FOLLY
Jo Yarrington
I’ve always been interested in liminal places, areas of the mind or reality that blur definition, that exist
somewhere in between. When first reading Swann’s Way, I instantly identified with Proust’s ruminations
on the space between sleeping and waking. Suspended in that glide from consciousness to
unconsciousness, he seemed to find a threshold to unfettered freedom and clarity. In Brontë’s Villette,
when faced with the harsh realities and social restrictions of Victorian England, Lucy Snow could slip into
her shadowland, an interior place of refuge and boundless possibilities. And, in Atonement, McEwan spoke
to the fertile pause between stillness and motion when he wrote “the mystery was in the instant before it
moved, the dividing moment between moving and non-moving, when her intention took effect.” It is
these elusive, shifting planes, these fluctuations in our psychic core and physical being, these
changeable and charged arenas that I explore in my visual art.
I’ve always been interested in liminal places, areas of the mind or reality that blur definition, that exist
somewhere in between. When first reading Swann’s Way, I instantly identified with Proust’s ruminations
on the space between sleeping and waking. Suspended in that glide from consciousness to
unconsciousness, he seemed to find a threshold to unfettered freedom and clarity. In Brontë’s Villette,
when faced with the harsh realities and social restrictions of Victorian England, Lucy Snow could slip into
her shadowland, an interior place of refuge and boundless possibilities. And, in Atonement, McEwan spoke
to the fertile pause between stillness and motion when he wrote “the mystery was in the instant before it
moved, the dividing moment between moving and non-moving, when her intention took effect.” It is
these elusive, shifting planes, these fluctuations in our psychic core and physical being, these
changeable and charged arenas that I explore in my visual art.
Jan Wurm
Although this work falls outside the realm of traditional form, it is the tradition of the
triptych upon which many of these drawings forge their meaning. The triptych has a force
and power imbued with meaning from centuries of use. Employed by religious art, the very
character of the form holds a set of spiritual demands and responses. Here the triptych is
used for the re-iteration of an image of loss and suffering. The Pieta is shown three times.
In each strip of canvas she ages: from young mother and baby, to woman with young
child, and, ultimately, as old mother losing a soldier. Structured with the woman alone with
body bag in the center, the central panel has the coldest chill of loss, barely a whisper of
color, the mother herself nearly lost.
Although this work falls outside the realm of traditional form, it is the tradition of the
triptych upon which many of these drawings forge their meaning. The triptych has a force
and power imbued with meaning from centuries of use. Employed by religious art, the very
character of the form holds a set of spiritual demands and responses. Here the triptych is
used for the re-iteration of an image of loss and suffering. The Pieta is shown three times.
In each strip of canvas she ages: from young mother and baby, to woman with young
child, and, ultimately, as old mother losing a soldier. Structured with the woman alone with
body bag in the center, the central panel has the coldest chill of loss, barely a whisper of
color, the mother herself nearly lost.
Tom Lieber
Tom Lieber is an abstract painter and printmaker. He is a recipient of a
National Endowment of the Arts Grant and has exhibited extensively since
1974. In 2003, the Honolulu Contemporary Museum in Hawaii organized a
major show of his work. His paintings and monotypes are included in the
collections of the Metropolitan Museum of Art, and the Solomon R.
Guggenheim Museum, New York City; the San Francisco Museum of
Modern Art; the Museum of Contemporary Art, Los Angeles; and the Tate
Gallery, London.
Images (right) courtesy of Hackett-Freedman Gallery, San Francisco.
Photography by PHOCASSO/J.W.White. Artwork (c) Tom Lieber.
Tom Lieber is an abstract painter and printmaker. He is a recipient of a
National Endowment of the Arts Grant and has exhibited extensively since
1974. In 2003, the Honolulu Contemporary Museum in Hawaii organized a
major show of his work. His paintings and monotypes are included in the
collections of the Metropolitan Museum of Art, and the Solomon R.
Guggenheim Museum, New York City; the San Francisco Museum of
Modern Art; the Museum of Contemporary Art, Los Angeles; and the Tate
Gallery, London.
Images (right) courtesy of Hackett-Freedman Gallery, San Francisco.
Photography by PHOCASSO/J.W.White. Artwork (c) Tom Lieber.
Judy Dater
I have traveled to Japan about a half a dozen times since 1963. It is one of my
favorite places. These photographs were taken in Japan on two different occasions.
The black-and-white photos were taken in 1976, using a new 35 mm Contax Camera.
The color photos were taken in 2006, thirty years later, with a digital point and shoot.
When I returned home from the more recent trip and was sorting and printing the
pictures, I was suddenly reminded of the group of photos I had taken in 1976. I
found them in storage and as I looked through them, I was amazed at how I had
picked similar themes and made similar observations. They also show how things
have changed over the 30 years.
I have made other visits to Japan between 1976 and 2006, however these particular
two groups of pictures seemed to speak to each other in a way that other
photographs I have taken in Japan do not. (Photographs (right) (c) 2008 Judy Dater)
I have traveled to Japan about a half a dozen times since 1963. It is one of my
favorite places. These photographs were taken in Japan on two different occasions.
The black-and-white photos were taken in 1976, using a new 35 mm Contax Camera.
The color photos were taken in 2006, thirty years later, with a digital point and shoot.
When I returned home from the more recent trip and was sorting and printing the
pictures, I was suddenly reminded of the group of photos I had taken in 1976. I
found them in storage and as I looked through them, I was amazed at how I had
picked similar themes and made similar observations. They also show how things
have changed over the 30 years.
I have made other visits to Japan between 1976 and 2006, however these particular
two groups of pictures seemed to speak to each other in a way that other
photographs I have taken in Japan do not. (Photographs (right) (c) 2008 Judy Dater)
Diana Burgoyne
I started working with electronics at art school in the early 1980s. The people who helped me get started were students in
the faculty of music who had been experimenting with sounds generated by electronics. Their influence combined with
learning about performance artists including Chris Burden and Vito Acconche, lead me to use the body in combination with
sound in my work.
My use of the body was also strongly informed by working with artists Morry Baden and Roland Brenner while I was a
student at the University of Victoria and later by Charles Ray when I was working on my master’s at UCLA. The installation
came later when I thought I did not enjoy performing so I wanted to remove my body from my practice. Once my body
was out of the work, I realized I liked the tension and adrenalin I was getting from the performance and my body went
back into the work. Now I do both.
"Sound Drawing" (right). Photo courtesy of Diana Burgoyne
I started working with electronics at art school in the early 1980s. The people who helped me get started were students in
the faculty of music who had been experimenting with sounds generated by electronics. Their influence combined with
learning about performance artists including Chris Burden and Vito Acconche, lead me to use the body in combination with
sound in my work.
My use of the body was also strongly informed by working with artists Morry Baden and Roland Brenner while I was a
student at the University of Victoria and later by Charles Ray when I was working on my master’s at UCLA. The installation
came later when I thought I did not enjoy performing so I wanted to remove my body from my practice. Once my body
was out of the work, I realized I liked the tension and adrenalin I was getting from the performance and my body went
back into the work. Now I do both.
"Sound Drawing" (right). Photo courtesy of Diana Burgoyne
Michael Kane
Translated to the city in late adolescence my developing psyche projected itself eventually onto the
life of the streets, parks and waterways of my neighbourhood and the wider metropolitan scene and
their rich human comedy, as well as on the accumulated 'lumber,' as Kavanagh called it, hacked out
of indiscriminate reading, travel and random study in the pursuit of that other aspect of the
pleasurable called, for want of a better word, spiritual or perhaps, mythic. —Michael Kane
Michael Kane ( b. 1935 Co. Wicklow, Ireland) studied at the National College of Art & Design and
Graphic Print Studio, Dublin but it was his deep involvement in seminal events in Irish art that defined
him. Michael Kane helped to organize the Independent Artists exhibitions and edited the ironic art
and sociopolitical journal Structure, he was a founder of Project Arts Centre and one of the earliest
members of Aosdana. Over four decades he has exhibited extensively internationally and in 1996 a
retrospective at Royal Hibernian Academy ran concurrently with a major exhibition of new work at the
Irish Museum of Modern Art.
Images (right) courtesy of Rubicon Gallery, Dublin, Ireland 2008
Translated to the city in late adolescence my developing psyche projected itself eventually onto the
life of the streets, parks and waterways of my neighbourhood and the wider metropolitan scene and
their rich human comedy, as well as on the accumulated 'lumber,' as Kavanagh called it, hacked out
of indiscriminate reading, travel and random study in the pursuit of that other aspect of the
pleasurable called, for want of a better word, spiritual or perhaps, mythic. —Michael Kane
Michael Kane ( b. 1935 Co. Wicklow, Ireland) studied at the National College of Art & Design and
Graphic Print Studio, Dublin but it was his deep involvement in seminal events in Irish art that defined
him. Michael Kane helped to organize the Independent Artists exhibitions and edited the ironic art
and sociopolitical journal Structure, he was a founder of Project Arts Centre and one of the earliest
members of Aosdana. Over four decades he has exhibited extensively internationally and in 1996 a
retrospective at Royal Hibernian Academy ran concurrently with a major exhibition of new work at the
Irish Museum of Modern Art.
Images (right) courtesy of Rubicon Gallery, Dublin, Ireland 2008
Elina Merenmies
Elina Merenmies (b. 1967—) lives and works in Helsinki, Finland. She received
her Master Degree of Fine Arts, Academy of Fine Arts, Helsinki in 1999 and
attended the Academy of Fine Arts, Monumental Painting, Prague, Academy
of Fine Arts, Painting Department, Helsinki, Institut de Saint-Luc, Painting
Department, Brussels and the University of Helsinki, Drawing Department.
Solo exhibitions include Uppsala Konstmuseum, Uppsala, Dahl Gallery of
Contemporary Art, Luzern, The Finnish Institute, Paris, Galerie Anhava,
Helsinki, Galerie Anhava, Helsinki, Kluuvin Galleria, Helsinki, Kaapelin
Galleria, Helsinki, Espace Tristan Bernard, Paris, Harjun Galleria, Helsinki, and
Academy of Fine Arts of Helsinki.
Images (right) courtesy of Elina Merenmies 2008
Elina Merenmies (b. 1967—) lives and works in Helsinki, Finland. She received
her Master Degree of Fine Arts, Academy of Fine Arts, Helsinki in 1999 and
attended the Academy of Fine Arts, Monumental Painting, Prague, Academy
of Fine Arts, Painting Department, Helsinki, Institut de Saint-Luc, Painting
Department, Brussels and the University of Helsinki, Drawing Department.
Solo exhibitions include Uppsala Konstmuseum, Uppsala, Dahl Gallery of
Contemporary Art, Luzern, The Finnish Institute, Paris, Galerie Anhava,
Helsinki, Galerie Anhava, Helsinki, Kluuvin Galleria, Helsinki, Kaapelin
Galleria, Helsinki, Espace Tristan Bernard, Paris, Harjun Galleria, Helsinki, and
Academy of Fine Arts of Helsinki.
Images (right) courtesy of Elina Merenmies 2008
Bernd Haussmann
Bernd Haussmann was born in 1957 in Tubingen, Germany. He
studied art, graphic design and print making at the MERZ
Akademie, Stuttgart, from 1976-80. He moved to the United
States in 1990 and became a permanent resident in 1995. He
has exhibited in solo and group exhibitions throughout the
United States since 1998.
Selected public collections include Crowell & Moring,
Washington, DC, Danforth Museum of Art, Framingham, MA,
Fontainebleau, Miami Beach, MA, Gary Lee & Partners, Chicago,
IL, Gensler, Chicago, IL. Hale & Dorr, Boston, MA, Hunterdon
Museum of Art, Clinton, NJ, Hyatt Regency Corporation,
Rochester, NY, Ladeki, San Diego, CA, La Jolla Crossroads, San
Diego, CA, Lyman Allyn Museum, New London, CT, MA,
Montserrat College of Art, Beverly, MA, Museum der Stadt
Reutlingen, Reutlingen, Provincetown Art Association and
Museum, Provincetown, MA, Regency, Naples, FL, Wheatleigh,
Lenox, MA, Xerox Corporation, Rochester, NY.
Bernd Haussmann was born in 1957 in Tubingen, Germany. He
studied art, graphic design and print making at the MERZ
Akademie, Stuttgart, from 1976-80. He moved to the United
States in 1990 and became a permanent resident in 1995. He
has exhibited in solo and group exhibitions throughout the
United States since 1998.
Selected public collections include Crowell & Moring,
Washington, DC, Danforth Museum of Art, Framingham, MA,
Fontainebleau, Miami Beach, MA, Gary Lee & Partners, Chicago,
IL, Gensler, Chicago, IL. Hale & Dorr, Boston, MA, Hunterdon
Museum of Art, Clinton, NJ, Hyatt Regency Corporation,
Rochester, NY, Ladeki, San Diego, CA, La Jolla Crossroads, San
Diego, CA, Lyman Allyn Museum, New London, CT, MA,
Montserrat College of Art, Beverly, MA, Museum der Stadt
Reutlingen, Reutlingen, Provincetown Art Association and
Museum, Provincetown, MA, Regency, Naples, FL, Wheatleigh,
Lenox, MA, Xerox Corporation, Rochester, NY.
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Tokihiro Sato
Tokihiro Sato was born in 1957, Sakata,
Yamagata Prefecture and lives and works in
Omiya, Saitama Prefecture, Japan.
Selected solo exhibitions include
Photo-Respiration, Haines Gallery, San Francisco,
CA; Tai Gallery, Santa Fe, New Mexico; Gleaning
Light, Leslie Tonkonow, New York, NY; Tokihiro
Sato: Photographic Light Panels, Haines Gallery,
San Francisco, CA; The Art Institute of Chicago,
Chicago; The Museum of Modern Art Saitama;
Japan Camera Obscura Project, Yamaguchi
Center for Arts and Media, Japan; Cleveland
Museum of Art, Cleveland, OH; Leslie
Tonkonow Artworks + Projects, New York;
Gallery Gan, Tokyo; The Museum of Modern
Art, Saitama, Japan (2-person show) Asian Art
Biennale, Bangladesh (2-person show); Sakata
City Museum of Art, Yamagata, Japan; Gallery
GAN, Tokyo.
Tokihiro Sato was born in 1957, Sakata,
Yamagata Prefecture and lives and works in
Omiya, Saitama Prefecture, Japan.
Selected solo exhibitions include
Photo-Respiration, Haines Gallery, San Francisco,
CA; Tai Gallery, Santa Fe, New Mexico; Gleaning
Light, Leslie Tonkonow, New York, NY; Tokihiro
Sato: Photographic Light Panels, Haines Gallery,
San Francisco, CA; The Art Institute of Chicago,
Chicago; The Museum of Modern Art Saitama;
Japan Camera Obscura Project, Yamaguchi
Center for Arts and Media, Japan; Cleveland
Museum of Art, Cleveland, OH; Leslie
Tonkonow Artworks + Projects, New York;
Gallery Gan, Tokyo; The Museum of Modern
Art, Saitama, Japan (2-person show) Asian Art
Biennale, Bangladesh (2-person show); Sakata
City Museum of Art, Yamagata, Japan; Gallery
GAN, Tokyo.
(left) #356 Palm (right) #389 Kamaiso. Images courtesy of Tokihiro Sato 2008 and Haines Gallery.
Images courtesy of Bernd Haussmann 2008
