Tom Lieber (May 2008 issue)
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.
(Photos 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.
(Photos courtesy of Hackett-Freedman Gallery, San
Francisco. Photography by PHOCASSO/J.W.White.
Artwork (c) Tom Lieber.)
Judy Dater (June 2008 issue)
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.
(Photos courtesy of Judy Dater 2008)
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.
(Photos courtesy of Judy Dater 2008)
Diana Burgoyne (July 2008 issue)
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.
(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.
(Photo courtesy of Diana Burgoyne)
Michael Kane (August 2008 issue)
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
(Photos 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
(Photos courtesy of Rubicon Gallery, Dublin, Ireland 2008)
Elina Merenmies (September 2008 issue)
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.
(Photos 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.
(Photos courtesy of Elina Merenmies 2008)
Bernd Haussmann (October 2008 issue)
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.
Tokihiro Sato (November 2008 issue)
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.
(Images courtesy of Tokihiro Sato 2008 and Haines
Gallery)
Gallery)
(Photos courtesy of Bernd Haussmann 2008)
Gina Werfel (December 2008 issue)
Natural forces serve as a starting point for
my paintings about space and energy. The
paintings are about a search for balance
between chaos and structure. They speak
about boundaries—between representation
and abstraction, between man-made and
natural. Improvisation is at the root of my
practice—responses to the way a particular
color or mark leads to another decision in
the painting.
Natural forces serve as a starting point for
my paintings about space and energy. The
paintings are about a search for balance
between chaos and structure. They speak
about boundaries—between representation
and abstraction, between man-made and
natural. Improvisation is at the root of my
practice—responses to the way a particular
color or mark leads to another decision in
the painting.
Artists
FOLLY
Miya Ando (January 2009 issue)
I work with a number of metal finishing
techniques including patinas, solvents and
other chemicals which effect the colorization
of the steel. I also use acids to etch and a
torch to heat and oxidize the surface of the
steel. My other methods include grinding,
polishing, burnishing and other sanding
techniques. I work with pigments, most of
which are derived from metals. Finally, I
apply multiple coats of lacquer on the
panels.
(Photos courtesy of Anne Reed Galley and
Miya Ando 2009)
I work with a number of metal finishing
techniques including patinas, solvents and
other chemicals which effect the colorization
of the steel. I also use acids to etch and a
torch to heat and oxidize the surface of the
steel. My other methods include grinding,
polishing, burnishing and other sanding
techniques. I work with pigments, most of
which are derived from metals. Finally, I
apply multiple coats of lacquer on the
panels.
(Photos courtesy of Anne Reed Galley and
Miya Ando 2009)
Enrique Martinez Celaya (February 2009 issue)
Enrique Martinez Celaya was born in Cuba in 1964 and raised
in exile in Spain and Puerto Rico. He works in painting,
sculpture, photography, writing and publishing, the latter under
the auspices of Whale & Star. In his paintings, sculptures,
photographs, and writings – in which he uses everything from
oil and feathers to tar and even his own blood – Martínez
Celaya works through ethical, spiritual, and existential
concerns. His work emerges from a philosophical and literary
mindfulness and a commitment to the common origins of art,
literature, philosophy and science.
(Photo courtesy of Enrique Martinez Celaya)
YouTube Video Link
Enrique Martinez Celaya was born in Cuba in 1964 and raised
in exile in Spain and Puerto Rico. He works in painting,
sculpture, photography, writing and publishing, the latter under
the auspices of Whale & Star. In his paintings, sculptures,
photographs, and writings – in which he uses everything from
oil and feathers to tar and even his own blood – Martínez
Celaya works through ethical, spiritual, and existential
concerns. His work emerges from a philosophical and literary
mindfulness and a commitment to the common origins of art,
literature, philosophy and science.
(Photo courtesy of Enrique Martinez Celaya)
YouTube Video Link
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