Faces Exhibit at Sawtooth

Faces

Group exhibition, Davis Gallery, at the Sawtooth

It is very exciting to be invited to a group exhibition. Just a small sampling of my MFA AIB work is being shown.

You can view photos of my work on exhibit at: https://picasaweb.google.com/113967877601706753492/FacesExhibit2011AtSawtooth

I have been fairly busy this semester thus far in putting into practice some of the principles and concepts Laurel taught us in our 3rd residency seminar, Professional Development.

I have been creating image files for varied submissions and inquiring on potential opportunities. It takes time away from the studio work, but the practice of a professional artist takes balance and time invested into an assortment of prioritized venues, to give the portfolio that has been developed, a chance to be viewed and appreciated.

Harmony Hammond: Vitreous Painting on Glass

Harmony Hammond, Vitreous painting on glass, 8 x10”

Harmony Hammond (b. 1944) is an artist, art writer and independent curator who lives and works in Galisteo, New Mexico. Considered a pioneer of the feminist art movement, she lectures, writes and publishes extensively on feminist art, lesbian art, and the cultural representation of “difference”.

Hammond attended the University of Minnesota from 1963-67 (B.A., 1967). In 1969, she moved to Manhattan where she was a co-founder of A.I.R., the first women’s cooperative art gallery in New York, (1972), and co-editor of Heresies: A Feminist Publication on Art & Politics, (1976). In 1984, she moved to New Mexico. As a tenured full Professor, Hammond taught painting, combined media and graduate critiques at the University of Arizona (Tucson), from 1988-2005. Currently she teaches classes and workshops from time to time as a Visiting Artist at: Skowhegan, Anderson Ranch, the Santa Fe Art Institute and the Vermont Studio Center.

She has had over 30 solo exhibitions and her work has been shown internationally in venues such as Site Santa Fe; New Museum, NYC; Smack Mellon Studios, Brooklyn; National Academy Museum, NYC; Bronx Museum; Museum of Contemporary Art, Los Angeles; Center for Contemporary Arts, Santa Fe; P.S. 1 Contemporary Art Center, Long Island City, Queens; Tucson Museum of Art; The Downtown Whitney Museum, NYC; Weatherspoon Art Gallery, Greensboro, NC; White Columns, NYC; Brooklyn Museum; Armand Hammer Museum, Los Angeles; the Vancouver Art Gallery; Museo de Arte Contemporaneo Internacional Rufino Tamayo, Mexico City;The American Center, Paris; Neue Galerie, Graz, Germany; Museum of Contemporary Arts, Havana; Museo Universitario del Chopo, Mexico City; and the Haags Gementemuseum, the Hague. Her work is represented by Dwight Hackett projects, in Santa Fe.

Her work has been reproduced, discussed and reviewed in The New York Times, Art in America, the Los Angeles Times, The Washington Post, New York Magazine, Art Forum, Art News, Art Papers, Art on Paper, The Art Journal, Arts Magazine, the New Art Examiner and many other publications.

Hammond’s work is in the permanent collections of many museums including the Metropolitan Museum of Art, NYC; the Museum of Modern Art, NYC; the Walker Art Center, Mpls., MN; the Brooklyn Museum; the National Museum of Women in the Arts, Washington, DC; the Art Institute of Chicago; the Phoenix Art Museum; the New Mexico Museum of Fine Arts, Santa FE, NM; and the Wadsworth Atheneum, Hartford, CN. She has received fellowships from the John Simon Guggenheim, Rockefeller, Adolph and Esther Gottlieb, Joan Mitchell, Andrea Frank, and Pollock-Krasner Foundations, the New York State Council on the Arts and the National Endowment for the Arts.

For more information on Harmony Hammond:

https://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/harmonyhammond.php

To view my forming archive of women artists, Uomini Famosi:

https://picasaweb.google.com/113967877601706753492/UominiFamosi_VitreousPaintingsonGlass

Third Visit with Mentor

Saturday was a really great day. My hubby was the driver to Wilmington to visit the third time with my mentor, Pam Toll. Pam and I discussed my current progress, and I was able to view her current work, a drawing installation that she is completing at the UNC Wilmington Cultural Arts Center Gallery, entitled Excavation.

That evening my husband and I were treated to a Sade concert in Greensboro. Her set design, of course as well as her performance, was awesome! That set designer is a true artist! Incredible!!

Joyce Kozloff: Vitreous painting on glass, 8 x 10"

Joyce Kozloff, Vitreous painting on glass, 8 x10”

Joyce Kozloff was born in Somerville, New Jersey in 1942, and received BFA from Carnegie Institute of Technology, Pittsburgh, PA in 1964 and an MFA from Columbia University in 1967. She cites a 1973 trip to Mexico as the beginning of her on-going concern with patterns and their cultural significance. Kozloff was a major figure in both the Pattern and Decoration and Feminist art movements during the 1970s. By 1979, she began concentrating on the field of public art, both to expand the scale of her installations and increase their accessibility to a wider audience.

Since that time, Kozloff has executed a number of major commissions in public spaces. Since the early 1990s, Kozloff has utilized mapping as a device for contextualizing her long-term interests in history, culture, decorative, and popular arts. In 1999-2000, Kozloff was awarded the Jules Guerin Fellowship, Rome Prize from the American Academy in Rome, Italy. During her yearlong residency abroad Kozloff conceived and completed a series of twenty-four collaged drawings based on maps, diagrams and illustrations of historic battles, which examine the fascination shared by many young boys for war. An oversized artist’s book of these works was published by D.A.P./Distributed Art Publishers in 2003.

Recent solo exhibitions include: Joyce Kozloff: Voyages + Targets at Galleria Michela Rizzo in Venice, Italy in 2006; Joyce Kozloff: Exterior and Interior Cartographies at the Regina Gouger Miller Gallery of Carnegie Mellon University, Pittsburgh, PA, also in 2006; Joyce Kozloff: Topographies at the Contemporary Art Center of Virginia, Virginia Beach, VA in 2002; and Boys’ Art and Other Works, Targets, and Knowledge: an ongoing fresco project, all at DC Moore Gallery, New York, NY.

Feminist Artist Statement

I had the good fortune to come of age as an artist just as the women’s movement swept through our culture, changing the way we live, think, and create. I was a young mother and painter in Los Angeles in the fall of 1970, when a fellow faculty wife invited me to join a consciousness raising group. Within a few weeks, we were all radicalized, questioning the way our society was structured, our personal relationships were conceived and our educations had been constructed.

Since that time, I’ve been in many feminist collectives – the support, excitement, and energy in these groups is almost an addiction. During that first heady year in Los Angeles, we formed an activist group called the LA Council of Women Artists, which challenged the LA County Museum of Art on its woeful representation of women and minority artists. The statistics that we presented at a press conference were so shocking that the museum agreed to host the first ambitious historic show of women’s art, “Women Artists: 1550-1950,” curated by Linda Nochlin and Ann Sutherland Harris.

Later in New York in 1975, I became a founding member of the Heresies publishing collective, which produced a thematically organized quarterly about Feminism, Art and Politics. My own art was in flux, as I began to look at women’s traditional arts as a source and inspiration. Feminism had challenged me to examine the language of art history, which relegated decoration to a lower place in the high/low art hierarchy. I wanted to break down those hierarchies, which were based on sexist and racist assumptions.

At first, I brought patterning into my paintings on canvas, but then I began to work in ceramics and textiles, decorating whole rooms. From there, it was natural to move into public art, where there was a centuries old, world-wide tradition of grand-scale ornament to emulate! I feel as connected to the women’s art movement today as I did 37 years ago. The networks of friendship are sustaining, new generations of artists continue to interest and provoke me, as the theory and practice of feminist art expands and morphs. In the beginning, there was a utopian idealism; later, we came to a realization that evolution is slow and there are setbacks along the way. I am gratified by the renewed interest in the groundwork laid in the 1970s.

For more information on Joyce Kozloff: http://www.joycekozloff.net/Galleries/Biography/JoyceKozloffBiography.pdf

To view my forming archive of women artists, Uomini Famosi:

https://picasaweb.google.com/113967877601706753492/UominiFamosi_VitreousPaintingsonGlass

Nancy Elizabeth Prophet: Vitreous Painting on Glass

Nancy Elizabeth Prophet, Vitreous Painting on Glass, 8 x10”

Nancy Elizabeth Prophet (1890-1960) was an American sculptress and a 1918 graduate of the Rhode Island School of Design. Her work became well-known throughout Europe and the United States, and she later taught in various schools. Born in Warwick (Rhode Island) to a Narraganset Indian father and an Afro-American mother, she experienced and struggled against racial discrimination typical of the times in which she lived. Her diary, dating from a period when she was working in Paris, detail the deep anguish she felt during a time of misfortune and hardship.

Nancy Elizabeth Prophet was born on this date in 1890. She was an African-American sculptor. An only child from Providence, Rhode Island, her father, William H. Prophet, was employed by that city, and her mother, Rose Walker Prophet, was a housewife. Encouraged by family and friends after high school, Prophet enrolled in the renowned Rhode Island School of Design, working as a domestic to pay her tuition. Her graduation and the Harlem Renaissance occurred at the same time, where she lived briefly.

In 1922, with financial assistance from Gertrude Vanderbilt Whitney, Prophet went to Paris to study. While there she came to the attention of artist Henry O. Tanner. Her work impressed him and he recommended her for the Harmon foundation Prize, which she won. Her work was exhibited at the Paris August Salons from 1924-1927 and at the Salon d’Automne in 1931 and 1932. In America, her works were exhibited in group exhibition throughout the 1930’s via the Harmon Foundation and the Whitney Sculpture Biennial. In 1932, she returned to America and began teaching at Spelman College.

In 1939, Prophet began teaching at Atlanta University where she apparently realized there was virtually no room for opportunity for her as a Black woman to become part of the Atlanta art community. Because of this reality, she returned to Rhode Island in 1945 and lack of contacts in her field forced her to basically start her career over. Prophet went to work as a domestic again. She did have one known one-person exhibit in 1945 at the Providence Public Library. In 1978, her pieces were part of the “Four from Providence” exhibit at the Bannister Gallery of Rhode Island College. Nancy Elizabeth Prophet died in 1960 in poverty and obscurity.

For more information on Nancy Elizabeth Prophet:

http://www.encyclopedia.com/doc/1G2-3430800054.html

To view my forming archive of women artists, Uomini Famosi:

https://picasaweb.google.com/113967877601706753492/UominiFamosi_VitreousPaintingsonGlass