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. (Photos courtesy of Bernd Haussmann 2008)
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. (Photos courtesy of Bernd Haussmann 2008)
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. (Images courtesy of Tokihiro Sato 2008 and
Haines Gallery)
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)
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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Edward Burtynsky: Oil (November 2009 issue)
Edward Burtynsky, (right) Highway #1, Intersection 105 & 110,
Los Angeles, California, USA, 2003. Chromogenic color print.
Photograph © Edward Burtynsky, courtesy Hasted Hunt
Kraeutler, New York.
Canadian photographer Edward Burtynsky's large-scale color
landscapes survey a decade of photographic imagery exploring
the subject of oil. From 1997 through 2009, Burtynsky traveled
internationally to chronicle the production, distribution, and use
of oil. In addition to revealing the rarely seen mechanics of its
manufacture, he photographs the effects of oil on our lives,
depicting landscapes altered by its extraction from the Earth
and by the sprawl generated by its use.
Edward Burtynsky, (right) Highway #1, Intersection 105 & 110,
Los Angeles, California, USA, 2003. Chromogenic color print.
Photograph © Edward Burtynsky, courtesy Hasted Hunt
Kraeutler, New York.
Canadian photographer Edward Burtynsky's large-scale color
landscapes survey a decade of photographic imagery exploring
the subject of oil. From 1997 through 2009, Burtynsky traveled
internationally to chronicle the production, distribution, and use
of oil. In addition to revealing the rarely seen mechanics of its
manufacture, he photographs the effects of oil on our lives,
depicting landscapes altered by its extraction from the Earth
and by the sprawl generated by its use.