FemArts: Art Installations by Women Artists Hosted by Dinnerware Artspace |DATE TBA| 6-9pm | SHOWING AT THE STEINFELD WAREHOUSE 101 West Sixth Street TUCSON AZ
THE SUNSET ROOM | November 1st – December 15th | Lost Coast Culture Machine | Opening reception on November 1st from 5-8pm | 190 East Elm St. Fort Bragg | 95437
FemArts: Art Installations by Women Artists Hosted by Dinnerware Artspace |DATE TBA| 6-9pm | THE STEINFELD WAREHOUSE | 85701
ANNOTHER SUNNY DAY IN THE DESERT | Cafe Passe | March -April |85705
Recent Past ! CLOUDSHOW/UTOPIA at Bentley's August-September 2013 ! GIVE LOVE at Cafe Passe February/ March 2013 ! LIVE @ LIV at Liv Cafe August/ September 2012 ! TRICK HOUSE LIVE at Casa Libre September 2012 ! EKPHRASIS at BENTLEY'S July/August 2012 ! BE MINE Collaborations between Writers and Artists at the University of Arizona Poetry Center FEBRUARY 2012 ! PERSON CIRCUS at CAFÉ PASSÉ OCTOBER/ NOVEMBER 2011 !
- FemArts TUCSON
- CLOUDSHOW #3 at THE SUNSET ROOM | November – December 15th | Lost Coast Culture Machine | 95437
- FemArts: Art Installations by Women Artists TUCSON
- DON’T SHOOT work in progress for FemArts: Art Installations by Women Artists Hosted by Dinnerware Artspace
- ANOTHER SUNNY DAY IN THE DESERT
- November 2013
- October 2013
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- August 2013
- July 2013
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- April 2013
- February 2013
- January 2013
- December 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- January 2012
- November 2011
- October 2011
- August 2011
- July 2011
- May 2011
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- March 2011
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- January 2011
- November 2010
- October 2010
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- December 2009
- November 2009
- October 2009
- September 2009
CLOUDSHOW #3 at THE SUNSET ROOM | The Sunset Room is a group show about sunsets; in evocation and essence. The show will emphasize the over saturated and yet noble quest to create the perfect sunset whilst paying homage to the beauty and kitsch of one of nature’s most magnificent and routine passages. Think, Georgia O’Keefe meets Jimmy Buffett | November 1st – December 15th | Lost Coast Culture Machine | 190 East Elm St. Fort Bragg | 95437
DON’T SHOOT- 81 garlands made of approximately 3,629.5 feet of fabric and plastics to be hung from the ceiling of THE STEINFELD WAREHOUSE for FemArts: Art Installations by Women Artists Hosted by Dinnerware Artspace. A panel discussion will be held to talk about our process and experiences as a group and as individual artists, date tba.
TUCSON FOOD TRUCK ROUNDUP WILL BE THERE.
DON’T SHOOT work in progress for FemArts: Art Installations by Women Artists Hosted by Dinnerware Artspace
SHOWING AT THE STEINFELD WAREHOUSE
Julia ‘Jai’ Miller
Marie Closeness DeGain
Susan Kay Johnson
Moira Geoffrion/Shirley Wagner
Natlie Brewster Nguyen
Bridgitte Blanton Thum
ALSO, TUCSON FOOD TRUCK ROUNDUP WILL BE THERE ON THE 15TH SO COME HUNGRY!
Reading about David Hockney’s use of iPhone technology to create art led me on a search to explore the drawing applications available on my iPhone. I settled on Green Gar’s Whiteboard app. Many of these were drawn on the front porch in the desert of an evening, or on the back porch of an afternoon, inspired by Tucson’s green desert. Each encaustic corresponds to a digital “fingerpainting” and is one of a kind.
The images printed on glossy photo paper are available in a range of sizes, beginning at 8 1/2″x11″, limited to an edition of five archival prints.
8 ½” x 11” $100
Larger sizes (24” x 36” or 48” x 72” for example) priced upon request.
To view the images one by one go to valyntiagrenier.com
Also, CLOUDSHOW / UTOPIA (see below) is showing at Bentley’s till September 15th
CLOUDSHOW / UTOPIA will be showing AUGUST 15 – SEPTEMBER 15 at BENTLEY’S 1730 EAST SPEEDWAY 85719. Bentley’s is open M-Sa 7am to 5pm and Su 8am to 4pm.
I’ll be having a RECEPTION SATURDAY AUGUST 17th 4 – 5:30pm, come by for a glass of Lemonaid.
Antony and the Johnsons’ exquisitely painful song, Another World, conveys a desperate love for what’s here, confounded by the knowledge that it and we are ephemeral. The guiding principle for CLOUDSHOW / UTOPIA is to make ANOTHER WORLD and discover PEACE ON OTHER PLANETS. Because we hurt nature, each other, and ourselves, I set out to create my utopia as a place unpeopled, a place of clouds, rainbows, and waterfalls without us there to screw everything up.
No sooner had I begun serious thought about utopia, than I began to kick people out of it. I’d been thinking a lot about John William Waterhouse’s painting Ividia; in Latin, invidia is the sense of envy, from invidere, “to look against, to look at in a hostile manner.” Envy for or from others drives us to solitude. I recalled the noir film LE SAMOURÏ and reacquainted myself w/ its opening text, “There is no greater solitude than that of the samurai unless it is that of the tiger in the jungle… Perhaps…” — Bushido
There are TRACES OF FORCES that guide us to each other and to ourselves. My work for CLOUDSHOW / UTOPIA actually began with a previous show inspired by The Divine Comedy, in particular by Michael Mazur’s monotype illustration for Canto XI, a map of Dante’s hell, which, if rotated, reads as a rainbow. In my painting, Nine Circles Make A Rainbow and a Target, a pink arc with red road markers represents the seventh circle, in which Dante houses those who commit sins of violence.
THE ROAD TO NOWHERE begins and ends within us. Though we do harm, we do love. We are kind. And we’re here for the near and somewhat distant future at least. Challenging myself to make objects without the presence of humanity didn’t come to fruition.
Accidents happen; it is a part of my practice to embrace them. When pouring the base for CLOUDS WHISPER TO THE MARTYRS OF AN END TO ALL WARS in a 115-degree garage, the dam broke. A few pounds of 400-degree beeswax and damar began to cascade across my worktable and fall to the floor. I quickly placed supports around the edges of the frame to save as much medium as possible. I added more medium, and pulled out my hot air gun to direct and re-melt the cooling surface. Despite my efforts, it began to harden unevenly. I walked away.
I returned to discover that the profile of a woman’s face had hardened into the “misshapen” surface. I decided to carve the minimalist symbol, seen in TRACES OF FORCES, as I had initially planned, and also to define the woman’s profile. I filled in the rest of the uneven surfaces w/ clouds, sky, and foreground. It was not until the piece was completed that some friends pointed out the optical illusion of a man’s profile tracing the woman’s profile. It’s a paradox – I set out to create a world free from people and behavior, yet I can’t help but make human faces embracing.
I desire connection and celebration, too. I want to go to a CLOUD PARTY AT THE RAINBOW. I want to KEEP DANCING. Music is an integral element of my practice. I like to dance while I’m working. I chose Jay-Z’s Heaven to start my playlist– I like to choose a certain song, then hit shuffle.
Reading, research, and other visual arts are integral to my process as well. They are my escape from actual making, but also my inspiration to get back to paintbrushes or sculpting tools. Inspiration for a series also comes from my collection of art postcards. For CLOUDSHOW / UTOPIA, I was inspired by one of King Tut’s inlaid pieces of jewelry and a drinking cup, Victor Pasmore’s The Green Earth, David Smith’s Voltri VII, Miro’s Bleu II, Howard Hodgkin’s Lovers, Kandinsky’s Painting with Three Spots and Calder’s circus.
I had the opportunity to visit California in the midst of production. I took with me Hundertwasser’s Complete Graphic Work 1951-1976, an exquisite, pocket-sized catalogue produced by Joram Harel in Vienna, 2008. At the LACMA, we saw Matisse’s large-scale ceramic La Gerbe, Hans Richter: Encounters (Richter was involved w/ the utopian groups Die Brücke and Der Blaue Reiter) and Chris Burden’s Metropolis II. I brought home a copy of Timothy Benson’s Expressionist Utopias and was surprised to rediscover that the guiding principle behind the many utopian movements is the desire to make a better community, which creates the innocence of a Garden of Eden or the complexity of an architectural fantasy. For the Glashaus utopians, a CRYSTAL CATHEDRAL is the center of their architectural ideal.
My cathedral is the rainbow, a WATERHOUSE. My utopia is a community of works that CIPHER THE COSMOS for SYMBOLS THAT BELONG ON THE ALTAR OF A FUTURE SPIRITUAL ONTOLOGY.
KEEP DANCING +V
 http://www.youtube.com/watch?v=5qkfAc_6dv0 Thank you, Sara Mumolo, for introducing me to the song
 My use of all caps indicates a title, either of the show or a painting in it
 The quote atriibuted to Bushido was invented by Le Samourï director Jean-Pierre Melville http://www.frontlip.eu/2013/03/cal-smyth-crime-film-double-bill-point-blank-and-le-samourai/
 The word utopia was coined in Greek by Sir Thomas More; it comes from the Greek: οὐ (“not”) and τόπος (“place”) and means “no place” http://en.wikipedia.org/wiki/Utopia
 From Timothy O. Benson’s Essay, “Fantasy and Functionality: The Fate of Utopia,” “artists around 1900 hoped to find in nature signatures or traces of forces that might reshape the world for the betterment of humanity”
 I worked at The Rainbow Bar and Grill in my early 20’s
 The title KEEP DANCING comes from Arcade Fire’s song “My Body is a Cage” (in particular, the lyric “My body is a cage that keeps me from dancing with the one I love”) http://www.youtube.com/watch?v=nhhZdune_5Q
 From Timothy O. Benson’s Essay, “Fantasy and Functionality: The Fate of Utopia,” the goal of the Munich Blaue Reiter (founded by Kandinsky and Franz Marc) according to Marc was “to create out of their work symbols of their own time, symbols that belong on the altar of a future spiritual religion”
I’ll be having a RECEPTION SATURDAY AUGUST 17th 4 – 5:30pm, come by for a glass of Lemonaid.