterns derived from Texas aerial photography. The sculptural elements are lit from within, creating an elegant glow at night.
Landscape Design
Working with his Studio team, Michael Singer has created distinctive regenerative landscapes that integrate sculptural details, engage the public and reflect a deep sense of place and history. The New York City Department of City Planning and The New York City Economic Development Corporation hired Michael Singer as a part of a core team led by Margie Ruddick to provide planning, streetscape and landscape design for the public spaces in Queens Plaza near the Queensboro Bridge landing in Long Island City, New York. At the heart of the Queens Plaza design is a stormwater collection, filtration and infiltration system that supports a massive re-growth of vegetation from within the tangled urban core of over 14 lanes of traffic, 2 elevated subway lines, 2 bridges, and a multitude of subways and utilities. Michael Singer Studio ultimately created over 3000 individual sculptural paver, runnel and bench cap elements which are dispersed throughout the core of the project site. Michael Singer was selected as a part of an integrated design team to lead the reimagining and design of the new West Palm Beach Downtown Waterfront. The Waterfront is over a 1/2 mile long and encompasses over 12.5 acres of public spaces along the Intracoastal Waterway. The new civic space revitalizes the City’s historic downtown and restores the natural beauty of West Palm Beach’s waterfront. The Studio designed the main commons and event spaces, a Living Dock with mangroves and oysters, shade gardens, two community buildings, a continuous waterfront esplanade, shade trellises, water elements and an estuarine ecological regeneration area known as the South Cove. Michael Singer and his Studio colleagues have led teams including landscape architects, planners and horticultural specialists on numerous other landscape efforts most notably Howard Park in West Palm Beach, Florida, Lake Worth Beach in Florida and a regenerated nature park in Portsmouth, Virginia.
Planning
Michael Singer has led numerous planning efforts that have evolved overtime through the efforts of project partners and community stakeholders. Singer’s leadership and over a decade of involvement in the Long Wharf Master Plan in New Haven Connecticut helped realize the restoration of the historic pier, a 24 acre estuarine preserve and a new vocational aquaculture school. Singer’s multi-year master planning and design effort at the EcoTarium in Worchester, Massachusetts led to the regeneration of the campus’ landscape with large swaths of naturalized meadows, low impact parking lots, new woodland trails and a series of sculpted spaces, pavilions, courtyards and exhibits. Michael Singer Studio has recently led a multi-year planning for South Eleuthera in The Bahamas focusing on strengthening communities through small-scale, sustainable, low-impact ecotourism development. Michael Singer and his Studio colleagues have worked on a number of planning studies for mixed use urban infill and redevelopment in South Florida, Harrisonburg, Virginia, Southern Vermont, as well as Savannah and Augusta, Georgia. Each project encompasses a process from research and planning through concept with a focused systems-based approach addressing environmental systems such as water, waste, energy and ecology while also seeking to foster improved social well-being with considerations for health, mobility and economic equality. Other notable planning projects include the Canal Origins Park in Chicago, Stromso Square in Drammen, Norway and a multi-year ongoing effort for the planning of the W.E.B. Du Bois Homesite in Great Barrington, Massachusetts.
Academic Work
Singer’s academic work includes teaching graduate level architecture at MIT, the Graduate Program of the School of Visual Arts, New York City, The Koopman Visiting Chair of Art at Hartford College of Art, and The Innovation Studio at the Rhode Island School of Design. From 2004-2007 Singer was the Dorothy F. Schmidt Eminent Scholar Chair at Florida Atlantic University. Michael Singer was a visiting scholar and professor at James Madison University for the 2010-2011 academic year, working with the College of Integrated Science and Technology and the College of Visual and Performing Arts on campus wide environmental issues. Michael Singer is also a co-founder of the Center for Creative Solutions at the Marlboro College Graduate Center.
Michael Singer Studio – Select Team Biographies and References Page 2
Jason Bregman Associate, Environmental Planning and Design, Michael Singer Studio
Jason Bregman is a designer and project manager of large scale landscape and infrastructure planning projects. His design work focuses on sustainable and regenerative systems integration that help to restore damaged environments. Jason Bregman has worked closely with Michael Singer Studio since 2000 on projects including parks, infrastructure, community planning, waterfronts, environmental sculptures, commercial buildings, housing and corporate campuses. In 2005, Jason began running Michael Singer Studio South in Delray Beach, Florida.
Jason led the conceptual and schematic design phases, construction document review, and construction site review for Michael Singer Studio’s involvement in the West Palm Beach Waterfront Project. As the project environmental designer he oversaw the integration of sustainable and regenerative design elements throughout the half mile urban waterfront site. Jason coordinated the design of the central waterfront Living Dock to include planters containing native mangroves, spartina, and a visible oyster reef set into the dock surface. Perhaps the first of its kind in the nation, this boat dock and promenade functions as an environmental living system- filtering water and providing small pockets of habitat set within an estuarine man-made structure. Jason also developed the design of the waterfront South Cove area with over 6 acres of tidal gardens, oyster reefs, and seagrass restoration to promote habitat and improve water quality for the estuary. The Palm Beach County Department of Environmental Resource Management recognized the value of the conceptual work initiated by Michael Singer Studio and adopted the South Cove project and completed it in 2012.
From 2009 to 2015 Jason led the planning, design, and oversaw implementation of the environmental, aesthetic and educational components of a $700M waste-to-energy facility in Palm Beach County. This new facility, the cleanest and most innovative facility of its kind in the US, utilizes no potable water, incorporates a 1 million gallon rainwater harvesting tank, and includes a LEED Platinum visitor’s center with interactive educational exhibits and a skybridge tour of the new power plant. Jason also led the design and construction of the Seminole Sculptural Biofiltration Wall (2012) in Coconut Creek, Florida, which filters 150,000 gallons of water a day and is powered by a rooftop solar array. Other recent Florida projects include a LEED Gold Dental Office in Delray Beach (2014), and the Lake Worth Municipal Beach (2013) and the design, fabrication and installation of a regenerative Living Shoreline (2015) propotype with the support of the National Endowment for the Arts. Other recent projects include the co-design, fabrication and installation of a 300 foot long sculptural installation titled Uplifted Ground (2105) at Austin’s international airport and a 40 foot tall sculptural wall titled Pattern Formations (2016) in Ogden, Utah. Jason has also worked with Michael Singer Studio on sustainable master planning for the Island of Eleuthera in The Bahamas, infrastructure planning in Copenhagen, Denmark, green mixed-use development projects in Georgia, and the planning and design of six Whole Foods Markets in Florida.
Prior to joining Michael Singer to run the South Studio in Delray Beach, Florida, Jason was an Associate at Margie Ruddick Landscape in Philadelphia. Jason was the team project manager for the Queens Plaza Bicycle and Pedestrian Project from proposal through schematic design development, and was later the project manager for Michael Singer Studio during construction. At the heart of the Queens Plaza design is a stormwater collection, filtration, and irrigation system that supports a massive re-growth of vegetation from within the tangled urban core of over 14 lanes of traffic, 2 elevated subway lines, 2 bridges, and a multitude of subways and utilities. The Queens Plaza project was completed in 2012 with over 3,000 individual sculpted paver, runnel and bench elements being created by Michael Singer Studio. During the first year of collaboration between Margie Ruddick Landscape and Michael Van Valkenburgh and Associates, Jason developed the initial water, energy, and ecological systems design framework for Brooklyn Bridge Park. During the planning process Jason expanded on the water filtration and storage concepts for waterfront; several of the strategies were ultimately incorporated in the park.
Jason also co-authored Infrastructure and Community, a white paper published by the Environmental Defense Fund’s Living Cities Program in collaboration with Michael Singer Studio. Jason holds a Bachelors of Fine Arts and a Bachelors of Landscape Architecture from the Rhode Island School of Design.
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Jonathan Fogelson Associate, Design and Planning, Michael Singer Studio
Jonathan is a multidisciplinary designer and planner with experiences ranging from mold making for glass slumping and hands on construction, to site planning and urban design. Since 2005 he’s been part of the collaborative Michael Singer Studio, focused on a variety of planning, design, and public art projects.
Over the last few years Jonathan lead the Studio’s role in several projects involving research and design of spaces that serve individuals with Autism Spectrum Conditions in collaboration with the MIT Media Lab, educators, care providers, and leading researchers. For the Northeast Neighborhood of Hartford, Connecticut he worked with community members, local nonprofits, and public health professionals to complete a neighborhood scale sustainability plan; the first of its kind to be driven by and developed concurrently with a Health Impact Assessment. Jonathan co-designed and oversaw the installation of a permanent public art project at the Austin International Airport where some 400 sculptural concrete elements lead passengers to and from the terminal building along a 300 ft long walkway set within a repurposed structure. Many of the sculptural elements are suspended by a custom designed cabling system integral to the repurposing of the existing structure. For a new combined sciences building in Ogden, Utah Jonathan directly lead the Studio's in house team on the installation of an over 40 ft high sculptural wall combining custom made sculptural components, a water feature, and indoor plantings. For the Studio's Queens Plaza project in Long Island City Jonathan oversaw the fabrication and installation of over 3,000 custom made pavers and bench elements which function as part of the site's stormwater management system. Jonathan was a part of the Studio's team designing and installing an outdoor sculptural water filtration wall at a Seminole Gaming facility in Coconut Creek, Florida.
Jonathan's current projects include a collaboration with the University of Connecticut on community based green infrastructure planning and implementation in Bridgeport, a collaboration with Connecticut Seagrant on the development of a “regenerative seawall” that enhances habitat at previously impacted waterfronts, and a permanent public art commission at Stanley Greene: the first residential neighborhood to be built as part of the Downsview Park redevelopment plan in Toronto.
In addition to his work with the Studio, Jonathan engages in small scale rehab design-build projects. He's redone 7 residential units on 5 different properties and has converted a home into a commercial daycare center. Before joining Michael Singer Studio Jonathan had the privilege of working with noted product designer the late Eva Zeisel.
Jonathan lectures regularly on a variety of topics, most recently as keynote speaker at the annual conferences of GeoForum (Denmark's GIS association) and that of the Israeli Ministry of Environmental Protection. He was a workshop leader at the Renobacio Urbano American Planning Association workshop in Aruba, and was a visiting member at the Abu Dhabi Urban Planning Council’s urban design review panel. Jonathan is a Lecturer of Urban Design at the University of Pennsylvania School of Design since 2008 where he has taught studios and core curriculum classes.
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ELLEN SOLLOD Seattle, WA sollodstudio.com [email protected]
Often working collaboratively with landscape architects, engineers, and architects, I seek to make places that affirm and define the character of a community, enhancing and elaborating upon its history and culture. Recognizing that places are in a constant state of evolution, I believe that the approach should always be crafted with an eye to the future and how the community will change so that the artwork remains vital over the long term.
Rather than seeing art as an isolated element, I seek to integrate the work, as much as possible, within the larger context of the place, and when time and resources allow, to become involved at an early enough stage that my work dovetails with that of other members of the design team. This strategy of seeking partnerships and pooling efforts often allows me to realize a larger vision than might otherwise be achievable.
My creative process includes an initial period of inquiry and discovery: getting to know the place, how it functions today and the vision and goals for how it will be in the future; interviewing key individuals and community members; internet and library research; and what I call, just walking around. My goal is for the resulting artwork to incorporate layers of meaning and to be experienced differently as the seasons pass or day turns to night.
At this time, I am seeking opportunities to create works that have a narrative and a strong conceptual underpinning. I am increasingly utilizing photography, sound and video in my studio practice and I am particularly interested in the potential of interior works that allow a broader range of material possibilities. At the same time, I continue to seek out opportunities for true collaboration with other designers and artists as I believe the public realm is enriched when our work builds upon one another’s rather than being completely separate statements
For over 20 years, I have created art for transportation, streetscapes, parks, plazas, educational facilities, hospitals and infrastructure. My experience as an artist/planner and a Masters in urban studies informs my work. This enables me to respond creatively to different conditions, envisioning art opportunities in a broad range of media. I think about the urban context and approach projects comprehensively so that art makes places memorable. I see the role of art in public places as creating a container for human experience.
I relish collaboration and have worked extensively with Top to bottom: Collection & Transformation, 2011, designers, engineers, art administrators, public agencies, Woodinville, WA; Cloud Veil, 2016, Seattle, WA; Cabinet of and other artists in creating works, planning and Invention and Obsolescence, 2004, Seattle, WA implementation. sollodstudio
T. Ellen Sollod 206.324-7644 724 Fifteenth Avenue [email protected] Seattle, Washington 98122 www.sollodstudio.com
Public Art Projects 2016 “Cloud Veil” 12th Ave Sq Park, Seattle, WA $220,000 2014 “Energy Bands”, Puget Sound Energy, Ardmore Substation, Redmond, WA $114,000 2014 “Lost in Thought”, Mercer Corridor, Ofice of Arts and Culture, Seattle, WA $41,000 2014 “Blind Justice”, Kirkland Public Safety Building, Kirkland, WA $65,000 2012 “Origami Tessellation,” Mercer Corridor, Ofice of Arts and Culture, Seattle, WA $225,000 2012 “Bay Watching”, Pier 62/63, Ofice of Arts and Culture, Seattle, WA 2011 “Collection and Transformation” & “It’s All About the Water”, Brightwater Wastewater Treatment Plant, Environmental Education Center, 4 Culture, King County. WA $250,000 2011 “Portrait of Shoreline”, Shoreline, WA $60,000 2010 “Precious Water”, collaboration with C. Law, Seattle, WA 2009 “The Plaza at Bay and Holly,” Bellingham, WA $150,000 2009 “An Evocation,” Burien Town Square Park, Burien, WA $60,000 2006 ”American Dream”, Bellevue Community College, Bellevue, WA 2004-2005 “Breathing Lessons” and “Solar Chamber,” South Seattle Community College, WSAC, Seattle, WA $80,000 2002-2004 “Vernacular Generation” and “Cabinet of Invention and Obsolescence,” Valley Transportation Authority, Santa Clara Valley, CA $250,000 2002-2003 Untitled, (collaboration with Nina Zingale) Mann Elementary School, Lake WA School District $25,000 1999-2004 “From the Laws of Man to the Laws of Nature,” Olympia Gateway Corridor, Olympia, WA $350,000 1998-2002 “Bella Figura” and “The Throne Room,” Harborview Medical Center, KCAC, Seattle, WA $121,000 1998-2001 “Time Piece” and “The River,” Renton Transit Center, KCAC, Renton, WA $60,000 1998-2000 “Shadow Caster,” Sumner Commuter Rail, Sound Transit, Sumner, WA $100,000 1998-1999 “Seven,” Swedish Medical Center Patient Care Tower, Seattle, WA $37,000 1998 “The Digs,” (unrealized) Eastbank Riverfront Park, RACC, Portland, OR 1997-2000 “In The Grove,” East Hill Park Expansion, Kent Arts Commission, Kent, WA $45,000 1995 “Of Science and Faith,” Entryway artwork, Swedish Medical Center, Seattle, WA $35,000 1995-98 “Untitled,” Pier Park, City of Portland, OR $50,000 1993-94 Downtown Street Scape, City of Mercer Island, WA 1993 “The Walking Fish Trail,” Eastlake Community Council, Seattle, WA
Conceptual Designs/Master Plans 2016 Redmond Public Art Master Plan 2013 Kent Valley Loop Trail Art Master Plan 2010 Port Angeles Waterfront Art Plan 2009 Diridon Station Area Master Plan, San Jose, CA 2008 Aurora Avenue Art Plan, Shoreline, WA 2006-2007 Bellingham, WA Arts District Master Plan & Streetscape Design 2006 Burien Town Square Open Space Master Plan, Burien, WA 2003-2004 Brightwater Waste Water Treatment Plant Art Master Plan, King County, WA 2000 Santa Clara Valley Transportation Authority Light Rail Conceptual Design, CA 1999-2002 Brightwater Waste Water Treatment Plant Siting Project, King County, WA 1998 SeaTac Airport Design Guidelines, Seattle, WA 1997-98 North Shorewood Park Concept Design, South Center, WA 1997 Holly Park Art Master Plan, Seattle Arts Commission, Seattle, WA 1997 Holly Park Plaza Concept Design, Seattle Arts Commission, Seattle, WA 1997 SeaTac Airport Landscape Master Plan, Seattle, WA 1997 Kent Gateway Design Concept, Kent, WA 1996-97 Sand Point-Magnuson Park Design Guidelines, Art Plan, City of Seattle, WA 1995-96 Broadway Viaduct Art Plan and Prospectus, Mayor’s Ofice on Art, Culture and Film, Denver, CO 1995 Design Vision and Standards, Design Team Member, Shelton, WA 1995-96 Washington State Convention and Trade Center Design Team, Seattle, WA 1995-96 Downtown Streetscape Design Team, City of Redmond, WA 1994 Bellevue Pedestrian Corridor, Design Team Member 1994 Seattle Inter-Modal Terminal Project, Design Team Member 1994 City of Sumner Commuter Rail Station and Downtown Park, Design Team Member page 2 Sollod, 206.324.7644, [email protected], 724 15th Avenue, Seattle, WA 98122
Fellowships / Awards 2011, 2012 Americans for the Arts Year in Review 2008 Artist in Residence, Museum of Glass, Tacoma, WA 2005 Centrum Foundation Fellowship Residency 2003 Jack Straw Foundation, Artist Support Program 2003 Cultural Development Authority Special Projects Grant 2001 Artist Trust, Aqua Grant
Selected Solo and Invitational Exhibitions 2015 Winter’s Veil, Winters House and Mercer Slough, Bellevue, WA 2012 Outside In/Inside Out: The Inner Life of Jack, Jack Straw New Media Gallery, Seattle, WA 2009 Lake Washington Palimpsest, Museum of Northwest Art, La Conner, WA 2008 The Book as Art, National Museum of Women in the Arts, Washington, DC 2007 Conceptually Bound, University of California at Chico 2007 channeling herbert: earthworks•artworks•public works, Centennial Center Gallery, Kent, WA 2007 ArchiTEXTure: Redining the Book, Museum of Outdoor Art, Denver, CO 2006 American Dream, in conjunction with BCC Reads, Bellevue Community College, Bellevue, WA 2006 Drawing into the New Year, Columbia City Gallery, Seattle, WA 2005 Deine: Book, Art Books Press, Seattle, WA PAPER/politics, Seattle Print Arts, Phinney Center Gallery, Seattle, WA 2003 Thinking in Public (collaborative installation with Buster Simpson, Jack Mackie, Don Fels and Ellen Sollod), CDA Gallery, Seattle. WA
Professional Experience 1/93- Principal, Sollod Studio, Seattle, WA 8/89- 10/92 Executive Director, Seattle Arts Commission, Seattle, WA 2/87-8/89 Independent Consultant, Denver, CO 6/81- 1/87 Executive Director, Colorado Council on the Arts and Humanities, Denver, CO 10/78-6/81 The National Endowment for the Arts, Washington, DC 6/80 -6/81 Assistant Director, Dance Program 5/79-6/80 Program Administrator, Dance Program 10/78-5/79 Policy and Planning Specialist 12/75-10/78 Assistant Arts Coordinator, Maryland-National Capital Park and Planning Commission, Riverdale, MD.
Related Professional Activities 2012-2016 Seattle Design Commission, City of Seattle 2012-2016 Seattle Public Art Advisory Committee, City of Seattle 2009-2011 Editorial Board, Forum, A quarterly journal of AIA Seattle, 2006 Visiting Artist, Maryland Institute College of Art 2002 Visiting Faculty, School of Art Program in Rome, University of Washington 1997 National Register of Peer Professionals, General Services Administration 1996 -2008 Editorial Resource Board, Arcade, The Journal of Architecture/Design in the NW 1994 Adjunct Faculty, Graduate School of Public Affairs, University of Washington
Selected Bibliography 2013 Public Art Review 2010 Art and Politics, Susan Platt 2007 The Art of Placemaking, Ron Feldman, Merrill Press
Education BA University of North Carolina, Chapel Hill, NC MA University of Maryland, College Park RICHARD TAYLOR Milwaukee, WI taylorsculpt.com [email protected]
I am currently working with engineers on concepts for solar- powered sculpture. The first will have a luminous display at night time, and a second concept will have a sonic component during daylight hours.
I see my work as always possessing an uplifting spirit. It is often inspired by the rhythms of music and gives the impression of movement. My sculptures are each based upon a theme, and the sculpture title, along with a sentence of explanation, gives viewers something to consider as they look at the work, and hopefully, something to revisit many times.
I have collaborated with many corporations, states, municipalities and organizations to create unique sculptural pieces as signature statements.
My method is to gather as much information as possible, to listen to what is meant to be communicated with the artwork. With this information in mind, I then design two options for consideration. I listen to your feedback on my design and refine it according to your feedback until we are all happy with the outcome. This has been a proven method of working with clients for over 25 years.
My means of expression or language can change from piece to piece. I pay very close attention to the environment of each commission, often working with architects and designers to make my work a seamless fit with theirs. The materials are chosen to harmonize with and to complement each individual situation, as is the palette of each sculpture I create.
I have collaborated with architects, landscape architects, designers, engineers and art committees across the country for years on site-specific art.
Top to bottom: Caressed by the Moon, 2012, Skokie, IL; My House of Feather and Stone, 2008, Green Bay, WI Richard Taylor 3007 N. Newhall St., Milwaukee, WI 53211-3227 •414-708-3025 (cell) • [email protected] (email) • taylorsculpt.com (website)
EDUCATION 1991 •MFA, Painting and Drawing, University of Wisconsin, Milwaukee (UWM) 1977 •BA, Art History, UWM
EMPLOYMENT Present •Self-employed artist 2012-14 •Lecturer, Milwaukee Institute of Art and Design (part time) 1987-99 •Artist-in-residence, Quad/Graphics, Pewaukee, WI (part-time) 1990-91 •Instructor in Life Drawing, Basic Drawing, UWM 1976-78 •Saxophonist, Jose Martinez Orchestra
EXHIBITIONS 2016 •SOPA Gallery, Kelowna, Canada; 2 person show •John Michael Kohler Art Center, Sheboygan, WI; group show 2015 •Tory Folliard Gallery, Milwaukee, WI; group show •James Gallery, Pittsburgh, PA; group show 2014 •Wisconsin Biennial, Museum of Wisconsin Art, group show •Gallery 224, Port Washington, WI; 3 person show 2013 •”Out of the Suitcase”, MIAD; group show •Coral Gables Museum, group show •Gallery IMA, Seattle, WA; solo show 2012 •Joseph Gierek Fine Art, Tulsa, OK; group show •Gallery IMA, Seattle, WA; group show •Paine Museum of Art, Oshkosh, WI; 2 person show •Miller Art Center, Sturgeon Bay, WI; Focus on Color, group show •Cardinal Stritch University, Glendale, WI; group show •Universtiy of Wisconsin, Milwaukee; Continuum 2012, group show 2011 •OK Harris Gallery, NY; I person show •Stamford, CT, outdoor sculpture show 2010 •Gallery KH, Chicago, IL; 2 person show •PS Gallery, Columbia, MO; group show 2009 •University of New England - Portland Campus; group show •Tory Folliard Gallery, Milwaukee, WI; “Off the Wall”, solo show •Moberg Gallery, Des Moines, IA; Group show, Works on Paper •Walkers Point Center for the Arts, Group Show, Milwaukee, WI 2008 •SOPA Gallery, Kelowna, BC, Canada; 3 person show •Tory Folliard Gallery, Milwaukee, Anniversary Show; group show •Circa Gallery, Minneapolis, MN, 2-person show •Wisconsin Museum of Art, West Bend, WI; solo show 2007 •OK Harris Works of Art, New York, NY, solo show •Tory Folliard Gallery, Milwaukee, WI; 2 person show •MIAD (Milwaukee Institute of Art & Design), group show 2006 •Kajima Sculpture Awards Exhibition, Tokyo, Japan; group show •Fresh Paint, Los Angeles, California; group show •Mary Bell Gallery, Chicago, IL; 2-person show •Continuum 5; Univ. of Wisconsin, Milwaukee, Inova, group show COMMISSIONS 550 Washington Building, Chicago, IL Eppstein Uhen Architects, Milwaukee, WI Froedtert Memorial Lutheran Hospital, Milwaukee, WI General Electric Medical Systems, Pewaukee, WI SC Johnson Co., Racine, WI Marnell Corrao, Shreveport, LA Medical College of Wisconsin, Milwaukee, WI Milwaukee Public Central Library Mc Kinley Marina, Milwaukee County City of Mount Vernon, IL Quad/Graphics Rockwell International, Milwaukee, WI St. Lukes Hospital, Milwaukee, WI Santa Clara Valley Medical Center, CA Sutter Gould Medical Foundation, Modesto, CA U.S. Robotics, Chicago, IL Valley Center Hospital, Santa Clara, CA Waukesha County Transit Station, Waukesha, WI
COLLECTIONS Visa General Electric Medical Systems, Pewaukee, WI Rockwell International Semi-finalist, Kajima Sculpture Competition, Tokyo, Japan Southwestern Illinois College, Belleville, IL Koehler Winery, Santa Barbara, CA Hewlett-Packard, Colorado Springs, CO City of Skokie, IL University of Wisconsin, Madison University of Wisconsin, Platteville
PERCENT FOR ART PROJECTS Universty of Wisconsin, Parkside University of Wisconsin, Whitewater Wisconsin Rapids State Office Building University of Wisconsin, Madison General Mitchell International Airport, Milwaukee, WI State of Louisiana, LaSalle Building, Baton Rouge, LA Department of Public Works Headquarters, Milwaukee, WI MARGOT VOORHIES THOMPSON Portland, OR laurarusso.com/artists/Thompson_m.html [email protected]
Throughout my career I have successfully completed numerous public and private projects. For over five decades the conceptual underpinnings of my work have remained consistent thematically incorporating ideas of survival, invention, mastery and transformation. Literature, landscape and the elegant transformation of knowledge through visual imagery are part of my vocabulary. Such themes make up my public art installations, paintings, prints and commissioned books.
I create art as visual poetry. I look for the spirit of things and like to build richly textured surfaces. Sometimes my pursuit takes the form of intimate and highly detailed drawings that function as metaphors and at other times, it takes the form of gestural paintings that bring the atmosphere of places to light. Some pieces are bold and loose, perhaps nearly out of focus, while others are full of specific detail. My quest is for personal transformation through transcendent moments of illumination and insight.
Collaborating with others makes up a part of my artistic career, particularly when working on public commissions where I have combined my efforts with other artists, committee members, designers and architectural firms on a variety of projects. My communication skills include bringing about solutions through conceptual planning, problem solving, and technical implementation while working with groups. I really enjoy working with others in order to create art of the highest standard that meets the best possible outcomes.
Top to bottom (all works in Portland, OR): Scriptorium, 2000; Unsung Heroes, The Wheel with the Hill, 2007; window, Doernbecher Hospital, 1998 MARGOT VOORHIES THOMPSON Laura Russo Gallery 805 NW 21st Avenue Portland, OR 97209 503-226-2754, [email protected]
EDUCATION Portland State University, Portland, OR, Bachelor’s Degree 2009 Lewis and Clark College, Northwest Writing Institute, Portland, OR 1990-1993 Eliot Scholar, Reed College, Portland, OR 1983-1985 Pacific Northwest College of Art, Portland, OR 1983-1985 Hochschule Fur Kunsterlische, Linz, Austria 1985
SELECTED AWARDS AND COMMISSIONS Commission, Lonegoose Press, Poetry by Catharine Woodard 2016 Commission, Lonegoose Press, Poking Around, Kathleen Dean Moore 2015 Oregon Public Art Roster, Oregon Arts Commission, Salem, OR 2011-2014 Commission, Oregon State Hospital, Oregon Arts Commission, Salem, OR 2010-11 Commission, Oregon Health & Science University Tribute Wall, Peter O. Kohler Pavilion, Portland, OR 2006 Commission, Portland State University, Portland, OR 2003 First Prize, Book Arts Exhibition, Northwest Bookfest, Multnomah County Library, Portland, OR 2002 Commission, Knight Library Press, University of Oregon, Eugene, OR 2001 Commission, Kaiser Permanente, Tualatin Health Center, Tualatin, OR 2000 Commission, Oregon State Library, Salem, OR 1999-2000 Commission, Multnomah County Branch Library, Woodstock, Portland, OR, in collaboration with poet Kim Stafford 1999 Vermont Studio Center, Visual Artist Grant, Johnson, VT, 1999 Technical Assistance Grant, Regional Arts and Culture Council, Portland, OR 1998 Commission, Doernbecher Children's Hospital, Pediatric Intensive Care Waiting Area, Portland, OR, in collaboration with poet Kim Stafford 1998 Commission, World Bank, Washington D.C. 1997 Commission, Life Technologies, Washington D.C. 1997 Commission, theater set for "The Lower Rooms" by Liza Anderson, Stark Raving Theater, Portland, OR 1996 Commission, TriMet West Side Light Rail Fences Project awarded by Regional Arts and Culture Council, Portland, OR (catalogue) 1995-1996 Commission, Federal Express Headquarters, Atlanta, GA 1994 Commission to do set design for The Jefferson Dancers, Portland, OR, in collaboration with Mary Fohberg, Artistic Director, and Lowell Smith, Guest Choreographer, Dance Theatre of Harlem 1994
SELECTED ONE PERSON EXHIBITIONS Laura Russo Gallery, Portland, OR 1992-93, 1995, 1997-2001, 2003, 2006, 2008, 2010-12, 2014, 2016 Betty Gray Gallery, Sunriver Resort Lodge, Sunriver, OR 2015 "Prints," The Beppu Gallery, Pacific City, OR 2005 Gallery II, Eastern Washington State University Art Museum, Pullman, WA 1996 Grover/Thurston Gallery, Seattle, WA 1991,1992,1995 Cabell Center, Catlin Gabel School, Portland, OR 1992 Mt. Hood Community College, Gresham, OR 1990 Northwest Regional Biennial, traveling exhibition 1989-1990 Southern Oregon State College, Ashland, OR 1989 Maveety Gallery, Portland, OR 1989 Hoffman Gallery, Oregon School of Arts & Crafts, Portland, OR 1989 Art in the Governor's Office, Capitol Building, Salem, OR 1987 "New Works," Stone Press Gallery, Seattle, WA 1987 Theatre Arts Gallery, Middlesex School, Concord, MA 1983
SELECTED GROUP EXHIBITIONS Playa Exhibit, Umpqua Valley Arts Association., Roseburg & Bend, OR 2016 The Laura Russo Gallery, Portland, OR annually 1992-2015 “Ink This! Contemporary Print Arts in the Northwest,” Tacoma Art Museum, Tacoma, WA 2014 “Feast and Famine: The Pleasures and Politics of Food,” Portland Art Museum, Portland, OR 2014 “Art in the Garden,” La Su Chinese Garden, Portland, OR (invitational) “A Pattern of Warmth, Artists Rugs and Related Works,” Gallery IMA, Seattle, WA 2011 “Art in Embassies Program,” American Embassy in Doha, Qatar, Bamako, Mali, West Africa 2006-2011 Print Arts Northwest Gallery, Portland, OR (invitational exhibition) 2003 “Location/Dislocation: Contemporary Prints from the Collections of Jordan D. Schnitzer,” Portland Art Museum, OR 2003 “word&hand2,” The Littman Gallery, Portland State University, Portland, OR and River Sea Gallery, Astoria, OR 2002 “Location/Dislocation: Contemporary Prints from the Collections of Jordan D. Schnitzer,” Portland Art Museum, OR 2003 “From the Collection/New Acquisitions,” Tacoma Art Museum, Tacoma, WA 2001 “International Print Exhibition,” Portland Art Museum, Portland, OR 1997 “Celebration Especially for Children: The Art of the Theater,” Bellevue Art Museum, WA 1996 Cheney Cowles Museum, Spokane, WA 1993 "Oregon Biennial," (traveling exhibition) University of Oregon Art Museum, Eugene, OR 1992 "University of Dallas 12th National Print Invitational," traveling exhibition, (catalogue) 1992 "Oregon Biennial," Portland Art Museum, Portland, OR 1987, 1991 "Applied Surfaces," Miriam Perlman Gallery, Chicago, IL 1991 Los Angeles Printmaking Society, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA 1990 Chicago Center for the Print, Northwest Print Council, Chicago, IL 1989
SELECTED COLLECTIONS Bank of America, San Francisco, CA Delta Airlines, Portland, OR Detroit National Bank, Detroit, MI Doernbecher Children's Hospital, Portland, OR Federal Reserve Bank, San Francisco, CA Lakeview Museum, Peoria, IL Mentor Graphics, Portland, OR Mount Hood Community College, Gresham, OR Oregon Arts Commission, State of Oregon Oregon Department of Transportation, Salem, OR Oregon Health Sciences University, Portland, OR Portland Art Museum, OR SAIF Corporate Headquarters, Salem, OR Stanford University Hospital, Palo Alto, CA Tacoma Art Museum, Tacoma, WA The Printmaking Workshop, New York, NY United States Embassy, Art in Embassies Program, Republic of Djibouti, Horn of Africa United Parcel Service Headquarters, Atlanta, GA University of Dallas, Irving, TX University of Oregon, Knight Library, Eugene, OR University of Washington, Seattle, WA JOE THURSTON and SEAN HEALY Portland, Oregon healythurston.com [email protected]
As an award-winning and longtime multidisciplinary artist team, we benefit from a wide spectrum of skills when fabricating and installing public art. We often determine the materials and media of the work based on the site and the concept that we develop, allowing us to seamlessly integrate form and content. This process enables us to explore fresh conceptual approaches to each project— imbuing every public artwork with a sense of discovery and excitement from the beginning.
To execute, we draw on our experience with diverse materials, technologies, and techniques, including wood, ceramic, cast resin, fused glass panels and glass curtain walls, large scale suspended sculpture, media projection systems, Cor-Ten steel, aluminum, and bronze, fabricated and installed within both indoor and outdoor environments. Every new project gives us the opportunity to explore unfamiliar materials and processes. In this way we feel that we are always developing unique approaches to solving our aesthetic investigations. Our public work is consistently designed and fabricated to be durable, low-maintenance, and safe. Additionally, we have a successful track record of working with architects, engineers, landscape designers, construction teams, and design teams, always completing projects on time and within the budget.
We feel that our first job as a public artist team is to listen. We listen so as to create artwork that forms connections and fosters collaboration within a community. This is why our practice always includes a process of community exploration.
Top to bottom: West Linn Police Department Vestibule Glass, 2014, West Linn, OR; Jury Pool, 2007, Wayne L. Morse Courthouse; Bioengineering and Chemical Engineering Building, Stanford University, 2014 HEALY THURSTON LLC 2516 NW 29th Ave. Bldg. #10 Portland, OR 97210 503-201-4559 [email protected] www.healythurston.com
PUBLIC ART COMMISSIONS
2016-17 Eugene City Hall, Eugene, OR (Budget $147,000) Student Recreation Center, University of Oregon, Eugene, OR (Budget $300,000) 1320 SW Broadway Building, (former Oregonian Newspaper building). Regional Arts & Culture Council, Portland, OR (Budget $175,000) Washington Park Reservoir Improvement Project, Portland Water Bureau, (in partnership with Felt Hat Design), Portland, OR (Budget $275,000) Peloton Building, Security Properties, Portland, OR (Budget $113,000) 2015-16 Cornerstone, DeNorval Unthank Memorial, School of Architecture & Allied Arts, Lawrence Hall, University of Oregon, Eugene, OR (Budget $15,000) 2014 Title Unknown, Stanford BioE-ChemE Building (in partnership with Felt Hat Design), Stanford, CA (Budget, $160,000) Thin Blue Line, West Linn Police Facility, West Linn, OR (Budget, $70,000) 2013 All That is Solid Melts Into Air, Anstett Hall/Peterson Hall/Chiles Center, University of Oregon, Eugene, OR (Americans for the Arts’ Best of 2014 Public Art Award) (Budget $30,000) 2010 This is a Plumb Bob, Shattuck Hall, Portland State University, Portland, OR (Budget, $20,000) 2009 Gesture Poltics, General Service Administration, Art in Architecture Commission, FBI Headquarters, Houston, TX (Americans for the Arts’ Best of 2010 Public Art Award) (Budget, $295,000) Links, The Nines Hotel, Portland, OR (Budget, $40,000) 2007 Glass Houses, Guardian Management, Portland, OR (Budget, $45,000) 2003 Jury Pool, General Services Administration, Wayne L. Morse Courthouse Commission, Eugene, OR (Winner of 2008/09 Federal Excellence in Design Award) (Budget, $45,000) 2002 Tin House, McCormick Communications. Portland, OR (Budget, $30,000) 2000 Little Golden Hallway, Pioneer Place, Portland, OR (Budget, $50,000) Crane Building, Ashforth Pacific, Portland, OR (Budget, $40,000)
SEAN HEALY Lives and works in Portland, Oregon
SOLO EXHIBITS 2016 Elizabeth Leach Gallery, Portland, OR (forthcoming) 2014 Extroverts, Elizabeth Leach Gallery, Portland, OR 2013 A Beautiful X, Anderson Ranch Art Center, Aspen CO 2011 Upstate, Elizabeth Leach Gallery, Portland, OR 2009 The Future Royal Family of Antarctica, East/West Projects, Berlin, Germany 2008 Life in Black and White, Elizabeth Leach Gallery, Portland, OR Hard Looks, Betty Moody Gallery, Houston, TX 2006 Supernormal, Elizabeth Leach Gallery, Portland, OR 2004 Common Denominator, Elizabeth Leach Gallery, Portland, OR 2002 Steady Friend, Elizabeth Leach Gallery, Portland, OR 2001 Nesting Instincts, Elizabeth Leach Gallery, Portland, OR Cul-de-Sac, Art Gym, Marylhurst College, Portland, OR 2000 Big Hearted Boy, Elizabeth Leach Gallery, Portland, OR Structures, Mahlum Architects, Portland, OR In Sync, Elizabeth Leach Gallery, Portland, OR
GROUP EXHIBITIONS 2015 The Sum of its Parts, Jeffrey Thomas Fine Art, Portland, OR 2011 The Shape of the Problem, Elizabeth Leach Gallery, Portland, OR 2010 Portland 2010: A Biennial of Contemporary Art, Disjecta, Portland, OR 2008 Volume, Curator: Jeff Jahn, Portland, OR RE: Dudes Night Out, Gallery Homeland, Portland, OR 2007 The Hook Up, New American Art Union, Portland, OR RE: Dudes Night Out, Linfield College, McMinnville, OR 2006 The CoCA Annual, Center on Contemporary Art, Seattle, WA Fresh, Elizabeth Leach Gallery, Portland, OR 2005 Fresh Trouble, Curator: Jeff Jahn, Portland, OR 2004 23+ on 9th, Elizabeth Leach Gallery, Portland, OR The CoCA Annual, Center on Contemporary Art, Seattle, WA 2003 The Best Coast, Eastbank, Portland, OR 2002 Snapshot, Elizabeth Leach Gallery, Portland, OR 2001 Guns in the Hands of Artists, Interstate Firehouse Cultural Center, Portland, OR 1999 Oregon Biennial, Portland Art Museum, Portland, OR 1998 Voices from the Borderland, Archer Gallery, Vancouver, WA 1997 Voices from the Borderland, Bush Barn Art Center, Salem, OR
BIBLIOGRAPHY 2011 Hicks, Bob, “Exhibit Rises from the Ashtray,” The Oregonian, April 15. 2008 Speer, Richard, "Sean Healy: 'Life in Black and White' at Elizabeth Leach Gallery," Art Ltd., November/December Row, D.K., "A Young Man's Evolving Grasp," The Oregonian, September 12-18. Speer, Richard, "Hotseat: Sean Healy," Willamette Week, September Ritchie, Rachel, "Certain Slants of Light," Portland Spaces, July/August 2007 Snyder, Stephanie, Social Studies, Elizabeth Leach Gallery, Portland, OR One Shot: A Visual Codec Project, Portland, OR Janku, Laura Richard, "Sean Healy: Elizabeth Leach Galllery," Sculpture, July/August 2007 2005 Row, D.K., "Peripheral Perspectives," The Oregonian, April 22, 2005 2004 Row, D.K., "Thinking Big, The Oregonian, Sept. 28, Living, Portland, OR Speer, Richard, "Pacific Edge," ARTNews, October 2004 2003 Jahn, Jeff “Something to Prove," Modern Painters, Spring Issue 2002 Row, D.K., "Art Trek:A New Generation," The Oregonian, Aug. 11 Editors, "Deborah Horrell and Sean Healy at ELG," Artweek, October 2001 Lambert, Lisa, "Interview," Willamette Week, June 27. “Cul-de-Sac of Memory,” The Oregonian, February 2, Portland, OR 2000 “Healy on Healy,” The Oregonian, Portland, OR Ellertson, Karrin, "Material Witnesses," Willamette Week, Portland, OR Markovitz, Bryan, “Walking in Place,” Willamette Week, Portland, OR 1999 "A Good Look Around," Willamette Week, Portland, OR 1998 Bonansinga, Kate, "Gardens of Meditation," Willamette Week, Portland, OR "New Voices: For A Changing Place," The Oregonian, Portland, OR "Voices from the Borderland," Statesman Journal, Salem, OR
EDUCATION 1994 – BFA Printmaking, School of Art and Design, Alfred University
AWARDS 2014 - Americans for the Arts’ 2014 Year in Review (Best of 2013 Public Art Award) 2010 - Americans for the Arts’ 2010 Year in Review (Best of 2009 Public Art Award) 2009 - Federal “Excellence in Design Award”, Jury Pool, Wayne L. Morse Courthouse Commission, Eugene, OR 2001 - Project Grant, Regional Arts and Culture Council, Portland, OR
PROFESSIONAL EXPERIENCE Fifteen years of work experience with art and architectural glass for indoor and outdoor applications. JOE THURSTON Lives and works in Portland, Oregon
SOLO EXHIBITIONS 2012 Nothing Leading Anywhere Any More Except to Nothing, Elizabeth Leach Gallery, Portland, OR 2010 Toomey Tourell Gallery, San Francisco, CA 2008 Toomey Tourell Gallery, San Francisco, CA 2007 Then Quite Suddenly We Were Simply No Longer Anywhere, Elizabeth Leach Gallery, Portland, OR 2005 New Work From An Early Spring, Mark Woolley Gallery, Portland, OR 2003 Subject Position, Mark Woolley Gallery, Portland, OR 2002 Flayed, Mark Woolley Gallery, Portland, OR
GROUP EXHIBITIONS 2016 I Need to Tell You Something, Sun Valley Center for the Arts, Ketchum, ID 2011 The Shape of the Problem, Elizabeth Leach Gallery, Portland, OR 2010 Excessive Obsession, The Jordan Schnitzer Museum of Art, Eugene, OR 2009 The Future Royal Family of Antarctica, East/West Projects, Berlin, Germany 2008 Volume, August/September, Worksound, Portland, OR Toomey Tourell Gallery, San Francisco, CA RE: Dudes Night Out, Gallery Homeland, Portland, OR 2006 Small Wonders, Mark Woolley Gallery, Portland, OR 2005 Fresh Trouble, Portland, OR Simply Red, Mark Woolley Gallery, Portland, OR 2004 Cathedral Park Place/Haze Galley, Portland, OR Mark Woolley Gallery, Portland, OR 2003 Modern Zoo, Portland Center for Advancement of Culture, Portland, OR Waste Stream, (large-scale installation for the Orlo Foundation) Portland, OR 2000 Elizabeth Leach Gallery, Portland, OR
PUBLICATIONS AND BIBLIOGRAPHY 2012 Snyder, Stephanie, "Joe Thurston" (review), Artforum.com Critics' Picks, March Motley, John, "Nothing Leading Anywhere Any More Except to Nothing" (exhibition catalogue) Speer, Richard, "Joe Thurston" (feature), visualartsource.com, March Jahn, Jeff, "Vastness" (review), portlandart.net, March Scott, Aaron, "Sculpture" (preview), portlandmonthlymag.com, February Speer, Richard, "Joe Thurston" (review), Willamette Week, February 2010 Row, D.K., "Excessive Obsession at the Jordan Schnitzer Museum of Art," Oregonian, August Speer, Richard, "Ply The Wood," Willamette Week, April 2009 Row, D.K., Oregonian, August Speer, Richard, "Portland: Eco-Art Central," Art Ltd., March 2008 Aitch, Iain, "Then Quite Suddenly, We Were Simply No Longer Anywhere” (exhibition catalogue) Speer, Richard, "Portland Art," Finder Magazine, June 2007 Speer, Richard, "Joe Thurston at Elizabeth Leach" (review), ARTnews, December Motley, John, "Joe Thurston" (review), Portland Mercury, August Row, D.K., "Show of Note," Oregonian, August Speer, Richard, "Joe Thurston at Elizabeth Leach" (review), Willamette Week, August Gallivan, Joseph, "Joe Thurston" (preview), Portland Tribune, July Speer, Richard, “Artist Profile,” Finder Magazine, June Speer, Richard, “Artist Profile,” Art Ltd., May 2005 Speer, Richard, "Flaying Faces, Painter Joe Thurston" (review), Willamette Week, May 2004 Speer, Richard, "Pacific Edge," ARTnews, October Row, D.K., “Artful Thinking Outside The Box,” Oregonian, July Taylor, Sue, Cascade AIDS Project (catalogue), April 2003 Row, D.K., Oregonian, December Speer, Richard, "Joe Thurston" (review), Willamette Week, November Bowie, Chas, "Joe Thurston" (review), Portland Mercury, November
EDUCATION 1994 – BA, Humanities, Marylhurst University, Marylhurst, OR
PUBLIC COLLECTIONS Jordan Schnitzer Museum of Art, Eugene, OR Fidelity Investments, Inc. Boston, MA University of Oregon (Ford Alumni Center), Eugene, OR
AWARDS 2014 Americans for the Arts’ 2014 Year in Review (Best of 2013 Public Art Award) 2010 Pollock-Krasner Foundation Grant 2007 Regional Arts and Culture Council - Professional Development Grant
PROFESSIONAL EXPERIENCE Eight years of experience owning and operating a public art fabrication and installation business, Site Specific LLC. Have fabricated and installed numerous art projects for artists, architects, and designers regionally and nationally.
W. SCOTT TRIMBLE Seattle, WA wstrimble.com [email protected]
I am interested in continuing my practice beyond the gallery space, allowing more people to experience a work on their own terms and in their community. I’ve developed many conceptual, interactive works that engage the public and usually hinge on the specific context of the space. Each site can yield so many new directions of exploration for an artist in terms of dialogue with community and design teams, pushing the boundaries of the artistic process.
Most of the artwork I create is site specific, accessible, encourages interactivity, and communicates with a region with respect to the architecture and local history. I tend to imply a narrative and visual storytelling to create “a sense of place” by introducing universal motifs that draw in a diverse audience. Materials are based on an established mood, degree of low maintenance, durability, and project specifications/requirements. I have a great deal of experience in a wide variety of materials and processes.
I have many years of experience working within the public and private art realm. Throughout the process of creating interior/exterior art works, I’ve worked with design professionals, curators, vendors, commissioning parties, and local communities. Each experience yielded a successful integrated artwork that was visually and conceptually interesting, and engaged the local region. This creative process is as much a collaboration as it is a singular artist endeavor.
Throughout the process of creating interior/exterior art works, I’ve become quite comfortable working with numerous design professionals, curators, vendors, commissioning parties, and local communities. Creating new artworks entails many unique opportunities to explore in a region, community and project specifics. I usually consider many of these factors in creating a work. My experience working with design professionals has always generated well considered and purposefully integrated artworks into a context.
Much of the information, aesthetics and community needs of a space provide so many avenues of exploration that push the horizons of an artist and the design team. The collaborative experience gets all involved a chance to consider aspects that could never be considered individually. Considering the project specifics and respecting the space and local history, the integrated artwork can be truly unique which speaks highly of the collaborative experience. Top to bottom: Wave Sine, 2014, Seattle, WA; Paths of Discovery, Bronx, NYC; Pump-to-gram, 2014, Kirkland, WA W. S ott Trim le [email protected] wstrimble.com PO Box 85205, Seattle, WA 98145 (206) 383-5765
RE“UME
EDUCATION 2003 Masters of Fine Arts Degree, Sculpture, University of Washington, Seattle, WA 1999 Bachelor of Fine Arts, Spatial Art , San Jose State University, San Jose, CA
PUBLIC ART COMMISSIONS 2016 Artwork in progress, Seattle City Light Annex Building, Seattle. Installation fall 2016 Finalist, Overlake Village Station, Sound Transit, Redmond, WA 2015 Finalist, Meyde auer Bay ea h house & Pro e ade , Bellevue, WA Finalist, Vail Skatepark, Vail, CO 2014 Pump-to-Gram, Kirkland Pump Station Gates, Kirkland, WA Finalist, Redbull SkateSpace, interactive skateboard artwork, Seattle, WA Finalist, SW 86th Ave. Pump Station art project, Portland, OR 2012 Paths of Discovery, PS 240 New Settlement Public School, Bronx, NY 2011 Finalist, Columbia Waste Water Treatment Plant Support Facility, Portland, OR
SOLO & TWO PERSON EXHIBITIONS 2016 Solo show, Method Gallery, Seattle, WA, fall Wave Sine Redux, Occidental Park, Pioneer Square, Seattle, WA 2012 W. Scott Trimble & Sydney Cohen, Swarm Gallery, Oakland, CA 2011 Skater’s Gauntlet, Bumbershoot Arts Festival, Seattle Center, Seattle, WA Transvalue: W. Scott Trimble & Adrian van Dooren, Soil Art Gallery, Seattle, WA 2010 Disparate Spirits: 3 solo exhibitions, Schneider Museum, Southern Oregon University, Ashland, OR Configuration: W. Scott Trimble & Laura Ward, Pratt Art Gallery, Seattle, WA 2009 Tread, 4Culture Gallery, Seattle, WA 2008 Reclaim: Installation by W. Scott Trimble & John Flemming, Drop City Gallery, Seattle, WA 2006 About a Boardwalk: A Journey of a Different Scale, Greg Kucera Gallery, Seattle, WA Divergent Paths: A Sculptural Installation by W. Scott Trimble, Crawl Space Gallery, Seattle, WA 2004 Selected Vending Sculptures, Bumbershoot Arts Festival, Seattle Center, Seattle, WA 2002 Come See the Conveyorscape, Ceramic Metal Arts (CMA) Gallery, University of Washington, Seattle,
GROUP EXHIBITIONS 2016 Giant Steps, King Street Station, Seattle, WA 2014 MAD CAMPUS, UW, Seattle, WA Knock on Wood, Biennial exhibition, BAM, Bellevue, WA 2011 Show and Tell: Objectivity, curator Cable Griffith, Cornish College of the Arts Main Gallery, Seattle, WA 2010 Artopia, Georgetown Art & Music festival, curator Gabe Stern, Seattle, WA Kirkland Links Invitational, curator Cable Griffith, Kirkland Art Center, Kirkland, WA, 2009 Northwest Biennial Exhibition, curators Rock Hushka, Alison di Lima Greene, Tacoma Art Museum, WA 2006 Arts Downtown: Outdoor Sculpture Exhibit, Lake Oswego Foundation for the Arts, Lake Oswego, OR 2005 The Biology, Chemistry, Physics Invitational 2005-2006, Seattle International Airport-Concourse A Outside: In, Bumbershoot Arts Festival, curator Kate Seekings, Seattle Center, Seattle, WA, Sculpture Without Walls, Moses Lake Art Museum, Moses Lake WA People Doing Strange Things with Electricity II, Center of Contemporary Art (COCA), Seattle, WA 2004 Annual Sculpture Exhibit, Monarch Sculpture Park, Tenino, WA Coupling II: Love Fests & Fist Fights, Crawl Space, Seattle, WA 2003 DORKBOT: People Doing Strange Things with Electricity, Center of Contemporary Art (COCA), Seattle, WA MFA Thesis Traveling Exhibition, University House, Issaquah, WA Master of Fine Arts Exhibition, Henry Art Gallery, Seattle, WA Germinate: Experience Art Bemis Building, juror Doug Jeck, Seattle, WA, 2002 Bellevue Sculpture Exhibition 2002, jurors Margaret Ford and Julie Speidel, Downtown Park, Bellevue, WA 2000 California Works, Fine Art Competition, juror Tony Natsoulas California State Fair, Sacramento, CA
PRIVATE COLLECTIONS Microsoft Art Collection, Redmond, WA, Sine Wave Cirrus Apartments Lobby, Seattle, WA, Cascading Form Links Apartments Commission, Lobby area, West Seattle, WA Joe Delaney, Foster/Pepper, Seattle, WA, Tale of Two Cities Commission Sharon & Martin Lott, Mercer Is., WA, Water Theme Commission Zymogenetics Art Collection, Seattle, WA, Burning Bridges School of Public Health, University of California at Berkeley, West Entrance- Departure II
RESIDENCIES 2014 Brush Creek Foundation for the Arts, Saratoga, WY 2011 Jentel Foundation, Banner, WY 2009 Montalvo Arts Center, Lucas Artist Programs, Saratoga, CA 2008 Anderson Ranch, Snowmass, CO Bemis Center for Contemporary Art, Omaha, NE 2007 Sculpture Space, Utica, NY
AWARDS 2013 GAP Grant, Visual Arts, Artist Trust, Seattle, WA 2010 GAP Grant, Visual Arts, Artist Trust, Seattle, WA 2008 Individual Projects Grant, 4-Culture, Seattle, WA 2005 GAP Grant, Emerging & Cross-Disciplinary Arts, Artist Trust, Seattle, WA Best of Show, Sculpture Without Walls, Moses Lake Art Museum, WA
TEACHING EXPERIENCE 2011 Visiting Instructor, Basic Sculpture (064), Basic Sculpture (164), Fall Quarter, Santa Clara University, CA 2009 Visiting Instructor, Basic Sculpture (064), Basic Sculpture (164), Spring Quarter, Santa Clara University, CA 2002 Instructor, 3D Design (Fall/Spring), Wood Sculpture (Winter). University of Washington, Seattle, WA
ARTIST LECTURES/PANELIST 2016 Westlake and Lenora Public Art Project artist selection panelist, Office of Arts and Culture, City of Seattle 2015 Madrona Tree Public Art Project artist selection panelist, Office of Arts and Culture, City of Seattle 2011 SOIL Gallery, Seattle, WA 2010 Schneider Museum, Ashland, OR 2009 Santa Clara University, Santa Clara, CA 2008 Anderson Ranch, Snowmass, CO Omaha State University, Omaha, NE Bemis Center of Contemporary Art, Omaha, NE 2005 CoCA, DORKBOT, Seattle, WA
OTHER PROFESSIONAL EXPERIENCE 2008- Founder/Owner, WST STUDIOS, LLC, Seattle, WA 2005 Studio assistant for Trimpin JANE TSONG Los Angeles, CA myriadsmallthings.org/land.html [email protected]
I approach public art as a consumer and user of public space. I believe that sensory and sensual experiences in public space facilitate collective visioning. Visioning and feeling, together, are the root of collective dialogue, compassion, and social change.
Creating art is creating the material of reality. Culture is the language of our thinking and knowing. As cultural workers, artists can be powerful. We pull and stretch the framing of concepts, our expectations of the present and future, the realm of the possible. I believe in local organic culture. All my works begin with research into the site context. In past research resulted in this series of proposals for radical gardens in Astoria, OR; South Los Angeles, and Ventura, CA.
Though these landscape-based proposals remain unrealized, the reframing of the urban landscape in ways that express community histories and futures continues to call to me. Since that time, I’ve broadened my perspective to include regional and global land use issues, which I explore in my professional work as a land use planner. Yet I look to public art as a venue for exploring land use issues on a site scale. Such issues might involve agriculture, biodiversity, invasive plants, native ecology, the water cycle, or the cycles of time.
It would be especially meaningful to create an artwork around these issues in the Pacific Northwest, which has been a second home to me for more than a decade, and whose ecosystems and natural history are a long term source of inspiration to me
I have extensive experience with collaborative planning in formal and informal contexts. At the Huntington Botanical Gardens, I was part of a team which included horticulturalists, botanists, and educators, that articulated the program for a future Desert Garden Conservatory. Collaboration was the norm for the regional planning projects my Landscape Architecture program focused on. Currently, I work as a land use planner, and all our projects are produced by teams. In the teams I've worked on, my unique gift is the ability to tie together seemingly contradictory goals and challenges, into a narrative that speaks to people
Top to bottom: Alma Primitiva, Case de Tunel, from Comfy City (alteration of existing stump), 2010, Tijuana, MX; no beginning no end, poetry by Judith Roche, 2007-2011, Kirkland, WA; Age of Amphibians, 2012, Los Angeles, CA JANE TSONG / [email protected] / 323-842-2991 5214 Coringa Drive, LA CA 90042
COMMISSIONED PUBLIC ARTWORKS 2011-2012 age of amphibians, Reseda Pool, Department of Cultural Affairs with Lehrer Architects, Los Angeles. $18,000.
2004-2011 no beginning no end/ circle the earth/ blessed water/ blood of life/ air help us bless with each breath all creatures of land, sea, and air…, Brightwater Wastewater Treatment Plant, 4Culture, Seattle. With water and solids blessings written by Judith Roche. $104,000.
2004 Time by the Rock. Center for Arts Eagle Rock. $40,000.
EMPLOYMENT 2014 Assistant Project Manager. Coastal Management Resources, LLC. Land use planning for the Cojo-Jalama Ranches.
2013 Assistant Researcher and Designer. Aqueduct Futures (exhibition).
2005-2013 Display and Exhibition Specialist. Botanical Division at The Huntington Library, Art Collections, and Botanical Gardens.
EDUCATION M. L. A., 2014, Landscape Architecture, Cal Poly Pomona. University Fellowship. Dangermond Travelling Fellowship. First Place, Project Blue Competition Phase II for proposals to restore Kellogg Creek.
M. F. A., 2000, New Genres Specialization, Department of Art, University of California, Los Angeles. Edna and Yu-Shan Han Award, D’Arcy Hayman Scholarship, Arnold Scholarship.
B. A., 1990, Film Theory, Yale College. Magna cum laude and Distinction in the Major. Centre Universitaire des Études Critiques, Paris. Margaret Laughlin Marshall Allison Fellowship in Art History.
ORGANIZING Lead organizer, Urban Forest Collaborative Street Tree Planting, 2009-2010. urbanforestcollaborative.wordpress.com. Committee member, Median Advisory Committee, Council District 14, 2010-11.
Founder, Bipediality bipediality.wordpress.com. Catalyzed community discussion around streetscape improvement in Northeast Los Angeles. Five years later, numerous improvements have been made to Colorado Boulevard in Eagle Rock, and major funding has been received for additional improvements.
TALKS ON ART Panelist on “Chats about Change” Cal State Los Angeles (2014), panelist on “Can Art Heal Nature in Los Angeles?” LA Freewaves (2012) and Montalvo First Fridays (2013), Panelist on “Brightwater: an extraordinary union of art, design, science, ecology, and community” AIA Seattle Design Festival (2011), “Pecha Kucha: Femmes Fatales V” Los Angeles Forum for Architecture (2011), Basekamp (Philadelphia, 2009 via Skype), Farmlab (2008), Art Culture Nature Conference (Bothell, 2005), University of Chicago (2005), Panelist on “Urban Nature” CAA Annual Conference (2001), Central Michigan University (2001).
TALKS ON WATER ISSUES Guest blogger on Los Angeles Creek Freak lacreekfreak.wordpress.com, San Marino High School (2014), Arroyo Seco Foundation Community workshop (2014), Los Feliz Charter School for the Arts (2014), Watershed Community Forum at La Loma Development (2014), Sea and Space Explorations (2009), C.I.C.L.E. (2008), Santa Monica Bay Restoration Commission Stream Assessment & Restoration Design Workshop (2007), Eagle Rock Kiwanis Club (2007).
REFERENCES Pauline Kamiyama Civic Art Senior Project Manager, LA County Arts Commission 213-202-5858 / [email protected]
Cath Brunner Project Manager, Public Art 4Culture 206 263.1596 / [email protected]
Allen Compton Principal, SALT Landscape Architects 323-210-7044 / [email protected]
MEMBERSHIPS ASLA, American Planning Association, Southern California Paleontological Society. ROBERT TULLY Louisville, CO tullyartworks.com [email protected]
As a public artist, much of my work is in exterior landscapes, relating people to nature and place. The art ranges from architectural to landscape art to iconic in character, depending on the site, but they are all linked by creativity and compatibility with the land or buildings.
My designs come from the feel of a place and the existing shapes and surroundings. To me they are part of the artwork and I am adding an artistic facet in a connected way. I try to make sculptures that look like they have emerged out of the location.
As to specific forms, I try not to bring preconceived ideas to the site so that I can respond more fully to it. I don't repeat my forms as do some artists. I look for something I love about the location and try to work with it; or else I see what is lacking somewhere and fill the void. I begin by examining the location, studying its history, culture or natural background and listening to input from the various people involved. I consider basic parameters within which a successful project can be envisioned, such as needs, scale, color, theme, and orientation. Then I generate ideas through extended studies on site and voluminous sketches. My end goal is to create a place that has meaning, interest and value to people.
I try to make art that is simple and accessible but also rich in mysteries so it doesn't get old. The designs are really a search for unconscious connections and truths.
Discovery and use of imagination by viewers are part of my works. I plan that process of discovery into the art. There is also an interactive aspect, at least in moving through the art and sometimes sitting or fitting into it, in which you become part of the art for others to see, or in cooperating with others to operate the artwork, or in figuring out what the art does. I make an experience in which people see that they are creating their future through their imagination--with nature and history as their working materials.
My art is playful, interactive, archaeological and sometimes childlike. I think most people have an emotional anchor in their childhood and in nature. It stays with them, and I allude to it in a straightforward, innocent way as something lost--like a stone vessel that can be unearthed, rediscovered, reconsidered and enjoyed.
Directions that I am exploring have to do with material and with content. Over time, I have worked in more types of materials, so versatility is one of my strengths. I started in Top to bottom: Trade Beads, 2004, Fort Collins, CO; Natural stone but now consider metals, landscape, light, glass, Structures, 2006, Boulder, CO; Prairie Forms, 2009, Fort sound and concrete among my media. I am testing Collins, CO methods of transparent acrylic on laminated glass to make permanent exterior images in glass.
With content I personally prefer abstract approaches but ROBERT TULLY RESUME Public artist integrating art into landscapes, buildings.
Public Commissions
• Quadrangle design, Lackland Air Force Base, San Antonio, Texas, limestone, stainless steel, glass, design team, $10 million construction 2015 with $354,000 artist-built elements plus $100,000 artist design, 2016. • Glass windscreen images, Vancouver WA, C-TRAN Vine transit stations, $74,000 design only, 2015. • “Food, Water, Cover, Nest,” art landscape and sculptures create a wildlife area, 2 acres, City of Denver, Lowry Redevelopment Authority, $150,000 plus landscape budget, 2015. • Design-team artist for integration of art into Mason Corridor bus rapid transit line, including translucent glass windscreen design, light sculptures with sound, , cast concrete benches and other sculptures, City of Fort Collins, Colorado, $30,000 design plus $252,000 art construction. 2010-2014.. • “River Walk,” landscape and river boulder artwork, 75’ x 6’ x 18’, Orient, Washington, State of Washington Art in Public Places, $65,000, 2014. • "Rain Gate" and "Leaf Shade Bench", Town of Wake Forest, North Carolina; rain sculpture stores rain to run as celebratory rain chain sculpture for 12 hours, 2013, $37,000. • Mehaffey Park, mosaic, stone column and steel sculpture, City of Loveland, CO, $78,000, 2015. • Seating sculptures, steel, Texas Tech University art program, second commission $27,000, 2013. • "Harmony Light Columns," 14" high, stainless steel, LED lights, computer sequencing; light sculptures for intersection at Harmony and College, City of Fort Collins, $20,000 design plus construction budget, 2011. • Municipality of Whistler, Canada, Olympic venue, “Three Wishes,” stainless, $20,000, 18 x 10 x 8 ft., 2006. • “Natural Structure,” streetscape and bus stop shelter; sandstone light posts, stainless steel, stained concrete, plants; City of Boulder, Colo., Arapahoe and 28th St. corner, $142,000, 2006. • “Seed Seats,” sandstone, steel seating sculpture, Texas Tech University, 2010, $15,000. • “Prairie Forms,” Soapstone Prairie Natural Area (located on Wyoming border), City of Fort Collins, Colorado, design team project of $120,000 archaeological observatory structure, rock cairn sculptures and archaeological-related carvings, 2009. • Pickle Plant Solar Farm, design of six-acre functional photovoltaic solar farm as sculpture to power wastewater treatment plant, City of Fort Collins Art in Public Places, $15,000 artist design only, 2009. • "Reconciliation Bench," granite, City of Denver Westwood Child Development Center, $12,000, 2010. • “Solar Garden Arbor,” design contract for sandstone and green roof structure with solar panels in alley-to- pedestrian way conversion project, Downtown Development Authority, Fort Collins, 2009. • “Community is Nature’s Architecture,” stone, plants, conceptual, Tucson Pima County Arts Council, Clements Community Center, 2005, $30,000. • Untitled, sandstone, sculpted walls, Bobcat Ridge Natural Area, City of Fort Collins, 2006, $45,000. • “Cloudscape,” white marble cloud, limestone plant and animal sculptures and design for rubber play surfacing, Eaton Plaza, Town of Vail Public Art Program, $50,000, 2004. • Soft Gold Park, design team for overall concept plus concrete stain design and stone/stainless steel art, City of Fort Collins Public Art Program, Colo., 2004, $7,700. • "Columns of Light," colonnade landscape of trees, sandstone columns and aluminum hanging columns in a shade structure; Higher Education Advanced Technology Center Campus, Lowry, Denver; Colorado Art in Public Places Program, November, 2003. $87,000. • Light rail design team, West Corridor Project, Denver Regional Transportation District, designing 10 stations, three major bridges, fencing and landscape, $25,000, 2002. • "Solar Clocktower," at a light rail station, jointly for the Regional Transportation District, Denver, Colorado, and the City of Littleton. Functional 14-ft. sculpture with solar panels, masonry, carved marble and granite, stainless steel. Artist conferred with National Renewable Energy Laboratory. $60,000, July 2000. • Plaza seating sculpture and stone tile arc inlaid in concrete plaza, Colorado State Patrol building, Fort Collins, Colorado Art in Public Places Program, Nov. 2000. • "Signal Sequence," Colorado State University, Colorado Art in Public Places Program. Gateway sculpture of granite and stainless steel spires forming arc through trees, across street. $83,000, 1999. • Design consulting, Town of Vail Public Art Program, Colorado, on renovation of Ford Park, April 1999. Additionally commissioned to make two granite ptarmigans, largest 4 x 9 x 9 ft., September 2000, $39,000. • “From Our Eyes," St. Vrain Greenway Park, Phase II, recommissioned for three more sculptures by direct invitation, City of Longmont Art in Public Places Program, Colorado, 1997-99. One mechanical interactive sculpture; a granite "Listening Stones," and series of small castings. $100,000 total. • "Ripple Effects," City of Fort Collins Art in Public Places Program, earthwork with grasses and 270-foot- long masonry wall with stone, brick and steel, Nov. 1998, $63,000. • "Visions Born With This River," Gates Crescent Park, City of Denver Art in Public Places Program. Five river boulder sculptures. $40,000. 1997. • "Resting Space III," Denver Zoo, granite bench sculpture, 1.5 x 5 x 2.5 feet, 1993 and 1996. • "From Wildlife's Eyes," St. Vrain Greenway Park, City of Longmont, Colorado. National competition. Three pieces built into landscape showing spatial perspective of wildlife--an underground prairie earthwork, an elevated 60-foot concrete pathway in trees; and a historic river level and wildlife carved on boulders 1996. • "Miner's Dream," Riverwalk Park, for Town of Breckenridge, Colo. National invitational competition. Eight interactive park artworks forming a landscape based in nature and local history. $84,000 plaza, 1994.
Awards
. Exemplary Human Environment Initiative Award, Federal Highway Administration, for artist’s role in streetscape along 28th Street, Boulder, Colorado, 2007. . Award of Merit, collaborative architectural design, archaeological overlook, Soapstone Prairie Natural Area, Associated Builders and Contractors, 2009. . Urban Design Award for Public Space, 2013 and 2015. City of Fort Collins, CO.
Temporary Public Art Exhibits . The Land, an art site, Mountainair, New Mexico, 1999, Curated by Thomas Cates and E. Nuevo. . Shidoni, Santa Fe, New Mexico, stone and water works, 1993. . Natural Spires, temporary solo exhibit, Ford Park, Vail, Colorado, 1999.
Selected Private Collections
• Flowing to Center," granite, granite tiles, water, 1994, 4 x 12 x IO ft., Robert Blommer collection, Santa Fe. • Untitled, granite, water, 4 x 4 x 4 ft., 1993, Ed Trumble collection, Boulder, CO. • "River Boulder," 35 x 27 x 25 inches, granite, 1989. Monroe collection, Richmond, VA. • "Mountain Discovery," 10 x 6 x 6 ft. stone, water, Hyatt Regency Hotel, Beaver Creek, CO. 1989.
Education
1973-74 University of Sevilla, Spain. Courses in art history. 1976 B.A., University of Colorado.
Artist’s Address: 733 McKinley Avenue, Louisville, Colorado, 80027 USA (720) 771-8502 [email protected] www.tullyartworks.com. SABINE WEISSINGER and FRIEDRICH FOERSTER Tuebingen Other (Badem-Wuerttemberg) Germany casamagica.de [email protected]
Our works are site specific not only because we intensively work with architectural projection and lighting in outdoor and indoor spaces, which by itself makes the existing architecture an intrinsic part of the work but we also like to go beyond this "natural" and formal link to a site and take into creative consideration and express the spirit of a building or space, its history, functions, and actual connotations. A core to our artistic development for approximately 20 years has been digital image creation, still and animated. The form, material, media it appears in a distinct situation however is not fixed.
Most of our projection and lighting works have been temporary. This is largely due to the media we use and the respective maintenance requirements. More recently our artistic research led us to use other media which are less demanding in this respect:
The creation of 3D entities from 2D materials inspired our wish to bring those virtual works into physical existence, resulting e.g. in metal sculptures.
We also work with an Augmented Reality App that invites the audience to discover animated video content "hidden" in static images or sceneries of various size by means of their smart phones. Examples are buildings, enameled plates or other signs.
The range of our works is thus widespread in size, media and budget. We dedicate our ideas and efforts in equal measure to achieve a meaningful and appropriate contribution to the site.
Top to bottom: Sharp Edged Sound Spheres (video mapping), 2015, Adelaide, AU; Lark Song, 2014-15 (temporary), Kunstverein Noerdlingen, Kunsterverein Aalen; Gutenberg/Pittsburgh, 2008, Pittsburgh, PA
Friedrich Förster/Sabine Weißinger CASA MAGICA Aixer Straße 74, D 72072 Tübingen, Tel+49 7071 72034 [email protected]/ www.casamagica.de
Professional Resume Friedrich Foerster and Sabine Weissinger form the team CASA MAGICA.
CV - Friedrich Foerster born 1952 in Reutlingen, at present based in Tuebingen/Germany 1970s studies in biology and then specialized in neuroscience at University of Tuebingen, 1980s postgraduate studies and work at the Max-Planck-Institute for Biophysical Chemistry in Goettingen. Since the 80s he developed and used specific projection and laser applications for artistic intermedia projects, often in audio-visual projects with musicians and other performing artists. In the early 90s prizes of Ars Electronica and International Laser Display Association/USA. Since 1996 artistic team cooperation with Sabine Weissinger, specially in the field of architectural projection. This cooperation consolidated through the years - the reason why there is only one collective portfolio.
CV - Sabine Weissinger born 1959 in Goeppingen, at present based in Tuebingen/Germany 1978-80 training and work at stained glass crafts enterprise Gaiser & Fieber, Stutgart, 1980s studies in art history and science of religion at University of Stuttgart, Florence and Tuebingen, courses at Zeicheninstitut Tuebingen and Freie Kunstschule Stuttgart, 1992 - 1995 managing director of cultural center Sudhaus Tuebingen, 1995 - 2000 editor in chief of review "glasforum" on glass architecture. Since 1996 artistic team cooperation with Friedrich Foerster, specially in the field of architectural projection. This cooperation consolidated through the years - the reason why there is only one collective portfolio,
Selection of reference works:
"Wallstream", Kulturnacht Reutlingen, 2015 AR (Augmented Reality) app, video, lit up buildings commissioned by City of Reutlingen
"Sharp Edged Sound Spheres" BLINC Adelaide Festival 2015 commissioned by Adelaide Festival
"Sound Spheres" DLECTRICITY Detroit, 2014 video architectural projection, 10 min loop, commissioned by Midtown Detroit Inc.
"Signs Miracles", exhibition at Kunstverein Noerdlingen, 2014 videos, sculpture, fine art prints, enameled plates with ARvideos, outdoor projection with AR video
"Sound Spheres - virtual/real" at "Unpainted", Munich, 2014
"Yon light is not day-light, I know it", ARTORT Heidelberg, 2013 commissioned by Unterwegstheater Heidelberg
"LUX EUCHARISTICA", Cologne Cathedral 2013 commissioned by German Bishops' Conference
"Emergence" LUX Helsinki Festival, 2013 commissioned by the City of Helsinki
"Life Lines", Canal Convergence, Scottsdale AZ, 2012 commissioned by Scottsdale Public Art
“Digital Decalcomania”, audiovisual installation at the Pinakothek der Moderne Munich, 2012
“Think Tank”, audiovisual installation at LICHTSTROEME, BUGA-festival, Koblenz, 2012 commissioned by Bundesgartenschau
“Sky Robe”, animated indoor projection at Cathedral of the Virgin Mary, Linz, 2011
“Sound and Light Show at the Horus Temple”, Edfu/Egypt 2009/2010
“Picasso Challenging the Past”, National Gallery London, 2009
“Revamp Fort Brooke”, LIGHTS on TAMPA, 2009 commissioned by Lights on Tampa, Arts Programs Division
“Gutenberg”, Cathedral of Learning at the University of Pittsburgh, 2008
“Main Embankment”, Luminale Frankfurt, ECB headquarter, 2008 commissioned by European Central Bank
“Transformator” GLOW festival Eindhoven, 2007
“The Grand Central Kaleidoscope”, Grand Central Terminal, New York, 2006
"Tissage Automatique", Fête des Lumières Lyon, 2003
for further CASA MAGICA projects in these years and back to 1993 see webpage chronological section “projects”.
Projects in the US: "Sound Spheres", DLECTRICITY Detroit, intended realization September 2014 "Life Lines", Scottsdale AZ, 2012 G20 summit show at Convention Center, Pittsburgh 2009 "Revamp Fort Brooke", Lights on Tampa 2009 "Gutenberg" Cathedral of Learning Pittsburgh, 2008 "The Grand Central Kaleidoscope", Grand Central Terminal New York, 2006 Philadelphia City Hall Illumination, 2005 "Moving Staircase", Marshall Fields State Street, Chicago 2005 Luminocity, Cleveland 2003 Audi-Launch tour: New York, Boston, Miami, Dallas Chicago, Los Angeles, 2003 Wilson Building Illumination Washington DC, 2002/2001 Dana Discovery Center, New York, 2001 "Immateriaux", Kenkeleba Gallery New York, 1995
CLARK WIEGMAN Seattle, WA artifacture.org [email protected]
Mixed metaphors are the basis of my work. This conceptual and material discourse explores the way culture frames nature as lived experience. Each project responds to situational variables with anomalous beauty that frames the challenges of transformation.
My practice focuses on imaginative placemaking with an emphasis on iconic elements within a collaboratively- devised context. Over the past 30 years I’ve worked on a variety of projects scattered throughout North America and Europe. Permanent and ephemeral projects at parks, libraries, plazas, airports, streetscapes, transit and community centers have involved master planning, sited works and art environments comprised of infrastructural amenities (paving, lighting, glazing, seating, etc).
I thoroughly enjoy the process of making public art—from background research to final installation. There’s a satisfying challenge in placemaking and the interdisciplinary problem-solving required.
In short, it’s work with a pulse.
My practice also focuses on collaborative placemaking with project teams that often include other design professionals. Through innovative program solutions, excellent communication skills and efficient use of resources, I deliver the highest level of concept and craft without burdening an established budget or schedule. These skills allow me to work effectively with diverse stakeholder groups to create unique multi-faceted environments.
Over the past 30 years I’ve created a number of master plans and collaborative works that have included other artists, writers, musicians and filmmakers. Notable projects include a park plan for an international airport, several transit and community centers and the world’s only permanent publicly-sited homeless memorial. Beyond this is policy advisory and advocacy for several public art programs
Top to bottom: Pond, 2003, Seattle, WA; Earthgrove, 2015, Burnaby, BC; Soundings, 2009, Tukwila, WA clark wiegman 1214 NW 121st Street Seattle, Washington 98177 206.669.6082 [email protected] http://www.artifacture.org
selected commissions flow 2016. Oak Tree Park and Water Flume Trail (Tacoma, WA). Environmental artwork. $95,000+. earthgrove 2015. SOLO District (Burnaby, BC). Environmental artwork. $200,000+. circle & square 2016. Canto & Brewers Hill Stations (Baltimore, MD). $385,000+. Red Line cancelled. hydra 2014. Fire Station #7 (Albuquerque, NM). Beacon sculpture. $72,000+. luminous 2013. Oaks Station Place (Minneapolis, MN). Plaza & lighting. $174,000+. tree of life 2012. Homeless Remembrance Project (Seattle). Plaza & embedments. $205,000+. blue train 2010. Vandeventer Bridge (St Louis, MO). Illumination. $54,000. soundings 2009. South 154th Street Plaza (Tukwila, WA). Illuminated soundwork. $195,000+. pod 2008. Winslow Waterfront Park (Winslow, WA). Sculptural hearth. $52,000. vita rota 2007. Woodland Park Zoo (Seattle, WA). Master plan. $110,000+. wingfern 2006. SeaTac International Airport (SeaTac, WA). Illuminated friezes. $265,000+. tree 2006. Federal Way Transit Center (Federal Way, WA). Environmental artwork. $200,000+. ole’ 2005. Rosegarden Branch Library (San Jose, CA). Suspension & bas relief. $120,000. departure 2004. WMATA Branch Ave Station (Washington, D.C.). Suspension. $100,000. pond 2003. Wallingford Steps (Seattle, WA). Master plan & plaza artwork. $115,000+. illuminata 2002. Western Connecticut State University (Danbury, CT). Suspension. $85,000. stream 2001. Tacoma Solid Waste Utility (Tacoma, WA). Master plan, landmarks & lighting. $85,000+. la gruta 2001. Mission Trails (San Antonio, TX). Wayfinder and environs. $125,000+. vista 2000. Seattle Transportation (Seattle). Illuminated landmarks, planters & landscaping. $60,000+. story 2000. Downtown Pedestrian Mall (Iowa City, IA). Illuminated sculpture. $45,000. roots & branches 1999. Experience Music Project (Seattle). Consultant. $500,000+. cornucopia 1998. Oregon Agriculture Building (Salem, OR). Suspension and medallion. $50,000. spirit boat 1997. West Hill Community Center (Renton, WA). Entry plaza. $62,000+. hydraulis 1995. Key Arena (Seattle). Interactive water, light and soundwork. $155,000+. harvest 1995. Government Station (Hillsboro, OR). Environmental artwork. $100,000+. rainforest 1994. Olympia Transit Center (Olympia, WA). Environmental artwork. $107,000+. greenhouse 1994. Cedar Falls Recycling Center (North Bend, WA). Art fence. $45,000. rigs 1993. Washington State Convention Center & Seattle Public Library (Seattle). Kiosks. $20,000. airways 1991. North SeaTac Park (SeaTac, WA). Master plan. $120,000. key grove, 1990. Franklin High School (Seattle). Landmark & plaza. $28,000+.
selected exhibitions, installations & performances breathe Stanley Park, Vancouver, BC. 2015 paradox Canyonlands, Utah. 2014 bakken crude Theodore Roosevelt Center, Dickinson, North Dakota. 2013 ethereal Houston Hospice, Houston, Texas. 2012. desert rat Arcosanti, Arizona. 2011. road Rural Studio, Greensboro, Alabama. 2009. meltdown New York Stock Exchange, New York, New York. 2008. well Portland Art Center, Portland, Oregon. 2007. recodings Bachelors Walk, Dublin, Ireland. 2005. elemental designs MG Gallery, Chicago, Illinois. 2004. lacustrine Green Lake, Seattle, Washington. 2002. net loss Royal Caribbean International, Miami, Florida. 2001. core samples Point Defiance Park, Tacoma, Washington. 2000. the view from here SeaFirst Gallery, Seattle & Fujinomiya, Japan. 1999. mechanique Galerie Modus, Paris, France. 1996. recycler DaVinci Gallery, Los Angeles, California. 1995. musical variations Port Angeles Fine Arts Center, Port Angeles, Washington. 1994. tired empire Bumbershoot Arts Festival, Seattle, Washington. 1992. come to your senses Bellevue Art Museum, Bellevue, Washington. 1991. cognitive landscapes The Drawing Center, New York, New York. 1990.
selected awards & rosters
International Award for Public Art semi-finalist, 2014 City of El Paso Pre-Qualified Artists List, 2015-17 Iowa Art-in-State-Buildings Program Roster, 2014-17 Public Art San Antonio Artist Roster, 2012-18 Oregon Public Art Roster, 2011-14 New York City Department of Cultural Affairs, Percent for Art Registry, 2006-14 UrbanArts Artist Registry, Boston, MA 2006-13 Miami-Dade Art in Public Places Artist Registry, Miami, FL 2005-08 City of Atlanta Cultural Affairs, Public Art Roster, Atlanta, GA 1997-2012 Public Art Network Year-in-Review, New York, NY 2001 San Jose Public Art Roster, San Jose, CA 2001-08 Phoenix Arts Commission National Public Art Roster, 2000-04 American Institute of Architects Design Excellence Award, Seattle, WA 1998 Bi-State Development Agency, Arts in Transit Roster, St. Louis, MO 1997-2009 Washington State Arts Commission, Artist-in-Residence & Public Art Rosters, Olympia, WA 1988-2018 Community Transit Design Award, Washington, DC 1994 National Endowment for the Arts public art grant, Washington, D.C. 1990
selected reviews & publications
Life and Remembrance, Arcade, Issue 32.2, Fall 2014 The New Art of Mourning, Public Art Review, Issue #48, Spring-Summer 2013 How Homeless Remembrance Finally Found a Seattle Home, Crosscut, June 21, 2012 Artwork “blue train” Completes Streetscape at the New Vandeventer Bridge, Nextstop, May 26, 2011 Commissions in Brief, Sculpture, September 2010 Sound Transit Light Rail’s Public Art Makes a Big Splash, The Seattle Times, July 12, 2009 Seattle Selections, Public Art Review, Issue #40, Spring-Summer 2009 Commissions in Brief, Sculpture, June 2008 Art Matters, Arcade, Winter 2006 A Rose is More Than a Rose, Silicon Valley News, September 12, 2003 Recent Projects, Public Art Review, Volume 14, #2, Spring-Summer 2003 Creation Reflects What’s Found Inside Library, The News-Times, August 7, 2002 The Mountain as Muse, The New York Times, December 23, 1998 Mission Trails Artists Show Plans, San Antonio Express News, June 24, 1998 Accessing Public Art, American Craft, October-November 1994 Artists put Public back into Public Art, The Olympian, December 3, 1993 Rebirth of a Landmark, Peter Staten, The Seattle Weekly, October 24, 1990
education
Macalester College, Saint Paul, Minnesota, B.A., history and art, cum laude, honors, 1983 SUMI WU Portland, OR sumiwu.com [email protected]
Just as we derive essential meaning from nonverbal cues in conversation, I believe we take in art through channels beyond the conscious and literal parts of our minds. We are sensory beings. All we can truly know comes from experience of our bodies in the world. I am a dancer as well as a sculptor, and my work is informed through my tactile and kinetic senses. I will continue to explore unusual combinations of materials in my artwork and be guided by physical interaction. (There is no avoiding the word ‘craft,’ however unfashionable this might be.) Time spent in the studio, with hands and tools on clay, wax, steel, or molten glass is what guides me to aesthetic decisions. It is this attentive, detailed engagement with the physical object that leads to work that can convey rich layers of meaning, from the truth of my senses to the viewers’.
Our urban worlds of slick surfaces and skyscrapers can be diminishing and de-humanizing. I believe we are in need of environments which communicate on the scale and in the language of our own bodies. Public art can fulfill this role. My goal is to create artworks that ignite a tactile, ‘gut-level’ response, that feed the more ancient parts of our brains where our emotions and our sense of safety arise. These responses to sensory information are our sources of pleasure and deepest knowledge of truth.
In creating site-specific sculptural installations, in collaborating with choreographers, in designing costumes and performing for theater, I respond openly to each new context. Working in the performing arts is a process of entering and embracing a new world with each production, and it is this flexibility that I bring to my sculptural installations. Concept and subject matter are only the beginnings. Deep exploration and attentiveness to my own liminal responses while engaged with a site’s space, light, texture, color and sound lead to emotionally complex visual language developed anew with each creative work.
Top to bottom: Sky Machine (detail), 2007, Vancouver, WA; Urgent Messages (detail), 2007, Vancouver, WA; Root and Wing, 2013, Evergreen, WA Sumi Wu 1131 SE 17th Ave. #E Portland, OR 97214 • 360-433-7786 www.sumiwu.com [email protected]
RECENT COMMISSIONS August 2013-February 2014 Interactive Set Designer/Collaboration with Choreographer, Skinner/Kirk Dance, Portland, Or. • Design interactive set made of elastic bands and theater rigging in collaboration with choreographer for evening-length dance performance “Within the Lines” • Design and build maquette and scale drawings of set • Collaborate with technical director and choreographer regarding rigging of interactive mechanisms, and operation by performers and stagehands • Complete fabrication and installation of interactive set in alternative theater space
March 2012-January 2014 Public Art Commission Designer and Fabricator, Washington State Arts Commission, Olympia, Wa. • Develop site-specific design concepts for sculptures in lobby of renovated science building at The Evergreen State College and present to site committee for approval • Consult with arts committee regarding community desires for transforming lobby into a useful, pleasant place • Complete fabrication in cast bronze and aluminum, hand-blown glass, and custom lighting • Install artwork onsite in ceiling and walls of atrium space April-December 2012 Interactive Sculptural Set Designer/Collaboration with Choreographer, Skinner/Kirk Dance, Portland, Or. • Design interactive kinetic sculpture in collaboration with choreographer for evening-length dance performance “Juxtaposed” • Design and build maquette and scale drawings of articulating sculpture • Collaborate with technical director and choreographer regarding rigging of articulating mechanism and stagehand operation, in alternative theater lacking fly space • Complete fabrication of two interactive articulating sculptures in welded steel and twin wall polycarbonate •
September 2004 – July 2007 Public Art Commission Designer and Fabricator, Washington State Arts Commission, Olympia, Wa. • Develop design concepts for site-specific sculptures in second-story window and skylight of renovated Clark College classroom building and present to site committee for approval • Design and build maquette and scale drawings of site-specific sculptures • Complete fabrication in aluminum, steel, laser-cut plastic and fused glass of two large-scale interior site-specific sculptures fully integrated with existing architecture • Install artwork onsite Sumi Wu 1131 SE 17th Ave. #E Portland, OR 97214 • 360-433-7786 www.sumiwu.com [email protected]
Jan 2006 – December 2007 Public Art Commission Lead Designer and Fabricator, City of Vancouver, Vancouver, Washington • Propose design concept for large-scale exterior sculpture commemorating women who worked in the Vanport shipyards in WWII and present to site committee for approval • Complete fabrication of large-scale exterior site-specific sculpture in stainless steel, tile and fused glass in collaboration with Women Who Weld • Install artwork onsite
September 2001 – July 2003 Public/Private Art Commission Team Designer and Fabricator, WSU Vancouver, Vancouver, Wa. • Propose design concept as a team for commemorative large-scale exterior site- specific bronze sculpture for WSU Vancouver campus and present to site committee for approval • Complete fabrication of large-scale exterior site-specific sculpture in welded and cast bronze in collaboration with Women Who Weld
EDUCATION
Stanford University, Stanford, California. Bachelor of Arts with distinction Asian Languages/Japanese major. Studies included Japanese literature and arts, music, painting, drawing, physics and mathematics.
Clark College, Vancouver, Washington. Coursework in welded metal sculpture, metal smithing, and advanced welding technique, 1998-2001. Scholarship recipient, Columbia Machine Scholarship Award. June 2000.
University of Alaska, Anchorage Alaska. Studies in ceramic pottery and sculpture, drawing
private study with Alex Combs, Anchorage Alaska. Private mentorship with Alex Combs, highly-regarded ‘grandfather’ of Alaskan art. Studies in ceramic pottery and sculpture. LINDA WYSONG Portland, OR lindawysong.com [email protected]
Addressing the tightly woven connections between the built and the natural, my work investigates everyday experience. This has led me to an interdisciplinary art practice that explores systems and uses a wide range of media. It does not posses a single recognizable style but is unified conceptually. My art often interfaces with the vocabulary of urban design and brings together site, history, and space.
People design, build, and use systems that shape our lives. Engineering systems have traditionally been considered as factual, efficient, and value neutral entities but the reality is quite different. They are choices that are at the core of our experience and embody social and cultural assumptions so deeply rooted that they frequently go unnoticed. By focusing on the ‘invisible', I hope look at what we value and how we live.
A grass-roots orientation and a strong belief in the importance of connecting with community have led me to develop an integrated practice that includes community engagement, urban design and public art installations. Creating both temporary and permanent projects I strive to reach a broad audience and explore place, history and environmental concerns.
Because of my strong practical and theoretical education, my work includes a wide range of materials: steel, glass, concrete, woven copper, light and video. Recently, I have also have produced a body of woodblocks for interior spaces. My process begins with developing into place and developing the vocabulary and selecting the materials that are most appropriate for the project.
With a deep history of collaboration, I have worked with artists, community and design professionals. This broad experience allows her to create site-specific work that is beautiful, thoughtful and flawlessly integrated into the environment. I bring a strong sense of community, an ability to collaborate, practical construction experience, and an understanding of planning theory and process to the Design Team.
Top to bottom: Bounty (detail), 2013, Monmouth, OR; Eye River, 2011, Portland, OR; Jade-Midway District Art Plan (with Horatio Law), 2016 Linda Wysong www.lindawysong.com
Linda Wysong is an artist whose work has been show nationally and internationally. With a strong interest in the urban landscape, her work includes planning, urban design, sculpture and social practice.
Art Plans Jade Midway Districts Art Plan, 2016, funded by Transportation for America and the Kresge Foundation Eliot Housing Art Plan, Eliot Apartments, commission by Innovative Housing, Portland Oregon, 2012/13 Dawson Park Art Plan, Portland Parks and Recreation Bureau, Portland, Oregon, June 2011 SE Clay Green Street Community Design Plan, Bureau of Environmental Services, Portland Department of Transportation, Greenworks, LLC and KPFF Engineering, Portland Oregon. published 2010 Heron Lakes Recreation Master Plan, Portland, Oregon, 2001, artist on Team with Parsons Brinkerhoff, engineering, Greenworks, landscape architecture& Fletcher, Farr Ayote, architecture. Interstate MAX Art Plan - Design Team, Tri-met Light Rail, Portland, Oregon, 2000 - 2004. developed the over all Art Plan and conceptual framework for each station Columbia Boulevard Wastewater Treatment Plant Facilities Plan, CH2M Hill, engineering, Murase Associates, landscape architecture, Dana Lynn Louis & Linda Wysong, artists, 1995. Hoyt Arboretum Master Plan - Michael McCulloch Assoc, artist on team, 1992.
Urban Design Hardrock Revision Transdisciplinary Team, an artist residency and design team for Ute Ulay Mine Site Lake City, CO July –August 2011, sponsored by The Colorado Art Ranch River East Center, collaboration with Greenworks Landscape Architecture, Portland, OR, 2006-2007. Springwater Corridor Trail, Portland City Parks and Metro, 1998 -2002. Hawthorne Bridge Color Committee - a committee composed of representatives from city, county, & state government, historians, engineers, educators, and community activists, to review and select new color scheme for the Hawthorne Bridge, Portland, Oregon 1996-1997. Oregon Bounty, collaboration with Carol Mayer-Reed, landscape architect, Welcome to Oregon Project, I-84, Ontario OR, Oregon Department of Transportation. September 1995. Urban Collaborations, collaboration with the Drainage and Wastewater Utility of Seattle, Washington, Dana Lynn Louis & Linda Wysong - developed "Flushing" proposal, 1995. Morrow County History Museum, Heppner, Oregon, Brian Burke, Architect, artist consultant on creating installation space and Artist Residency Program, 1995. Columbia Boulevard Wastewater Treatment Plant, Century West Carollo, engineering, Fletcher, Farr, Ayotte, architecture, Murase Associates, landscape architecture.
Public Art (publically funded) Bounty, Sculpture and landscape installation, Western Oregon University, Monmouth Oregon. Projected completion, November 2013 Eye River, Sculpture & Water Education Plaza, SE Clay PCC Campus, October 2011, phase 2 with sculptures on SE 7th Avenue and SE 12th completed January 2014 Perch, Northgate Community Center, 5th Avenue NE, Seattle, WA, August 2006 Vanport Delta Park Station, Interstate MAX Line, Portland, Oregon, May 2004. Waterline Vanport Delta Park Station, Interstate MAX Line, Portland, Oregon, May 2004. On the Road Tour, Multnomah County, Oregon, performance/tour: May 10 & 24, 2002, performance/tour for ‘intersections’ Multnomah County Artist-in-Residence program. On the Road Prints, a series of 7 lithograph and transfer prints commission as part of the residency, Multnomah County Building Conference Room, Oregon, 2002 Shifting Assets, OMSI Springwater Trail, Portland, Oregon, complete November 2002, two site specific permanent installation along a pedestrian & bicycle trail. 2000 - 2002 Dry Dock, 4:00 am Port of Portland, The Visual Chronicle of Portland pastel, crayon, pencil 22.5" x 30" Portland, Oregon: 1990 Tied and Waiting, The Visual Chronicle of Portland, ink, crayon, pencil 22.5" x 30" Portland, OR: October 1986 Linda Wysong resume 2
Art in Public (shown in the public space but privately funded) Backyard Conversations Public Tours, South Waterfront AIR residency, June 2008 Beneath Our Feet, video projections, Portland, Oregon, August 4 - September 22, 2005 (with P.Chipman) Movement Lab, Sculpture Exposition, Clackamas Community College, Oregon City, Oregon: April-May 1998. Ground Level, Keileweg, and Rotterdam, Netherlands: August - October 1992 (temporary installation) Finding the Forest, Forest Park, Portland, Oregon: October 1991. (Collaboration with Linda K. Johnson) Intersection, performance/sculpture, Artquake, Portland, Oregon: August 31 - September 2, 1991. Collaboration with choreographer, Linda K Johnson) Thin Line of Sand, Pioneer Courthouse Square, Portland, Oregon: January 15, 1991. Foundations, Pioneer Courthouse Square, Festival of Flowers, Portland, OR: June 1 - 10, 1990. Going Where? , Oregon Artgarden Outdoor Sculpture Invitational, Clackamas Community College, Oregon City, Oregon: April - June 1990. (Collaboration with poet Harold Johnson) Outside/In, Da Vinci Days Festival, Corvallis, Oregon: July 21 - 23, 1989. Art at Work, "Tower Construction", performance/sculpture, Portland Museum of Art, Portland, Oregon: January, 1984. Collaboration with the Building Trades, Carpenters 247
Selected Performance and Social Practice Jade Midway Creative Placemaking, a collaboration with Horatio Yung-Yan Law and the Jade and Midway Districts , Portland, OR. Funded by Transportation for America. 2015. Ross Island Karaoke, collaboration with Weird Allen Kaprow Collective, Portland, 2015 Resident Residency, Sabin Neighborhood, Portland Oregon, 2014 Look Up poster campaign, Portland, Oregon, September 2010 Clay Street performance /Tour, presented as part of Open Engagement Conference on Social Practice, Portland, Oregon, May 2010 Backyard Conversations Tour, South Waterfront AIR residency, June 2008 and Portland Institute for Contemporary Art's (PICA) Time Based Festival - TBA:08 Festival , September 2008 On the Road Tour, Multnomah County, Oregon, performance/tour: May 10 & 24, 2002, performance/tour for ‘intersections’ Multnomah County Artist-in-Residence program. Intersection, performance/sculpture, Artquake, Portland, Oregon: August 31 - September 2, 1991. Collaboration with choreographer, Linda Kay Johnson)
Selected Recent Lectures/Public Speaking New Partners for Smart Growth Conference, Planning for People WITH People: Using Creative Placemaking to Engage, Celebrate, Design, February 11, 2016 Portland Or, Conference of East Asian Environmental History, Ecologically Engaged Art and Science, panel, Takamatsu, Japan, October 23, 2015 Open Engagement Conference on Social Practice , Artists Working with Institutions, Moderated by Mark Menjivar, Portland, OR May 2013 Art and Stormwater, speaker, national panel, Water Conservation Showcase, Northern California Green Building Council (USGBC), San Francisco CA , March 19, 2013 Open Engagement Conference on Social Practice, Panel on Art and the Environment, invited by author and critic Linda Weintraub, Portland, OR May 2010 BEN ZAMORA Seattle, WA benzamora.com [email protected]
I make work that connects people and places, and creates experiences. My work creates a dialogue between the viewer and their environment, creating experiences that are boldly immersive and intimate, engaging the viewer as an active participant, while addressing universal themes of transformation and transcendence.
Though my work is often complex and bold, with each project I’m hoping to create work that is open and inviting allowing the viewer to connect to deeper themes that extend beyond the aesthetics. The aesthetics of each piece are related, but are not the goal of my work; I see my work as cumulative with each piece building toward something larger. I’m focused on the conversation that takes place between the viewer and the object; I’m focused on the experience. I’m looking at a longer view hoping to share and leave art that relates universally to the human experience; that with each project, it has taken my entire life to complete and for the viewer it has taken their entire life to experience.
Much of my work has involved various collaborative experiences. My public art projects have involved collaborations with engineers, electricians, commissioning agencies, and architecture firms to achieve a project that suits the specific site. I have had various collaborations with performance based work and some of the most prestigious venues in the world. This background has given me a deep sense of collaboration and an ability to be flexible when needed while staying focused on the larger context. The strongly believe that input I receive helps to create new possibilities and allow the work to reach its full potential.
Top to bottom: Never Finished (temporary), 2014, Seattle, WA; Alone. Standing. In the Middle of Darkness. Invisible, 2015, Seattle, WA; Flexn, 2015, NYC B E N Z A M O R A 1 7 3 8 A L K I A V E S W , U N I T A S E A T T L E , W A 9 8 1 1 6 B E N Z A M O R A @ G M A I L . C O M 2 0 6 . 3 4 9 . 7 4 3 8
EDUCATION ______UNIVERSITY OF WASHINGTON UNIVERSITY OF CALIFORNIA AT SANTA CRUZ MFA, LIGHTING DESIGN, 2005 BA , 1999
MUSEUM, INSTALLATION, AND PERFORMANCE BASED WORKS ______BY THIS RIVER 12TH AVE S. & S. ELMGROVE, Seattle 2017 Public Art – Commissioned by Seattle Office of Arts & Culture WHO WITH THEIR FEAR IS PUT BESIDE VIENNA FESTIVAL, DONAU FESTIVAL, KUNSTHALLE KREMS, Austria 2016 THEIR PART Art Installation LIGHT AND GRAVITY DEUTSCHE OPER BERLIN, Berlin 2015-2016 OJAI MUSIC FESTIVAL, Ojai, California ZELLERBACH HALL, Berkeley, California Light Sculpture – Used in Performances of ‘La Passion de Simone’ PELLEAS ET MELISANDE BERLIN PHILHARMONIC, Berlin 2015, 2016 BARBICAN CENTER, London Art Installation - for Performance ALONE. STANDING. IN THE MIDDLE OF SOUTH PARK, Seattle 2015 DARKNESS. INVISIBLE. Public Art – Commissioned by Duwamish Revealed FADE|DISAPPEAR COMPLETELY OUT OF SIGHT, Seattle 2015 Light Sculpture ASCENT 1 WORKHOUSE CREATIVE, Seattle 2015 Light Sculpture FLEXN PARK AVENUE ARMORY, New York 2015 BRISBANE FESTIVAL, Australia Light Sculpture – 160’w x 40’h PRAXIS COACHELLA MUSIC AND ARTS FESTIVAL 2015 Art Installation CUBICLE BROADSTAGE, Los Angeles (and touring) 2015 Light Sculpture for Performance with Diavolo EMPTY RAY APARTMENTS 2015 Light Sculpture PASSAGE DENNY WAY, Seattle 2014 Public Art – Commissioned by All Rise 48º N, 122ª W ART BASEL-DESIGN MIAMI, Miami 2014 Art Installation – Commissioned by Olson Kundig Architects OPPOSING FORCES ON THE BOARDS: Amy O’Neal 2014 with Amy O’Neal Artwork for wall and floor
NEVER FINISHED THE SUYAMA SPACE, Seattle 2014 Art Installation PASSED OLSON KUNDIG ARCHITECTS 2014 Light Sculpture KRONOS QUARTET NEPTUNE THEATRE (STG), Seattle 2013 with Degenerate Art Ensemble Art Installation & Design APEX V2 COACHELLA MUSIC AND ARTS FESTIVAL 2013 Art Installation THROUGH HOLLOW LANDS THE FRYE ART MUSEUM, Seattle 2012 Art Installation UNDERBELLY SEATTLE CENTER 2012 Art Installation – with Performance With Degenerate Art Ensemble and Olson Kundig Architects APEX SEATTLE CENTER 2012 Public Art ORANGO LOS ANGELES PHILHARMONIC, Los Angeles 2011 with Peter Sellars Light Sculpture for Performance STILL THE HEDREEN GALLERY, Seattle 2011 Art Installation B E N Z A M O R A 1 7 3 8 A L K I A V E S W , U N I T A S E A T T L E , W A 9 8 1 1 6 B E N Z A M O R A @ G M A I L . C O M 2 0 6 . 3 4 9 . 7 4 3 8
OTHER ART & DESIGN WITH LIGHT ______IOLANTA/PERSEPHONE Dir. Peter Sellars FESTIVAL D’AIX-EN-PROVENCE 2015 France THREE TALES Dir. Nick Mangano LOS ANGELES PHILHARMONIC 2015 Steve Reich and Beryl Korot Los Angeles THE GOSPEL ACCORDING TO Dir. Peter Sellars LOS ANGELES PHILHARMONIC 2013 THE OTHER MARY BARBICAN CENTER, London LUCERNE FESTIVAL, Switzerland SALLE PLEYEL, Paris LINCOLN CENTER, NY THE TRISTAN PROJECT Dir. Peter Sellars THE HELSINKI FESTIVAL, Finland 2007-2012 With Video Artist Bill VIola THE BALTIC SEA FESTIVAL, Stockholm ROYAL FESTIVAL HALL, London LUCERNE FESTIVAL, Switzerland THE MARIINSKY, Russia WALT DISNEY CONCERT HALL, Los Angeles LINCOLN CENTER, New York THE DESDEMONA PROJECT Dir. Peter Sellars SPIELZEIT'EUROPA I BERLINER FESTSPIELE 2011 with Toni Morrison Berlin, Germany
SELECTED BIBLIOGRAPHY ______Der Standard, Margarete Affenzeller, Austria Installation in der Kunsthalle Krems: Mantel der… May 2016 Wiener Zeitung, Susanne Veil, Austria Niemand Will Beklatscht Werden May 2016 Vienna Contemporary Magazine, Austria donaufestival 2016: what not to miss April 2016 Public Art Review, Issue 52 Duwamish Revealed January 2016 New York Times, Rebecca Schmid In Berlin, Reinventing an Operatic Tradition December 2015 New York Times, David Allen Berlin Philharmonics Pelléas et Mélisande Boldly Stretches Boundaries December 2015 The Gaurdian, Clarissa Sebag-Montefiore Flexn Review-angry and electrifying commentary on black lives… September 2015 Seattle Times (Video), Sy Bean/Corinne Chin Sculpture reflects Seattle artist's Duwamish experience August 2015 Seattle Times, Andie Waterman ‘Duwamish Revealed’ project means to inspire river’s revitalization August 2015 Seattle Magazine, Brangien Davis Duwamish Revealed: A Celebration of Seattle's Only River August 2015 Redefine Magazine, Vivian Hua Amy O’Neal – Opposing Forces Dance Performance Review October 2015 The Stranger, Jen Graves The River Reclaimed July 2015 Architect Magazine, Cyprien Roy, Chelsea Blahut ARCHITECT's Favorite Coachella Art Installations April 2015 Huffington Post, David Finkle "Flexn" Fills Park Avenue Armory April 2015 New York Times, Siobhan Burke In ‘Flexn,’ Street Dance Gets a Grand Stage March 2015 New York Times, Katherine Schulten Test Yourself | Street Dance in Performance March 2015 Chronicle Books Unexpected Art March 2015 Wallpaper Magazine, Pei-Ru Keh Olson Kundig Architects' timber-beam Collectors Lounge December 2014 Diario Design 38 Beams, recycled wood to serve the luxury of Design Miami December 2014 Sculpture Magazine, Suzanne Beal Procrastination at its Best November 2014 CityArts Magazine, Amanda Manitach Dancing in the Dark September 2014 Seattle Times, Alice Kaderlan Amy O’Neal Transforms Hip-Hop Dance to Concert Art at OtB October 2014 Seattle Weekly, Brian Miller The Fussy Eye: Light and Source October 2014 BranD Magazine, Europe and Asia Through Hollow Lands April 2014 CODAmagazine, Jill Schaefer Light as Art: 25 Top Curated Projects in Art + Design January 2014 Crumb Magazine, Lola Jeanne, France Through Hollow Lands September 2013 Weiart.net, China Through Hollow Lands October 2013 Candy & Candy, London Through Hollow Lands October 2013 Design Is This, Andreas Rekopoulos Through Hollow Lands, a Art Installation October 2013 MSN Japan, Naocs, Japan Future Space 3D Installation of 200 Fluorescent Lamps August 2013 Escritoriode Arterio, Gigi Barreto Light Maze August 2013 Colossal, Christopher Jobson A Geometric Labyrinth of 200 Fluorescent Lights July 2013 Architektur, Zurich Through Hollow Lands July 2013 Fahrenheit Magazine, Lorena Nicolini, Mexico Through Hollow Lands July 2013 Fubiz, Baptiste Versa, France Geometric Labyrinth of Lights July 2013 Trendhunter, Meghan Young Geometric Light Labyrinths July 2013 My Modern Metropolis, Katie Hosmer 200 Organized Fluorescent Lights Produce Futuristic Space July 2013 Wave Avenue Enthralling Installation Composed of 200 Suspended Fluorescent Tubes July 2013 Calamb Design & Inspiration, Oscar Siliont, Romania Through Hollow Lands July 2013 Seattle Times, Seattle Times staff Evolving art at the Frye Art Museum January 2013 The Stranger, Jen Graves The True Classic/New Classic of Seattle Art January 2013 SUIKANG ZHAO New York, NY zhaosuikang.com [email protected]
My artwork explores the relationship between various cultural phenomena and interwoven social reality. By using overlapping texts and images, I strive to reconstruct the parallels and juxtapositions of todays cultural fabrication and social structure through both the harmony and dissonance within a shared space.
My artwork in the public realm is not meant to decorate the space, but rather is rooted in the existing architectural concept. My artwork is integrated into the organic structure of a particular space and reflects both the cultural and social environment of the region and people. The experience of collaboratively working with the community and various design firms has been insightful and rewarding. I believe public art should involve people who are going to utilize the space. This is my ultimate goal when applying for and executing such projects.
My multi-media installations and public projects questions the traditional form of dialogue between the artist and viewer along with the artwork’s role and function within our daily life. My artwork re-thinks visual elements in terms of displaced environments and minds in the context of today's world. Time is not linear but rather treads through different forms - past, present and future - overlapping simultaneously. Layering is the context and key to my inspiration. I believe artwork is a crucial part of our lives’ fiber
The benefit of working directly with the architect is that it creates more interesting, integral work while saving money and time.
Top to bottom: Hands, 2008, Tempe, AZ; We Have a Dream, 2011, Johnson County, KS; Script of Vine, 2007, Eugene, OR Suikang Zhao 189 W. 89th Street, Apt. 17F New York, NY 10024 tel: (646) 387-8846 / fax: (212) 595-1597 e: [email protected] / web: www.zhaosuikang.com
Public Works of Art:
Gateway completed 2016 A permanent wall sculpture extends on 800ft long retaining wall between I-95 and Route 7, West Ave. City of Norwalk, CT. Budget: $100,000.00 Material: torched and forged steel with powder coat. Scale: 10’x750’x1’
Skin of Languages completed 1014 A permanent wall sculpture with layers of languages in the scale of 10’x40’x1’ at Nuskin new Headquarter, Provo, Utah. Material: 3form Varia Ecoresin with highres image and lunar diachronic film inlay. Scale: 10’x60’x1’
Taokonick completed 1013 It’s a series of bronze and stainless steel pieces (12 outdoor pieces and 1 indoor piece) at the new Engine 38 firehouse in Tacony, PA. The artworks capture the grittiness and romance of firefighting and manufacturing, with historical detail, and reverence to the community. Budget: $70,000.00 Scale: multiple sites
We have a dream completed 2011 Three projects that work with residents at Johnson County Juvenile Detention Center, Kansas. Budget: $160.000 1, 96’ relief on retaining wall, 2, glass window with writings, 3, glass installation at entrance, and other 4 rooms
Wisdom of Rainbow & Knowledge Exile completed 2009 Two permanent projects for the Marriott Library, University of Utah. Wisdom of Rainbow is in Atrium space. Scale: 40’ H x 75’ x 75’ / Material: 3-Form highres diachronic panels. Knowledge Exile 50 books objects are placed in & outside of library / Material: cast bronze, stone, glass and cast resin. Budget: $145,000.00
Winds of Aphrodite completed 2008 Kansas City Convention Center—Bartle Hall North Dock project. Collaborated with Crawford architect KC. Architectural artwork locate at 12th Street & Broadway / Scale: 50’ H x300’ W x 100’ D / Budget: $1,500,000.00
Three permanent works at three Phoenix Light Rail stations: completed 2008 Three permanent outdoors sculptures for Central Phoenix/East Valley Light Rail Transit Stations. Worked with architects Archtecton and Otak, Landscape, A. Dye Design, leading artists, design team members, residents in neighborhood, and other four station artists. Budget: $400,000.00 Hands: two cast bronze hand sculptures / scale: 22’ H x5’ x5’ each, Dorsey Station. Weaving Texts, two forged steel panels & powder coating / scale: 9’ H x13’ W x 6” D each, Smith-Martin Station Text Columns, two cast Fortom MG columns, glass and LDC light /scale: 20’ H x 20” D each, McClintock Station
Script of Vine-a trilogy of prelude and fugue completed 2007 A permanent site-specific public art project commissioned by Oregon's Percent for Art for the University of Oregon’s Health and Counseling Center—Eugene, OR. The artworks consist of three parts and are located in three different sites throughout the facility. Basic designed elements are writing that submitted by students and staff / Material: forged steel panels & powder coating / Budget: $76,000.00
Dreams of Sky completed 2005 A permanent site-specific public art project commissioned by City of New Haven, Office of Cultural Affairs. Location: Celentano School, 400 Canner Street, New Haven, CT. Architect: The SLAM Collaborative. / Material: forged steel panels & powder coating / Budget: $50,000.00
Portland Pamphlets completed 1999 A permanent site-specific public art project commissioned by Regional Arts & Culture Council and City of Portland. Location: Portland City Development Center. Location: 1900 SW Fourth Avenue, Oregon. Architect: Yost Grube Hall Architecture. / Material: glass and fiber optic light. Budget: $53,000.00
1 Floating Poetry and Burning Green completed 1996 Both two outdoor / site-specific projects were done on the estate of Djerassi Foundation, Woodside, CA. The theme of Floating Poetry specifically deals with the memory of life and death. The artwork is comprised of 68 floating objects that are installed along two miles of the estate’s creek. These objects are made of resin in different dimensions. Burning Green is rubber hand sculptures that is placed on huge burned redwood tree. The hand sculptures are etched written poetry both in Chinese and English that is associated with my feelings and thoughts of that particular time.
Projects in Progress:
Pawtucket, RI a permanent sculpture installation on I-95/George Street overpass. Budget: $100.000 / Due to finish by end of 2016
Awards: 2005 International Competition of Environmental Art Award 1998 STart Award, Seattle 1997 The Pollock-Krasner Foundation 1997 Fellowship New York Foundation for the Art 1995 Media Production Award, Individual Artist / New York State Council on the Arts 1995 The Richard Kelly Grant, NY 1994 Project Award / Islip Art Museum, NY 1994 Scholarship award / Film and Video Arts, NY 1994 Fellowship Award / Art Matters, NY 1990 The Paula Rhodes Memorial Award, NY
Solo Exhibitions: 1997 Revelations Zhao, Suikang / Neuberger Museum of Art, NY 1995 Zhao Suikang / RCCA The Arts Center, NY 1995 "Neighborhood" / Jamaica Arts Center, NY 1988 Suikang Zhao's Recent works / Wenninger Graphics, MA 1985 Master Gallery / Fu-Dan University, Shanghai, P.R.C.
Group Exhibitions (selected): 2010 “State of the Dao in Contemporary Chinese Art”, Lehman College Art Gallery, NYC 2009 “Xun Dao: Searching for Spirituality in Contemporary Chinese Art”, Frederieke Taylor Gallery, NY 2008 “Fugue”, Miranda Fine Arts, NY 2006 “Imagine Site NYC”, Curated by Lyle Rexer / Fashion Institute of Technology Museum, NY 2005 “At Home” / Abrons Arts Center—Henry Street Settlement, NYC 2004 “Do a Book” / Plum Blossoms Gallery, NY 2002 “Relations” / M.Y Art Prospects, NY 1998 Kunming New York Montreal / art contemporain carnet de voyage, ObservaToire4 Galerie d'art, Montreal, Canada 1994 The Carriage House Project / Islip Art Museum, NY 1993 Artist in Market Place / Bronx Museum, NY 1992 Four Artists from China/ American Museum of Natural History, NY 1990 China, June 4, 1989-an Art Exhibition / PS.1 Museum, NY 1986 The First Shanghai Youth Fine Arts Exhibition, Shanghai Fine Arts Museum, China
Selected Bibliography:
Time “Winning design chosen for George Street bridge art”, by Jonathan Bissonnette, Dec 16, 2015 American Planning Association / Rhode Island Chapter News “Art Bridges Transforms Pawtucket Overpass” The Valley Breeze “Winning artist presents ‘living’ design for George Street bridge”, by Ethan Shorey, Dec. 15, 2015 The Hour “NYC artist visits NCC to discuss artistic vision for city” , “Multicultural art installation slated for West Avenue” By ROBIN SATTLER, Nov 6, and Nov. 19, 2014 Yale Daily News “Public art scene grows in New Haven”, by In kyu Chung, Jan. 13, 2015 Norwalk Daily Voice “Artist Selected To Create Huge 'Gateway To Norwalk' Project”, by Cassandra Huerta, Nov. 14, 2014 Choose 901 “Broad Avenue Water Tower Winning Design Announced” by Amanda Hill, April 14, 2014 Pillycom “Anger at Mayor Nutter spices up dedication of a Tacony firehouse”, By Miriam Hill, Jan. 10,2013 BWW News “Percent for Art Program to Unveil Suikang Zhao's Project at New Fire Station, 1/8 ”, Jan. 14, 2013 San Diego Metro “Artist to Present Concept for Parking Facility Art Work” April 4, 2011 New York Times “Views of Mao’s China, and What It Became” By Benjamin Genocchio, April 8 2010 Kansas City Business Journal “Bartle Hall North Dock”, by Tammy Worth, Apr 12, 2009 The Kansas City Star “Bartle Hall Loading Dock Goes from Drab to Dramatic” by Kevin Collison, Nov. 5, 2008
2 The Arizona Republic “Light-rail 'Hands' designed to connect us as people” by William Hermann - Dec. 16, 2008 Oregon Daily Emerald “A Universal Language” by Jill Aho July 25, 2007, from cover page on Register Guard “Art Notes—Artist working on steel sculpture at UO” Arts Section, Aug. 9, 2007 Inside Oregon “For the University of Oregon Community” Aug.6, 2007 Sunday Morning Post “Take it or Leaf it...” Review page 7 / September 26, 2004 Oriental Art “No Reconciliation: The Art of Convergence in the Art of Zhao Sui-Kang” By Patricia Karetzky, 2001 The Oregonian "Conceptual Restraints" by D.K. Row Dec. 17, 1999 ETC Montreal No.45 "Espace dilate et lieux de convergence" by Christianne Dandenault 1999 The New York Times, “ART; Works From China, Many Political but Conveyed With Wit”,by William Zimmer Sunday Art, Nov. 22, 1998 The New York Times, Shows reflect Multitude of Different Styles by Vivian Raynor, Feb.16, 1997 Asian-Pacific Arts News, Exhibition Review by Jonathan Goodman, p.57 Feb. 1996 News Days, "Turning Hate into a Work of Art", by Tina Morales, Oct.13, 1995 p. A37 The New York Times, "Carriage House Installations", by Helen A. Harrison, Art pp. 9, 18, 24, 1994 ArtNews, "Emigre' Artists: Rocky Landings", Carol Lutfy, pp. 49-50, Nov. 1993 China Avant-garde, "Zhao Suikang" Haus der Kulturen der Welt, Berlin, Germany, 1993
Media: 1998 City Arts, WNET Jan. 1998 1995 Interviewed by Leontyne Watts on WBAI 99.5 FM radio station 1994 Suikang's Life and Works, Cultural Minutes, WNYC, NY (produced by Jenny Attiyeh)
Education: 1990 MFA degree received at the School of Visual Arts—New York City, US 1983 BA degree received at Shanghai Teachers' College—Shanghai, China
Teaching: 1996-present Associate Professor, Fine Arts Department, FIT, State University of New York
3 SUSAN ZOCCOLA Seattle, WA susanzoccola.com [email protected]
The rich cultures and history of Oregon and the goals of the public art programs, offer numerous sources on inspiration for me as an artist to create artwork that would enrich the spirit and pride of communities.
Years of experience with public art commissions has enabled me to work on a large scale and in a broad public context. These projects have all involved collaboration with public entities, community groups, architects and design professionals. I thrive in a design team situation and enjoy the challenges of different sites as fuel for creative problem solving and art making. I come to the table as a successful collaborator with a deep understanding of site context, costs, durability and safety. I make artwork that is responsive to the environment, helps create a sense of place, reveals dimensions of its history and brings awareness to natural patterns.
As a professional artist for over 20 years, I have years of experience with placemaking, collaborative public art processes, project management, and technical expertise. I bring knowledge of durable materials with ease of maintenance in mind, as well as teams of fabricators and engineers with whom I collaborate well.
I thrive in a design team situation and enjoy the challenges of different sites as fuel for creative problem solving and art making. I have enjoyed working with project designers at the earliest stages of a project, enabling smooth integration of the art components conceptually and physically.
Integrating infrastructure into the art design early has been a great opportunity to optimize the art and to synergize the overall project in many ways. I feel the site specific nature of my work is especially suited to collaborative design team work.
Top to bottom: Bower, 2015, Portland, OR; 3 Drops, 2011, Lynnwood, WA; Wave Wall, 2007, Seattle Aquarium, WA SUSAN ZOCCOLA 4136 Meridian Avenue North Seattle, Washington 98103 USA TEL (206) 856 6644 [email protected]
EDUCATION San Francisco Art Institute, San Francisco, CA University of Washington, Seattle, WA
GRANTS & AWARDS 2003 AIID Design Award for SouthCentral Foundation, (with NBBJ team – Stacey Bender). 2002 AIA Design Award for "Grass Blades", Seattle Center, (with R/B/F Architecture). 2000 Sculpture Space, Utica, NY. (Residency) 1999 GAP Grant Fellowship, Artist Trust, Seattle, WA. 1999 Pilchuck Glass School, Dale and Doug Anderson Award Scholarship, Stanwood, WA. 1998 Artist In Residence at Centrum Foundation, Port Townsend, WA. 1997 PONCHO Artist-in-Residence at Pratt Fine Arts Center, Seattle, WA.
PUBLIC ART COMMISSIONS 2017 North University City Fire Station 50, San Diego, CA. Budget: $150,000 2017 Gateway Island, Ashland OR. Exterior sculpture. Budget: $100,000 2017 Tacoma Prairie Line Trail, Tacoma, WA. Exterior light sculptures. Budget: $60,000 2016 Peoria Crossing Station, Denver, Co. Exterior sculptures. Budget: $113,000 2016 Cheney Middle School, Cheney, WA. Interior suspended sculpture. 2015 Campbell Avenue Portals, Campbell, CA. Light sculptures. Budget: $75,000 2015 “Cascade” Student Rec Ctr, Whatcom Community College, Bellingham, WA. Suspended sculpture. 2015 “Bower” SE Park Avenue Station, Tri-Met, Portland, OR. Plaza sculpture. Budget: $220,000 2013 “Inflorescence”, Hoyt Street Arts District, Everett, WA. Light sculptures. Budget: $110,000 2012 "Grove", Kent Municipal Courthouse, Kent, WA. Glass art wall. Budget: $35,000 2011 "Tesla", Spokane Community College, Spokane, WA. Suspended interior sculpture. Budget: $100,000 2011 "Flow", Yakima Convention Center, Yakima, WA. Suspended interior sculpture. Budget: $10,000 2011 "3 Drops", Lynnwood Recreation Center, Lynnwood, WA. Entry light sculpture. Budget: $130,000 2010 "Confluence", Kenmore City Hall, Kenmore, WA. Suspended sculpture, interior & exterior. Budget: $129,000 2008 "Swing & Flight", Auburn Municipal Golfcourse, Auburn WA. Entry sculpture. Budget: $35,000 2007 Novelty Hill/Janiuk Winery, Woodinville, WA. Entry sculpture. Budget: $30,000 2007 "Wave Wall", Seattle Aquarium, Seattle, WA. Sculptural wall & donor wall sculpture. Budget: $130,000 2006 "Samara", Laurelhurst Community Center, Seattle, WA. Entry light sculpture. Budget: $25,000 2004 "Stem", Seattle/Tacoma International Airport, Seatac, WA. Glass mosaic column. 2006 "Bloom", Metro/King County Atlantic Central Base, Seattle, WA. Shear wall sculpture. Budget: $35,000 2003 “Grass Blades”, Seattle Center, Seattle, WA. Harrison St. Screenwall, with R/B/F Architects. Budget: $200,000 2001 "Lumen", Seattle Center, Seattle, WA. Light sculpture.
SELECTED PRIVATE COMMISSIONS 2014 Viktoria, Seattle, WA. Suspended sculpture in luxury high-rise lobby 2011 Novelty Hill/ Janiuk Winery, Redmond, WA. Entry plaza sculptures 2010 Valley Medical Center, Renton, WA. Sculptures in Wintergarden. 2007 Overlake Hospital & Medical Center, Bellevue, WA. Paintings (with NBBJ Architects). 2006 Valley General Medical Center, Renton, WA. Paintings (with NBBJ Architects). 2005 Valley General Medical Center, Renton, WA. Paintings and sculpture (with NBBJ Architects). 2004 Overlake Hospital, Bellevue, WA., Outpatient Surgery Clinic (with NBBJ Architects.) 2003 SouthCentral Foundation Hospital, Anchorage, AK. 2001 Mercer Island Presbyterian, Mercer Island, WA. 1998 Overlake Hospital, Bellevue, WA. Critical Care Unit (with NBBJ Architects). 1998 Chapel of St. Ignacius, Seattle University, Seattle, WA. Stephen Holl Architect (Olson Sundberg project managers), Gold leafed & patinaed altar with Betsy Eby.
SELECTED EXHIBITIONS & INSTALLATIONS 2013 "Object Abuse" Spinach Project, London, UK. 2011 "3 Dimenensional Line" Kirkland Art Center, Kirkland, WA. www.susanzoccola.com Susan Zoccola: Page 2
2010 “Neural Plexis", Artopia, Seattle, WA. site-specific installation. 2009 “Dig: 2009 Invitational”, Soil Gallery, Seattle, WA. 2008 “New Directions”, Winston Wächter Fine Art, Seattle, WA. 2007 “Crud” Soil Gallery, Seattle, WA. 2007 “Couplings”, Ouch My Eye Gallery, Seattle, WA. 2007 Group Show, Winston Wächter Gallery, Seattle,WA. 2006 “Isolated Reflections 2”, Chapel of the Chimes, Oakland CA. video & sound installation. 2005 "Isolated Reflections”, Consolidated Works, Seattle, WA. 2003 “Well-Heeled”, Kirkland Arts Center, Kirkland, WA. Curated by Deborah Payne. 2002 “Art Outside”, Port Angeles Fine Arts Center, Port Angeles, WA. “Natural Causes”, Gallery One, Ellensburg, WA. 2000 “Biomorphic”, O’Kane Gallery, University of Houston, TX. “A Gift of Light and Time”, Bank of America Gallery, Seattle, WA. “Vinculum Opus”, Broadway Performance Hall, Seattle, WA. “Abstraction From Nature”, Seattle Art Museum Rental Sales Gallery, Seattle, WA. 1999 “Albus”, HorseHead International, Seattle, WA. Outdoor Installation. “Phresh”, Pacific NW Arts Council of Seattle Art Museum, Bumbershoot, Seattle, WA. “Pacific Northwest Annual”, Bellevue Art Museum, Bellevue, WA. 1998 “Looking to Nature”, Archer Gallery, Clark College, Vancouver, WA. Lorinda Knight Gallery, Spokane, WA. Two-person Exhibition. “Pure Form: The Intensity of Process”, Portland, OR. The Art Gym at Marylhurst College. Alysia Duckler Gallery, Portland, OR. “Pacific Northwest Annual”, Bellevue Art Museum, Bellevue, WA. “Printworks”, Kirkland Art Center, Kirkland, WA. Sean Elwood, curator. “Pratt Artists-In-Residence”, Center On Contemporary Art, Seattle, WA. “Beeswax”, SOIL Gallery, Seattle, WA. “Works on Paper”, SOIL Gallery, Seattle, WA. 1996 William Traver Gallery, Seattle, WA. Solo Exhibition. 1995 “Pacific Northwest Annual”, Bellevue Art Museum, Bellevue, WA. 1991/4 “True Stories: Pleas & Thank Yous”, Tacoma Art Museum, Tacoma, WA. 5-state travelling exhibition
SELECTED PUBLICATIONS Ashland Daily Tidings, “’Gather’ to grace Gateway Island”, Alec Dickinson, Sept. 15, 2015 Everett Herald, "New lights shine on Everett's art district", Julie Muhlstein, Feb. 27, 2013 Crosscut.com, "Art vs. Transportation: Grehound move hits an obstacle", C.B. Hall, Dec. 18, 2012 The Oregonian, "Trimet art committee selects new artist....", Victoria Edwards, July 18, 2012 Seattle Weekly, "Fantastic Voyage: Susan Zoccola creates....", Brian Miller, June 23, 2010 Auburn Reporter News, "Artist creates unique steel sculptures for Auburn..", Robert Lippens, 6/14/09 Seattle Post-Intelligencer, “’Crud’ artists capture…”, Nate Lippens, June 29, 2007 p.33 The Seattle Times, “Hothouses of Imagination”, Gayle Clemans, June 22, 2007 p.47 The Stranger, “Crud”, Jen Graves, June 21, 2007 p.64 Seattle Weekly, “On the Pull”, Adriana Grant, June 20-26, 2007 p.45 ARCADE Architecture/Design in the NW, “Seattle Artist Susan Zoccola…”, Kent Greene, Summer 2003 p.45 Asian Art Magazine, Lundin Liu, Li, 1999 Sculpture Magazine, Matthew Kangas, Dec. 1999, pp. 78-9 The Seattle Times, “HorseHead..”, July 19, 1999 Eastsideweek, “Through the Eye of the Needle”, Aug. 27, 1997 The Oregonian, “PICA...", Jan. 17, l997 The Seattle Times, "Susan Zoccola’s exhibit: Fragments of visual poetry", Nov. 19, 1996 Seattle Post -Intelligencer, Regina Hackett, Nov. 22, l996 The Seattle Times, Nov. 28, l996, photo etc. Art Access, “Body Conscious at Pratt... ”, Sept. 1996
SELECTED COLLECTIONS City of Portland, Valley Medical Center, Renton, WA, Overlake Hospital Medical Center, Bellevue, WA City of Seattle, Seattle Center, Cancer Care Alliance of Fred Hutchinson Research Inst. & University Medical Center
www.susanzoccola.com BOBBY ZOKAITES Tempe, AZ bobbyzokaites.com [email protected]
I have created multiple projects centered around the ideas of play, connectivity and juxtaposition using a blue collar skill set and an urban design sense. This combination of play and industry creates distinctive works of art that activate the surrounding post-industrial landscape.
The foundation of my practice, is in the creation of large- scale, colorful, interactive objects and spaces. Work intended to stimulate audience interaction – to be touched, climbed on and played with. These projects supply a significant amount of insight to the intended ergonomics of a site as well as the unintended abuse of stylistic and decorative objects.
Taking a hands on approach to project management has allowed me to develop a complex and unique understanding of a verity of materials and skill sets. Having this knowledge and knowing what questions to ask has been vital when working with architects, engineers, contractors and stakeholders. Approaching each opportunity individually not only strengthens my own skill- set and expands my visual vocabulary, but helps to satisfy the specific aesthetic problems of each project.
With my experience creating large-scale work and developing projects for public spaces, I would be excited to participate in any aesthetically driven project and to help create a sense of identity for the public space around the project
It is the combinations of both the traditional skill set and contemporary design chops which make me an agile member to any design team.
Top to bottom: The Oculus, 2015, Paradise Valley, AZ; Boone’s Fluggle Horn, 2013, Gilbert, AZ; Tom Sawyer Wears A Business Suit, 2014, gallery installation, Tempe, AZ BOBBYZOKAITES
324.5 S. Wilson St, Tempe AZ 85281 | (540) 392-2541 | [email protected]
Born in Virginia, lives and works in Arizona
BIOGRAPHY Bobby Zokaites is an Arizona-based visual artist working with large-scale kinetic sculpture and interactive architectural spaces. His work utilizes a variety of design, fabrication, and installation processes that incorporate 20th century industrial techniques and cutting-edge digital technologies. Blurring the line between fine art, public sculpture, and collaborative practices, his work engages diverse audiences and encourages active participation with the larger than life- sized artwork.
EDUCATION 2014 MFA | Sculpture | Arizona State University, Tempe, AZ
2008 BFA | Sculpture | Alfred University, Alfred, NY Minor in Art History
PROFESSIONAL EMPLOYMENT EXPERIENCE Current Experience Jan 2015- Current Faculty Assistant | Arizona State University, Tempe, AZ Teaching Foundry, and Balance UnBalance which is a class used to organize an international conference to explore intersections between nature, art, science, new technologies. 2009 – 2012 Site Manager | Franconia Sculpture Park, Shafer, MN Maintained the artist studios and 30-acre outdoor sculpture exhibition of 100+ contemporary large-scale artworks, supported 40+ emerging and mid-career artists to produce and install new work each year, served as mentor to young artists in the Intern Artist Program.
PUBLIC SCULPTURE | COLLABORATIVE PROJECTS 2015 Shifiting Sand Lands, Scottsdale Arts Festival, AZ The Oculus, Phoenix Country Day School, Paradise Valley, AZ 2013 Boone’s Fluglehorn, IN FLUX Cycle 4, Gilbert, AZ 2012 The Machine the Sneetches Built, Paragraph Gallery, Kansas City, MO** Something to Write Home About, Glendale Jazz & Blues Fest, Glendale, AZ InterUrban, Various Locations, Urbana, IL** Emerge, Arizona State University Art Museum, Tempe, AZ 2010 Thanksgiving, Franconia Sculpture Park, Shafer, MN
SELECTED EXHIBITIONS 2016 Franconia@Casket: 20th Anniversary Small Sculpture Alumni Show, Minneapolis MN Mesa Spark, Mesa Center for the Arts, Mesa, AZ. Regeneration Art Show, The Orme School, 2015 Shifiting Sand Lands, Scottsdale Arts Festival, AZ The Oculus, Phoenix Country Day School, Paradise Valley, AZ 2014 Tom Sawyer Wears A Business Suit, Grant St. Studio’s, Phoenix AZ Lamar Art Faculty 2014, Dishman Art Museum, Beaumont TX
bobbyzokaites.com Page 1 of 2 BOBBYZOKAITES
324.5 S. Wilson St, Tempe AZ 85281 | (540) 392-2541 | [email protected] 73rd Avenue, Westminster, CO
PUBLISHED WRITING 2015 Dark Futures: Tomorrow Project Anthology, Bobby Zokaites (The Tomorrow Project USA, ASU, AZ, Dec, 2014), 50-53. Kienzle, Robbie: http://www.okc.gov/arts/PreQualifiedBook.pdf, Office of Arts and Cultural Affairs, Oklahoma City 2014 “Tempe Artist Bobby Zokaites: 100 Creatives” Jackalope Ranch: The Phoenix New Times Culture Blog 2013 “The Inter Urban,” Cautions, Dreams, & Curiosities: Tomorrow Project Anthology, Chris Carl, Paul Howe, Bobby Zokaites, (The Tomorrow Project USA, ASU, AZ, Oct. 2013), 247-249.
REVIEWS | PRINT MEDIA | ONLINE PUBLICATIONS 2016 Mary Jane Jacob, (Non-)Essential Knowledge for (New) Architecture, Forty-Five: A Journal of Outside Research. January 28, 2016 2015 Paige, Johnson, “Shifting Sand Land” Super Mario Brothers Playscape, Bobby Zokaites, Scottsdale Arizona, 2015, PlayScapes. April 1, 2015 Sonja Haller, Phoenix artist brings bounce to Scottsale Art Festival, The Republic | azcental.com. Kellie Hwang, Interactive artwork to debut at Scottsdale Arts Festival,The Republic | azcental.com. Spano, Brian, Visiting Sculptor working on piece for Schottdale Arts Festival, KCAI Art Notes, volume 14 issue 12 9 Feb, 2015 2014 Walker, Rob. A brief History of Art Made with Roombas, Yahoo Tech, 30 Oct 2014 Srianthi Perera, Phoenix area prepares for next “In Flux” art project. Az Cental Katrina Montgomery, 5 Must See First Friday Shows in Phoenix on May 2, Phoenix New Times Blogs: Dolores Tropiano, Artist of the month Bobby Zokaties, Phoenix Magazine, May 2014
RADIO | Television 2015 Gayle Jansen, Scottsdale Arts Festival offers lots of family activities, Fox 10 News, 14 March 2015 Brandon Hamilton, Scottsdale Arts Festival going on this weekend, 12 news, 10 March 2015 2012 Urbana Illinois Public Radio
COLLECTIONS | COMMISSIONS Scottsdale for Public Art, AZ Town of Gilbert Arts, Culture, and Tourism Board, AZ iRobot Corporation, NJ Kansas City Art Institute, KS Salem Art Works, NY Franconia Sculpture Park, MN Outer Space, NY Urbana Land Arts, IL Wickerson Studios, KS Private Collections: IL,
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