DOCSLIB.ORG

Vol. 15, No. 1 January 2011 You Can’T Buy It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vol. 15, No. 1 January 2011 You Can’T Buy It ABSOLUTELY FREE Vol. 15, No. 1 January 2011 You Can’t Buy It Since we are now going back to color in our new online version, we thought we’d revisit some of our color covers from the three years we did color. JonathanJonathan GreenGreen BeachBeach TwinsTwins AcrylicAcrylic 10.2510.25 xx 14.2514.25 inchesinches RedRed LipsLips AcrylicAcrylic 10.2510.25 xx 14.2514.25 inchesinches SmallSmall WorksWorks ShowShow For additional information contact the gallery at 843•842•4433 or to view complete exhibition www.morris-whiteside.cowww.morris-whiteside.comm Morris & Whiteside Galleries 220 Cordillo Parkway • Hilton Head Island • South Carolina • 29928 • 843.842.4433 Page 2 - Carolina Arts, January 2011 thought they couldn’t afford to advertise at Carolina Arts, is published monthly by Shoestring Publishing our old prices. Rates for advertising are quite Company, a subsidiary of PSMG, Inc. Copyright© 2011 by by Tom Starland, Editor and Publisher PSMG Inc. It also publishes the blog Carolina Arts Unleashed Editorial reduced. Some folks will see their monthly bill and Carolina Arts News, Copyright© 2011 by PSMG, Inc. All rights reserved by PSMG, Inc. or by the authors of articles. for ads go down drastically, while others have Reproduction or use without written permission is strictly jumped their ads up in size, while still paying prohibited. Carolina Arts is available online at (www.CarolinaArts. less than they were. And, new advertisers have com). Mailing address: P.O. Drawer 427, Bonneau, SC 29431. Telephone: 843/825-3408 COMMENTARY come on board as we reached out to folks who E-mail at: ([email protected]) and on the web Something New for Carolina Arts not continue to support that, but now, we will have been sending us press releases. at: (www.CarolinaArts.com). Check out our online rates on the website be able to go back to color - online. So, we’re Editor/Publisher/Calendars/Distribution Well, if you haven’t heard, Carolina Arts producing the paper in color - beyond the front page - under the heading Advertising. Thomas J. Starland has had to suspend printing of the paper - due cover. As you’ll soon notice. Web Master/Advertising/Business Manager to a lack of “enough” advertising to support Now, ads can be in color, we’ll be adding Expanded Area of Coverage Linda Parks Starland the paper being printed. Although some say the color images to articles and at times adding Blog Guru & Graphics economy has recovered - we haven’t seen it some color graphics. Each month, we’ll be Although for over 11 years we have been Zelda Ravenel here or heard that many in the visual art com- learning more and more about what we’re providing info online that we received by Proofer munity have seen it either. doing and discovering new ways to bring it to deadline, but couldn’t fit in each issue or was Andrew A. Starland Linda and I have put all of the resources we you. So change will be our motto for now. from areas of the Carolinas we did not cover Contributing Writers This Month have available to us toward keeping the paper Ads or website links in ads will be active in the printed version of the paper - it will all None This Month going, but we’ve reached a point where we - meaning you will be able to click on an ad be together now. And the good thing about the Advertising Rates just can’t keep it up. We’ve dug a big hole for or click on the blue URL offered in an ad and electronic version is that it is archived - where Click here for advertising rates. ourselves which will take some time getting you will be taken to the advertisers website or the printed papers - once read are usually The deadline for the Feb. 2011 issue is out of - I’m looking for a part-time job, but we blog. Articles from advertisers will have active headed for the trash. People to this day are still Jan, 24, 2011. will still be keeping this paper going online. links at the bottom of the article. Advertiser’s pulling up old articles about exhibits that took place in 1999 from our site. So most every- We want to thank all the folks who have gallery listings will also be in bold and have To advertise all 843/825-3408. supported us throughout the years, those who active links. These are all special services to thing presented will have an afterlife. are continuing to support us online, and the our advertisers. Of course we have copies of every issue we good folks at Tri-State Printing, our printer, We’ll also be driving people to our ever printed and some libraries in both North who has stood by us during our struggles over electronic version of the paper on our blogs, and South Carolina have copies of the paper in the last years. Carolina Arts Unleashed and Carolina Arts their reference departments. We hope to make it back to a printed ver- News - as well as on Facebook and Twitter. Of You may have noticed that this commentary sion sometime, but for now and until advertis- course that 127 character limit on Twitter will is longer than most have been in the last couple ers line up in numbers which would make that be a challenge for me. of years - especially the last couple of months. possible - we’re going to be operating online. You can see that as an advantage or disadvan- If there is anyone, any organization, any The Suggestion Box is Open tage. angel out there who would like to make a con- In this issue - in what might be considered a siderable or any contribution to help us out of When talking with people about our cur- slow month - we’re presenting 49 pages of info that hole - we’d love to hear from you. rent situation and what we will be doing, we about exhibits taking place in the Carolinas, This is not the first time we have had to sus- have gotten some really good suggestions and of course the ads of our supporters. But I pend printing in our 23 year history. We tried about things we should offer or how we should can tell you this - content way out paces the going on as if nothing happened after Hurri- present things - some we never would have ads. During the scramble to pull this off, in the cane Hugo hit the Charleston area in 1989, but thought of on our own. So, we want to encour- middle of the Holiday season, we just couldn’t within a few months we just had to stop - and age people to keep making suggestion on how reach everyone who might have advertised it was almost a year later before we could print we can present the best possible product to and some just couldn’t get an ad to us in time. again. But, we came back stronger than ever. reach the most people. Linda and I are on a big The switch to color just isn’t that easy. We learning journey - we don’t know everything apologize for that. Electronic Opportunities about what’s possible and what new things are We have 23 pages of gallery listings, which coming out of creative minds. could eventually reach 30 pages - if everyone Now, there is always a good side to every- presenting the visual arts in the Carolinas thing. We know how much people have missed Electronic Prices contacted us about their exhibits. This is the our color covers we did for almost three years largest collection of that kind of info being before our recent economy took a nose dive, Producing the paper online also offers presented anywhere in the Carolinas. but the visual art community as a whole could some benefits to our advertisers and those who continued on Page 49 Glenna Goodacre & Rhett Thurman Glenna Goodacre The Winner Lifesize Bronze Rhett Thurman Wyoming Window Oil 30 x 40 inches Featured this Month For additional information 843•722•2172 www.thesylvangallery.com THE SYLVAN GALLERY 171 King St. • Charleston • SC • 29401 Carolina Arts, January 2011 - Page 3 W. 11th Street E. 11th Street Charlotte, NC Maps A N. Brevard Street N. College Street N. Tryon Street Tryon N. N. Church Street Uptown - South End - NODA W. 10th Street E. 10th Street E. 10th Street Historic South End W. 9th Street W. 9th Street E. 9th Street Independence Blvd. W. Hill Street O Dell Bank of America Monroe Rd. Building Stadium S. Tryon St. Tryon S. Rama Road S. Brevard St. W. 8th Street W. 8th Street E. 8th Street S. Cedar Street 74 N. Caldwell Street N. Davidson Street Transamerica Sq. Transamerica E. Morehead St. P 1 W. Morehead St. 2 P I-77 I-277 Bland Alexander Street 51 W. 7th Street E. 7th Street E. 7th Street Matthews1 Park Ave. A Planetarium Omnimax D P C Providence Rd. 3 P EastI-485 Boulevard Discovery Public Uptown Charlotte Institutional Gallery Spaces S. Tryon St. Library Pineville - Matthews Rd. Place N. Brevard Street Institutional Gallery Spaces A Charlotte Art League Gallery Camden E. 6th Street 16 W. 6th Street E. 6th Street A McColl Center For Visual Art Commercial Gallery Spaces E. Worthington Ave. P B Harvey B. Gantt Center 1 Elder Gallery Bank P of America Levine Museum of the New South 2 DOMA Gallery Tremont Ave. Tower C P Lark & Key (SouthEnd) D McColl Center for VA Spirit Square 3 Tremont Ave.
Load more

Recommended publications
  • Jessica Jackson Hutchins Coming II 3 May – 24 May 2014 Opening: 2 May 2014, 6 – 9 Pm
    Jessica Jackson Hutchins Coming II 3 May – 24 May 2014 Opening: 2 May 2014, 6 – 9 pm On the occasion of Gallery Weekend, Johann König, Berlin, is pleased to present Coming II , Jessica Jackson Hutchins’ first exhibition at the gallery with a body of new works, including sculptures, paintings and papier mâchés. In Jessica Jackson Hutchins’ work, drawings tend towards sculpture, sculptures tend toward furniture, and paintings hover on the borders of materialization. They describe a precarious state of instability and portray their own working process in almost literal terms as expansive, absorptive and self-generating. The works are characterized by a seemingly automatic tendency to attract whatever happens to be around them – items of the artist’s or her family’s clothing, kitchen crockery, pieces of furniture, or words that happen to be on her mind. Though the various relics appear to have been arrived at through casual means, there is nonetheless an intrinsic value in the old t-shirt or coffee mug that make their way into one of her sculptures. Suggesting undisclosed memories and associations, they bring us closer to a cumulative existence construed from the repetitive tasks and the minor rituals of the everyday. The collisions of found domestic objects with self-made, expressively moulded ceramics describe experience at the level of the tactile and a responsive rather than systematic working method. The works become diaristic in their incidental observations about how we move amongst our belongings, and small-scale reactions to the effects of time passing and the clutter that accumulates around a life. The tables and chairs in Hutchins’ work exist somewhere between domestic fragment and pedestal.
    [Show full text]
  • Printmaking for Graphic Design Students in the Age of the Digital Screen: an Art, a Craft Or a Creative Intersection
    Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.66, 2018 Printmaking for Graphic Design Students in the Age of the Digital Screen: An Art, a Craft or a Creative Intersection Dr Debra Livingston School of Communication and Creative Industries, University of the Sunshine Coast Maroochydore DC, Queensland, Australia 4556 Abstract This article discusses the research, exploration, practice and positive impact on student learning outcomes of a ‘Blended Learning’ initiative printmaking project course that was introduced into a digital platform-based graphic design program. Printmaking is the transference of an artwork via various means onto the surface of a substrate, mainly paper, involving media, technologies and crafts that are distinctly different to the digital platform. The pedagogical learning methods involved practice led-research where students explored various printmaking forms whilst developing creative works in these mediums. This practicum initiative for design students that do not have traditional art practices within their program structure was important as it furthers their education whilst developing a number of important personal qualities, particularly those of initiative, perseverance and self- reliance. Importantly, these traditional skills broadened their interplay and understanding between visual arts, the craft of printmaking with conventional and digital technical skills, resulting in a dynamic body of work for their portfolio. The course and following offerings included the conversion of their handcrafted work onto a digital platform into actual design outcomes, thus providing a clear link between the handcrafting and digital technology. Graphic design students completing the printmaking course embraced the opportunity to draw methods from cross‐ disciplinary pursuits to compliment and extend their knowledge and to support fresh, contemporary ideas in which to contribute to their various major design studies.
    [Show full text]
  • Zabriskie Point Sarah Braman, Ryan Foerster, Jessica Jackson Hutchins, Ann Greene Kelly, David Benjamin Sherry, Letha Wilson, B
    JACK HANLEY GALLERY Zabriskie Point Sarah Braman, Ryan Foerster, Jessica Jackson Hutchins, Ann Greene Kelly, David Benjamin Sherry, Letha Wilson, B. Wurtz January 9th ­ February 8th. 2015 Opening Reception Friday, January 9th, 6­8pm Jack Hanley Gallery is very pleased to announce our first exhibition for 2015. Zabriskie Point presents a group of artists that utilize familiar objects or images and re­present them with unusual physical or conceptual components. Much like Antonioni’s 1970 film, "Zabriskie Point," these works incorporate formal elements that are suspended amongst strong narrative glimpses and memories. The stories that punctuate Antonioni’s film are placed within a context of surreality in a way that creates a sense of displacement. This exhibition brings together artists that are exploring similar ideas across a variety of media and techniques. Sarah Braman was born in Tonawanda, NY, and lives and works in Amherst, MA and New York, NY. She received her MFA from Tyler School of Art, Philadelphia, PA, in 1998 and her BFA from Maryland Institute College of Art in Baltimore, MD, in 1992. Braman is one of the founders of artist­run Canada, in New York. In 2013, she was the recipient of the Maud Morgan Prize from MFA, Boston. Recent solo and two­person exhibitions include the Museum of Fine Arts,Boston, MA (2014), China Art Objects, Los Angeles, CA, (2012), Mitchell­Innes & Nash, New York, NY (2011) and MACRO, Rome, Italy (2011). Her work has been included in group exhibitions at Albert Baronian, Brussels (2014), Kunstforeningen Gl Strand, Copenhagen, (2014), Martos Gallery, East Marion, NY (2014), The Journal Gallery, New York (2014), The Journal Gallery at Venus Over Manhattan, NY (2014), Rachel Uffner Gallery, NY (2013), Anthony Greaney, Boston, MA (2013) deCordova Sculpture Park and Museum, Lincoln, MA (2013), The Hole, New York, NY (2013).
    [Show full text]
  • Radial Designs
    SUNSET REFLECTIONS Printmaking Lesson Printmaking: An art form consisting of the reproduction of images •Wood Cut • Lithography •Linocut • Screen Print •Etching • Digital Print •Engraving • Transfer •Monotype • The oldest printmaking technique, woodcut involves carving an image into a wooden surface, which is then inked and printed— leaving the carved-out image in negative, as well as occasional traces of the wood’s grain. • A more modern analog to woodcut, linocuts are made using linoleum; the softness of the material allows for cleaner, freer, and more fluid lines. LINOCUT ETCHING • To create an etching, artists incise (“draw”) a composition onto a leaves the wax intact, so that when the plate is in wax-coated metal plate, then soak the entire plate in acid. The acid corrodes the exposed lines and ked and pressed, the paper absorbs the image in reverse. MONOTYPE • Unlike most other printmaking techniques, this process produces unique editions. Artists draw, paint, or otherwise manipulate ink or paint to create a composition on a smooth surface, which is then produced in reverse when applied to a ground support. ENGRAVING • A less forgiving version of etching (mastered by Dürer), in this process artists incise their image directly onto a metal plate, which is then inked and printed. LITHOGRAPHY • Generally seen as the most difficult printmaking method, lithography involves drawing directly on flat surface (usually stone) with an oil-based implement, then coating it with a water-based liquid. When oil-based ink is applied it’s repelled by the water, inking in just the image and allowing it to be transferred onto a paper ground.
    [Show full text]
  • THE ARTIST's PRINT AS a STRATEGY for SOCIAL ENGAGEMENT Bess Frimodig a Thesis Submitted in Partial F
    AN HONOURABLE PRACTICE: THE ARTIST’S PRINT AS A STRATEGY FOR SOCIAL ENGAGEMENT Bess Frimodig A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education University of the West of England, Bristol April 2014 Volume I 0 List of Illustrations Fig.3. Fukuzoku Koto Gakko High School Year Book, Kanazawa, Japan 1980 Plate I. She Still Rules Plate II. Twente Identity Robe Plate V. Stand Up To Hatred: Wall of Resistance Plate VI. To Let Plate VII. Mapping The Longest Print 1 CONTENTS Pg.4 AUTHOR DECLARATION Pg.5 ACKNOWLEDGEMENT Pg.6 ABSTRACT Pg.7 INTRODUCTION Pg.8 The dilemma Pg.10 Research Question Pg.10 Aims and Objectives Pg.10 Development of the research and its rationale Pg.12 Methodology Pg.14 Outline Pg.16 CHAPTER ONE: BACKGROUND Pg.17 Personal Context Pg.22 The Social Role of Art – A Debate Pg.27 Why print? Pg.27 History of Print Pg.35 Literature of Print – Texts, Websites and Blogs Pg.49 The Way Forward: The Individual Artist and Entering the Collective Pg.49 Models of practice Pg.58 Guiding principles Pg.59 CHAPTER TWO: CASE STUDIES Pg.60 CS1 Black History Month Pg.61 Introduction Pg.61 Aims and Objectives Pg.62 Context Pg.62 The Print Pg.63 Evaluation Pg.66 Conclusion Pg.67 The Way Forward Pg.68 CS2 AKI Twente Identity Robe Pg.69 Introduction Pg.69 Aims and Objectives Pg.70 Context Pg.70 The Print Pg.73 Evaluation Pg.74 Conclusion Pg.75 The Way Forward Pg.76 CS3 Stand up to Hatred: Wall of Resistance
    [Show full text]
  • FY 2016 Small Starts Land Use and Economic Development Report
    CityLYNX Gold Line Phase 2 FY 2016 Small Starts Land Use and Economic Development Report September 2014 Phase Two Small Starts Project Map Cemetery St Patt on Av Geraldine W 28th St W 27th St 77 Powe alina Av Frenc Tr ¦¨§ O Dr Cat W h St Fon aklawn Av 26th t S I-77 Hy ana Av W 25th St ! ndrill t St St Mill Rd A f t French Street t S S cro s W 24th S E 26th St n S n b o p b t rin Ba o d r g St u H R B t d r le Av St W 23rd St o Polk St Keswick Av !F s Johnson C. Smith University e i t Ca Sylvania t a a R nto Statesvil N Graham e t 1 St n Pl Plymo B 1 Av Martin St it x S ton uth Av E pratt St 7 Polk S 7 I- Bruns Avenue S Hamil ! a R W Brookshire Fr Dunloe St c 0 St 1 Dalton Av it x t E W Liddell 7 Frazier Av I-7 S N Brevard St E 2 Ashby S 2 ! Wesley Heights Way nd St Johnson St E 21st St a R W 12th b W E 16th St rkwoo 0 10th Pa d 1 A v t St i Irwin Avenue S x th St ! t t E mi S W 7 9th St 7 N Elm St - I Johnson & Wales owell S S W 4th St ! W 5th St W 7th St Ext W E on St 1 6 8 t hurch St ds t N Mcd Greenleaf A h C vi h S N Poplar StN a S t D t E 13th S N Av Charlotte Gateway Station E 11th St E 12th St E 15th ! N I-77 Hy W 1st S v ! t Seigle S t S Cedar St ine St St t P t N e S W 4th St Mint Street lleg E 9th St m ! W Hill St a W Trade St Co ! h N ll St ra e Harrill St Allen St G N Tryon St w S E Cald Belmont Av1 N 5 ! W 3rd St E N Alexander St th Tyron Street 7th St E Van S ! ! 8th St E 10th St t son St W Every St M E Tr E 9th o E S Clark r St 5t e ade St h h S S 277 e Av t § e ¨¦ t a hurch ! W C d S C Otts St Louis ar S E 4th St CTC/Arena
    [Show full text]
  • Contemporary Ceramic Sculptural Abstraction
    December 21, 2018 for immediate release Contact Howard Oransky, Director, Katherine E. Nash Gallery 612-624-6518 (office) [email protected] High-resolution representative images and press release available at: http://z.umn.edu/nashpresskits ​ The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction What International ceramics exhibition, organized in association with the National Council on Education for the Ceramic Arts (NCECA). Where Katherine E. Nash Gallery Regis Center for Art | University of Minnesota 405 21st Avenue South, Minneapolis MN 55455 (612) 624-7530 | https://z.umn.edu/nash ​ All events are free and open to the public, unless otherwise noted Gallery Exhibition January 22 – March 30, 2019 Gallery hours are 11:00 AM - 7:00 PM | Tuesday - Saturday Public Reception Thursday, March 28, 2019 5:00 – 9:00 PM Regis Center for Art | University of Minnesota Related Ceramics Exhibitions at Regis Center for Art Regis West Gallery, March 5 - 30, 2019 Department of Art Ceramics Area Lecturers Exhibition: Object Lessons. Artists in the exhibition: Allison Rose Craver, Nicholas ​ Darcourt, Stephanie DeArmond, Anna Metcalfe, Candice Methe, Erin Paradis, Ginny Sims, Michael Stowell, Priya Thoresen. Quarter Gallery, March 25 - 30, 2019 Department of Art Sculpture and Ceramics Area Faculty and Graduate Student Exhibition. Artists in the exhibition: Katayoun Amjadi, ​ Pedram Baldari, Sayge Carroll, Lauren Flynn, Tom Lane, Chris Larson, Grant McFarland, Tamsie Ringler, Emily Swanberg, Erika Terwilliger, Rick Tibbott, Anna Van Voorhis, Tetsuya Yamada. Description The Katherine E. Nash Gallery presents The Form Will Find Its Way: Contemporary Ceramic Sculptural Abstraction, an international ​ ​ ceramics exhibition organized in association with the National Council on Education for the Ceramic Arts (NCECA).
    [Show full text]
  • Jessica Jackson Hutchins on Becoming an Accidental Painter & Building a New Art Scene in Portland By: Karen Rosenberg August 6, 2015
    Artspace Karen Rosenberg August 6, 2015 The artist Jessica Jackson Hutchins (Photo courtesy of the artist and Marianne Boesky Gallery) Jessica Jackson Hutchins on Becoming an Accidental Painter & Building a New Art Scene in Portland By: Karen Rosenberg August 6, 2015 The sculptor Jessica Jackson Hutchins stole the spotlight at the 2010 Whitney Biennial with a plucky piece of contemporary Americana, a sofa crowned with ceramic vessels and papered with news clippings about President Obama. The next few years found her on the move—from Portland to Berlin and then back again— along the way adjusting her mix of readymade and crafted objects to accommodate whatever was close at hand. All that relocation and improvisation proved to be invigorating. Hutchins’s show this past spring at Marianne Boesky in Chelsea, her first with the gallery and her first appearance in New York in a half-decade, wowed critics with room after room of boisterous and confident works. Some, like the massive Ultrasuede Wave, were pieces of cushy upholstered furniture crushed by lumpen ceramic boulders; others, like Third Eye, were abstract paintings that veered off into Rauschenbergian assemblage with folding chairs attached to their stretcher bars. Both of these works will be on view next month in “Confessions,” Hutchins’s two-venue solo exhibition in Portland (at Reed College’s Cooley Gallery and the collector-run space known as the lumber room.) It’s the first show in the Pacific Northwest for Hutchins, who lives in Portland with her musician husband Stephen Malkmus (the former Pavement frontman, now leading Stephen Malkmus and the Jicks) and their children.
    [Show full text]
  • Land Use and Economic Development Analysis October 2011
    North Corridor Commuter Rail Project Land Use and Economic Development Analysis October 2011 Charlotte Area Transit System 600 East Fourth Street, Charlotte, NC 28202 Charlotte Area Transit System North Corridor Commuter Rail Project LYNX RED LINE Charlotte Area Transit System North Corridor Commuter Rail Project LYNX RED LINE Land Use and Economic Development Analysis This report is prepared by the Charlotte Area Transit System and Planning Staffs of the City of Charlotte and the Towns of Cornelius, Davidson, Huntersville and Mooresville. The information is structured according to guidelines of the Federal Transit New Starts Program, in the event the North Corridor Com- muter Rail Project becomes eligible for competition in that program. October 2011 Contents Section I: Existing Land Use ........................................................................................................... 1 Existing Station Area Development ............................................................................................ 1 1. Corridor and Station Area Population, Housing Units and Employment .......................... 1 Table I-1: Population Growth of Municipalities Represented in North Corridor ........... 3 Table I-2: Station Area Summary Data ............................................................................ 3 2. Listing and Description of High Trip Generators .............................................................. 4 3. Other Major Trip Generators in Station Areas ..................................................................
    [Show full text]
  • Marianne Boesky Gallery Jessica Jackson Hutchins
    MARIANNE BOESKY GALLERY NEW YORK | ASPEN JESSICA JACKSON HUTCHINS BIOGRAPHY 1971 Born in Chicago, IL Lives and works in Portland, OR EDUCATION 1999 School of the Art Institute of Chicago, IL, Post-Baccalaureate, MFA 1994 Oberlin College, OH, BA in Art History SELECTED SOLO & TWO-PERSON EXHIBITIONS 2020 Eugene, OR, Jordan Schnitzer Museum of Art, University of Oregon, Hallie Ford Fellows in the Visual Arts (Classes of 2017, 2018, and 2019), October 3, 2020 – January 10, 2021 New York, NY, Marianne Boesky Gallery, Restless Animal Kingdom, February 25 – April 18, 2020 2019 Portland, OR, Adams and Ollman, David, September 26 – November 2, 2019 [two- person exhibition] 2018 Los Angeles, CA, The Pit, Secret Sister, January 7 – February 18, 2018 [two-person exhibition] 2017 New York, NY, Marianne Boesky Gallery, The People’s Cries, November 2 – December 22, 2017 2016 Columbus, OH, Columbus College of Art and Design, Beeler Gallery, Jessica Jackson Hutchins: Cool Wake, organized by Michael Goodson, June 13 – September 10, 2016 2015 Portland, OR, The Lumber Room and The Cooley Gallery at Reed College, Jessica Jackson Hutchins: Confessions, September 2 – November 8, 2015 [catalogue] New York, NY, Marianne Boesky Gallery, I Do Choose, May 9 – June 13, 2015 2014 Berlin, Germany, Johann König, Coming II, May 3 – 24, 2014 Ridgefield, CT, The Aldrich Contemporary Art Museum, Unicorn, April 6 – September 21, 2014 Milwaukee, WI, Green Gallery, No. 1 Rainbow, March 19 – April 27, 2014 London, UK, Timothy Taylor Gallery, January 31 – March 8, 2014 2013
    [Show full text]
  • JESSICA JACKSON HUTCHINS Courtesy of Adam and Ollman
    JESSICA JACKSON HUTCHINS Courtesy of Adam and Ollman EDUCATION 1999 School of the Art Institute of Chicago, IL, Post-Baccalaureate, MFA 1994 Oberlin College, OH, BA in Art History SELECT SOLO AND TWO-PERSON EXHIBITIONS 2020 Restless Animal Kingdom, Marianne Boesky Gallery, New York, NY 2019 Jessica Jackson Hutchins And Ryan Mclaughlin, Adams and Ollman, Portland, OR 2018 Secret Sister, The Pit, Los Angeles, CA 2017 The People’s Cries, Boesky East, New York, NY, 2016 Jessica Jackson Hutchins: Cool Wake, organized by Michael Goodson, Columbus College of Art and Design, Beeler Gallery, Columbus, OH 2015 Jessica Jackson Hutchins: Confessions, The Lumber Room and The Cooley Gallery at Reed College, Portland, OR I Do Choose, Marianne Boesky Gallery, New York, NY 2014 Coming II, Johann König, Berlin, Germany Unicorn, The Aldrich Contemporary Art Museum, Ridgefield, CT No. 1 Rainbow, Green Gallery, Milwaukee, WI Timothy Taylor Gallery, London, UK 2013 The Genres: Still Life Featuring Jessica Jackson Hutchins, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI Jessica Jackson Hutchins, Hepworth Wakefield Museum, West Yorkshire, UK Traveled to Biel, Switzerland, Centre PasquArt, Kunsthaus Centre D’art 2011 Jessica Jackson Hutchins, ICA Boston, Boston, MA 2012 Jessica Jackson Hutchins: The Important Thing About a Chair, Atlanta Contemporary Art Center, Atlanta, GA 2010 Champions, Timothy Taylor Gallery, London, UK Children of the Sunshine, Portland Institute for Contemporary Art, Portland, OR Over Come Over, Laurel Gitlen, New York, NY Kitchen Table Allegory, Derek Eller Gallery, New York, NY 2008 The Exponent of Earth (You Make Me __), Derek Eller Gallery, New York, NY Hours and Ours, Small A Projects, Portland, OR 2007 Case Works 12: Stylite Optimism, Eric V.
    [Show full text]
  • Restless Animal Kingdom February 25 - April 18, 2020 Performance and Opening Reception on March 5, from 6:00 - 8:00 PM
    Jessica Jackson Hutchins Restless Animal Kingdom February 25 - April 18, 2020 Performance and Opening Reception on March 5, from 6:00 - 8:00 PM Marianne Boesky Gallery is pleased to present Restless Animal Kingdom, artist Jessica Jackson Hutchins’ third solo exhibition with the gallery. Hutchins’ practice embraces an expansive array of materials and approaches, from wall-mounted assemblages to fused glass works to ceramics installed atop couches, recliners, and chairs. Inspired by found objects and images from her personal life, Hutchins allows her materials—and the ways they connect to her hands and body—to drive the form and experience of her work. For her upcoming exhibition, the Portland, Oregon-based artist will present a selection of new, large-scale ceramics, including several sculptures that can be worn— bringing the presence of the body even more directly into view in her creative output. The exhibition will be open from February 25 - April 18, 2020 at the gallery’s 507 W. 24th Street location. On March 5, in conjunction with Armory Art Week, Marianne Boesky Gallery will host a special reception featuring a performance developed by Hutchins in collaboration with dancers from the Trisha Brown Dance Company and Antonio Ramos and the Gang Bangers in New York. Throughout the evening, performers outfitted in Hutchins’ wearable ceramics and clothing screen-printed by the artist will move through the gallery to the music of cellist Ayu Wang, performing a range of improvised motions and serving food and beverages from the vessels. By activating her ceramics through dance as well as through functional use, Hutchins extends her ongoing exploration of the relationship between fine art and the objects of our everyday lives.
    [Show full text]