-
-
Lia Cook, Florentine Fresco, 1992
-
"Research has been an important part of my work from early projects in Europe based on 19th century Jacquard and photographic processes to more recent work with neuroscientists to investigate the nature of the emotional response to the tactile quality of woven faces using both scientific and artist processes. Both the results of my research into the neuroscience of emotions as well as the actual structural imagery of the neural connections in my own brain have been woven back into my work."
- Lia Cook
-
"The Su Series installation is 32 individual pieces. The exact same face, an image of myself as a child, is used in each of the pieces but it is physically and materially translated differently each time through the weaving process. The specific way each is translated creates a subtle and sometimes dramatic variation in emotional expression. I am interested in the threshold at which the face dissolves first into pattern and then into a sensual tactile woven structure. What does this discovery and the resulting intense desire to touch the work add to our already innate, almost automatic emotional response to seeing a face? Specifically, in the Su Series the person experiencing and moving by each piece has a different emotional response to each one... The viewer can experience sadness, happiness, anger, fear, etc. They don't believe it is the same image. In the Su Series I am exploring how the specific translation of the image effects the nature of this response."
- Lia Cook
-
-
Elizabeth Sher, Smoke Screen: Caged, 2021
-
"This year because of COVID, my Russian River cottage became my sheltering refuge and a kind of artist residency. When the fires came, it was really hard to see. The Smoking Screen: Caged is a response to the fires and resulting dense smoke, scary bright orange skies, and devastation. Lockdown and 24-hour repetitive news coverage created a blurry physical as well as political landscape. The Smoke Screen series was made as a response to the lack of clarity."
- Elizabeth Sher
-
Elizabeth Sher, Crossing the Digital Divide #8, 2013
-
"Most of my work in film (often from my life) has focused on women, art and healthy aging. The What’s Inside These Shorts? reel is a compilation of short 16mm films made in the 1980s, many a response to being a mother. I began making films when I became disillusioned with the art world's hierarchy. I believed film was a more democratic arena for 3 main reasons: 1. general public is more comfortable watching movies and TV than looking at art, 2. in an art show the gold standard is a sale, whereas in film/video all viewers have to do is watch, and 3. I could book any venue, get publicity and get a crowd of 200 to show up."
- Elizabeth Sher
-
Elizabeth Sher, What's Inside These Shorts?, 30-minute video, 1980-2010.
-
Naomie Kremer, From Memory, 2003
-
"From Memory incorporates several of my preoccupations in the early 2000s, including revisiting my interest in figuration. I'd come across an album of photographs from my childhood in Israel - the small picture on the right is inspired by a photo of my sister and me. Writing and alphabets are the reference in the larger rectangle above. Photography, a medium I'd explored extensively in my 20s, uniting with my new interest in video created the reference to the structure of film strips with their angularity and repetition. The connective material in this painting is landscape and nature."
- Naomie Kremer
-
-
"A Tomb for Anatole is the beginning of a new project, a collaboration with a French composer and producer to create a performance work based on Stéphane Mallarmé’s unfinished poem after the tragic death of his 8-year-old son. The landscape and the “spirit” moving through it conjoin the timeless and the temporal. This work will be developed in a residency at the Dora Maar Foundation in France this June. My preoccupations are the same but their expression is always evolving."
- Naomie Kremer
-
Naomie Kremer, A Tomb for Anatole, 5 minute 13 second video, with (French) poem by Stéphane Mallarmé read by Michel Pastore, music by Pierre Thilloy, 2020.
-
Francesca Pastine, ArtForum 41, Unsolicited Collaboration with Frank Stella , 2012
-
"In my Unsolicited Artforum series, I manipulated Artforum magazines to undermine authority. I consider this work as an unsolicited collaboration with the magazine, the arts community, and the cover artist. Using the cover as a starting point, I cut, bend, manipulate, pull, and dig my way through the magazines. The altered, re-formed, or de-formed magazine reveals visceral topographies of art trends. Through physically intervening with this familiar icon, I suffuse the inanimate with emotional power, creating a visceral conflation of form and meaning."
- Francesca Pastine
-
"In 2016 I began transitioning into mixed media works on paper. The process of confronting the uncertainties of change became the bridge that connects my seemingly disparate bodies of work."
- Francesca Pastine
-
Francesca Pastine, Untitled 2, 2020
-
Mary Curtis Ratcliff, Hong Kong: Wu Shu , 2003
-
"In 2002, I went around the world and the first stop was Hong Kong. Wu Shu: Hong Kong is a mixed media montage of visual impressions from this incredibly vibrant city. I started with an image transfer of the skyscrapers taken from the top of the mountain and combined that with close-ups of characteristic scenes— a flower market, a wig stand—culminating in the heroic martial artists. A personally interesting vignette is the harbor scene with a Chinese junk in the upper left; it was taken by an older cousin whom I never met, but whose slides I inherited. She too traveled to Hong Kong—in 1955!"
- Mary Curtis Ratcliff
-
Mary Curtis Ratcliff, Scrapworks XIV: World Grid, 2020
-
Teddy Milder, Circling Duende , 2013
-
"While wandering the ancient streets of Sevilla, Spain, searching for the Museum of Flamenco and "duende"- the mysterious, soulful passion of Flamenco, I photographed the cobbled streets and crumbling walls. One image held a mystery of its own beyond the circles and squares. This spurred a series over 10 years that included 2D and 3D work using a variety of materials and the imposed constraints of circles and squares in black and white.
Searching for Duende is printed on recycled metal cans, stitched together with wire thread, and is my first metal quilt. Little did I know that walls would again emerge as a primary focus of my work."
- Teddy Midler
-
Teddy Milder, Wall Constructions Triptych , 2018
-
"I arrived in Oaxaca, Mexico for an artist residency the day after Trump was elected. I wandered the streets and countryside photographing ancient, contemporary, and crumbling walls - both as an antidote to Trump's threat of building a border wall and to explore their meaning and history. I found comfort and inspiration in the beauty and history of Oaxacan walls. They helped me explore the way artists have built and responded to walls now and in the past. I began to see the concept of "wall" in multiple ways. No longer just a physical barrier, walls can also be a conceptual bridge. They are elements of support; do provide shelter; and can be a surface for murals, art, communication and protest."
- Teddy Milder
-
Teddy Milder, Wall Constructions Triptych, 2018 (detail)
-
Beth Fein, Broken Painting Remains Unfinished, 1987
Building Bridges: Breaking Barriers | Part Two: Part Two
Past viewing_room