somewhere between creation + destruction
September 9 – October 26, 2014
somewhere between creation + destruction The 7th international distinguished artists symposium & exhibition organized by the hartford art school’s joseloff gallery at the university of hartford
“EVERY ACT OF CREATION IS FIRST...
AN ACT OF DESTRUCTION.” –PABLO PICASSO
Truly great works of art are the ones that
Around that same time, I was working on
stay with you long after you leave them behind.
ideas for the upcoming International Distin-
This certainly was the case for me with the
guished Artists Symposium and Exhibition.
work featured on an exhibition announcement
mailed by George Adams Gallery in New York. This
announcement kept nagging at me. I began
diminutive, 6Ë? x 6Ë? card featured the piece Horns
to notice the cut paper art that seemed to be
and Wigs by Kako Ueda. The image, an intricate
crawling from every corner I never noticed
and whimsical paper cut in black against a
before. Incredibly ambitious and wildly diverse
white background, was mesmerizing. I saved the
cut paper art was everywhere. Collecting the
announcement and found myself gazing at it
works into a file, I realized one day that I had
repeatedly. It haunted me. It made me laugh. It
enough material to make an exhibition. All
made me want to draw something.
through this process, Horns and Wigs was there,
A few themes had been developed, but this
shaking its horns at me, reminding me that paper can surprise you. And Somewhere between Creation and Destruction was born.
Our International Distinguished Artists
Symposium and Exhibition (IDASE) program has a rich history of presenting stunning exhibitions packed with prestigious artists and artworks. It is my hope that this seventh IDASE, Somewhere between Creation and Destruction, furthers this legacy. I have lovingly assembled a show of cut paper works that give me the same emotional reaction I originally had with Horns and Wigs. I chose works that inspired me and made my chest ache with jealousy for the talent of the artists who produced them.
The works range from traditional
and Lisa West. For connecting me with artists
hand-cut Japanese kirie to laser-cut works and
and tracking down works available to borrow, I
large-scale sculptural installations. Artists of
would like to thank Long & Ryle Gallery, London,
diverse backgrounds, ages, and career levels
and Freight + Volume Gallery, New York.
have all come together to form an exhibition
that embodies the excitement I feel when I look
been able to put together this remarkable show.
at these works.
Thank you to the Gallery Advisory Committee,
especially Jenni Freidman and Mark Snyder for
Our roster of 37 artists includes well-known
Without my local team, I would never have
names in the cut paper world alongside those
their support and travel companionship. Thank
whose names you may not recognize but won’t
you to Chris Nelson and Kari Gatzke for their
soon forget. These artists transform the most
flawless installation and patient art handling.
basic medium of paper into a magical, one-of-a-
Thank you to interns Jenna Collins and Kyle
kind work with the care and precision of a
Garron for their catalog research. And one more
surgeon. They slice and assemble, they remove and
enormous thank-you to Mark Snyder for his
recreate. They make works that are guaranteed to
mind-reading skills in designing a catalog that
stun you into asking, “Is that made of paper?”
was exactly what I didn’t know I wanted.
In her artist’s statement, Mia Pearlman—
I hope that you enjoy this exhibition and
whose three sculptural wall pieces are included
that it continues to haunt you and inspire you
in this show—describes her work as existing in
for days and months to come.
“the moment between creation and destruction.” There is no more fitting description for cut paper work. Our entire exhibition lives somewhere
Lisa Gaumond, Managing Director
between creation and destruction.
Hartford Art School Galleries
University of Hartford
I am humbled and stunned by the work that
has been lent to this exhibition. Curating this show has been a surreal experience of wishes come true. The generosity and pure enthusiasm shown by the artists, galleries, and lenders who contributed work have made the past year of creating this exhibition an honor.
I would like to thank Central Booking NYC,
Couturier Gallery, George Adams Gallery, Higher Pictures, Jayne H. Baum Gallery, LeRoy Nieman Center for Print Studies, Littlejohn Contemporary, Margaret Thatcher Projects, Martha Otero Gallery, Robert Miller Gallery, Spoke Art Gallery, and The Cartin Collection for lending work to this show. A special thanks to the generous collectors who have allowed us to borrow works from their personal collections, including Dr. Steven Kramer, Peter Hirschl and Lisa Silvestri, 3
paper is alive
As Picasso once famously stated, “Every act
storytelling remained the main purposes for
of creation is first an act of destruction.” This
these paper cutouts, although they were also
quote rings particularly true of the works created
used for traditional celebrations and gift giving.
by cut paper artists. These individuals create
In Japan a variation of origami involving cutting
works of art by removing, destroying, or building
and folding became known as kirigami. In Ger-
upon the raw material until a final expressive
many and Switzerland paper cutting was known
piece is complete. These results are painstaking
as scherenschnitte. It was called knippen in the
to achieve, inspiring, unexpected, and worthy
Netherlands, wycinanki in Poland, and papel
of an honest discussion as to why this some-
picado in Mexico. In France silhouettes—thought
times-obscure art form should be nurtured and
to be derisively named after mid-18th-century
encouraged to thrive.
finance minister Étienne de Silhouette—became
all the rage. This stylish technique of paper
Paper cutting, as an art form, originated in
China in the 6th century AD. Early Chinese paper
cutting was enjoyed by the elite as a way of
cuts, called jianzhi, were traditionally two-
capturing family portraits and images before the
dimensional works most commonly cut from red
invention of photography.
paper. Used mainly as ceremonial and decorative
elements for women’s hair, these cut paper
for communication, paper’s artistic uses became
pieces eventually became commonplace and
less emphasized, and paper cutting fell out of
were used to decorate gates and windows of
fashion. In more recent years, with advances
private homes. The subject matter depicted by
in technology and digital communication, it
the first paper artisans varied from animals and
has been said that paper itself is on its way out,
nature to scenes of everyday life and themes of
that eventually it will become unnecessary for
health, prosperity, and harvest.
our daily lives. What those who share this belief
fail to realize is that although paper’s place in
Chinese paper cutting techniques eventually
As it became more widely accepted as a tool
made their way to the Middle East and Europe,
communication is on the decline, paper is very
with each country adapting the aesthetic to
much alive as a means of artistic expression. So
create its own cultural style. Decoration and
much so that it seems to stand as an antithesis to
the technology that surrounds us on an everyday basis. Transforming this simple material with the use of equally simple methods is opposite to the efficiency that technology offers as a way to move forward. It reminds us of an inspirational and simpler past and provides a means to express ideas without the use of modern tools or conveniences.
Layering is a common thread found in altered
book designs that showcase works as varied as they are inventive. Several of the artists in this exhibition have created excellent examples of how literary works can be reinterpreted using the books themselves as the medium—a base from which to start or the central part of the artwork itself.
Static moments in time, textures that evoke
feelings, and illustrations that are graphic and direct can all be produced with the simple use of paper. Add destruction by cutting, folding, and tearing, and construction by gluing, layering, and printing, and the opportunities for delivering a message with this ubiquitous medium are limitless.
The origins of paper cutting may have been
traced to China, but its ownership cannot be attributed to one culture or type of artist alone. Like an organic being, it has been plied, expanded, and transformed by each culture and country it reaches. The simplicity of the medium and its tools makes it possible for artists from any background or location in the world, with the simplest of supplies, to explore this form of art. A practice that requires precision, patience, and deliberate choices, it offers the joy of working at a personal pace with unlimited range and scale. Paper cutting’s uncommon versatility makes one wonder why the art form isn’t more prevalent in the world today. To the artists in this exhibition, and for many more working in this fascinating and limitless medium, however, paper is indeed alive and well. 5
Hand-cut paper, 2,696 cuts 32 x 32 inches Courtesy of the artist and Jayne H. Baum Gallery, New York
The intricate work of Jaq Belcher is meditative and still. Practicing conscious precision, her repetitive cuts are counted and cataloged, making each work a record of her personal exploration. In Golden Triangle (2011), the viewer is invited to explore the 2,696 petal-shaped cuts, searching through the chaos for the shape attributed in the work’s title. In Spiral Set Three (2011), the mind is tricked into wondering if the 2,001 cuts are leaning out or in.
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Hand-cut paper, 2001 cuts 30 x 30 inches Courtesy of the artist and Jayne H. Baum Gallery, New York
Su Blackwell uses “irreversible, destructive processes to reflect on the precariousness of the world we inhabit and the fragility of our life, dreams and ambitions” 3 by cutting through cherished storybooks. In Gormenghast’s Castle (2013) she interprets the fictional castle that is featured in a series of fantasy works by Mervyn Peake. The castle grows out of the book, sculpted by the pages, giving the feeling that the story is coming to life. The dreamlike storybook aura is enhanced by the visible text and extraordinary detail in the rendering of the ivy-covered castle, complete with resident owls in mid-flight.
10
Hand-cut book sculpture 10 x 14 x 13.5 inches Courtesy of Lisa West
BĂŠatrice Coron invites the viewer into her “narrative allegoriesâ€?1 with astounding detail, transforming the common construction material of Tyvek into a vast world humming with activity. In Times2 (2014), no corner is left untouched; every inch offers a story within a story. The cityscape has angular forms and architectural pervasiveness with lively human interaction.
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Cut Tyvek 44 x 44 inches Courtesy of the artist
Guy LaramÊe carves an intricate, mountainous landscape from a full set of the final edition of the Encyclopedia Britannica, creating a haunting work titled, appropriately, Adieu (2014). The chiseling away of the pages makes craters and valleys that are compelling in their execution and help deliver the artist’s message of the erosion of culture as a whole, while offering a parallel commentary on the death of the printed encyclopedia.
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Carved set of 24 encyclopedias, archival paint, ink 39 x 9 x 12 inches Courtesy of the artist and Jayne H. Baum Gallery, New York
Mia Pearlman’s sculptural work, ROIL (2012), demonstrates the artist’s prodigious talent for creating organic, liquid, cloudlike shapes. Pearlman’s works are examples of what she considers three-dimensional drawings using the interplay of negative space, shadows, and layers of paper to create endless points of view and unexpected impact.
16
Paper, India ink, monofilament 75 x 92 x 8 inches Courtesy of the artist
Spatial relationships is an important characteristc in Sarah Sze’s Notepad (2008). In Sze’s work a ruled notepad is transformed to create a structural sculpture that, with the help of a single thumbtack, forms an elaborate impression of a building’s exterior. The fire escape and ladder give the piece an architectural and playful feel.
18
Offset color lithography, laser-engraved paper, board 22.5 x 11 x 8 inches with 31-inch ladder inches Courtesy of LeRoy Nieman Center for Print Studies
Randal Thurston’s hand-cut, installation-specific works develop according to the location where they will be viewed. He chooses to surprise the viewer, including unexpected visual notes to make his work more than simply decorative in nature. Thurston’s work—particularly All Souls (details, 2014), the piece created for this exhibition—explores the themes of beauty and mortality with organic, amorphous shapes that intertwine with one another and with the glowing shadows created on the gallery walls.
20
Cut and painted paper 144 x 360 inches Courtesy of the artist
Symmetry can be a powerful way to tell a silhouette story, and Lane Twitchell chooses this approach for This Is the Place or In Our Lovely Deseret (1998). The intricacy of this design leaves no area uncut and is, in essence, a beautiful paper lace illustration or “material-based painting solution.�2 The viewer is further drawn in by the combination of recognizable shapes with more geometric and repetitive areas.
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Cut paper and pastel 51 x 51 inches Courtesy of The Cartin Collection
Hand-cut black paper 34 x 36 inches Courtesy of George Adams Gallery
The addition of acrylic overpainting elevates the work of Kako Ueda to a modern, playful exploration of traditional Japanese kirie. The interplay between human forms and organic shapes in Reciprocal Pain (2009) creates an illusion of depth, and Faces (2013) showcases Ueda’s precision knife work and imaginative storytelling.
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Acrylic and string on hand-cut paper 94 x 59 x 2 inches Courtesy of George Adams Gallery
Examples of layering that provide an emotional and visual message are the terraria of Crystal Wagner. These works, like Wild Efflux (2014), which are screen printed before being cut and assembled, are intricately layered and lush in color contrasts, textures, and dimensionality.
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Cut paper, screen print, wood, paint 72 x 6 x 25 inches Courtesy of the artist and Spoke Art Gallery
*Three original artworks were created by the artist for this exhibition but were not available to photograph at the time the catalog went to press. The image shown is an alternate work of similar style.
JAQ BELCHER
SU BLACKWELL
b. 1970, Melbourne, Australia Lives in New York, NY
b. 1975, Sheffield, England Lives in London, England
Education
Education
MA Arts Administration, University of New South Wales College of Fine Arts, Sydney, Australia BFA Fine Arts, Royal Melbourne Institute of Technology, Melbourne, Australia
2003 2000
Selected Solo Exhibitions 2011 2005
Suchness, Tinney Contemporary, Nashville, TN Preliminary Realms, Haven Gallery, Bronx, NY
Selected Group Exhibitions 2011 2010 2010 2009 2009 2008 2008 2008 2008 2008 2007 2006 2006 2006 2005 2005
Divergent Affinities, Wexler Gallery, Philadelphia, PA The West at Sunset, Abrons Art Center, New York, NY Cut It Up, Anne Street Gallery, Newburgh, NY Drawing, Margaret Thatcher Projects, New York, NY Cutters, Hunterdon Museum of Art, Clinton, NJ; Hunter College Gallery, New York, NY Process/Presence, Art League of Long Island, Long Island, NY 183rd Annual: An Invitational Exhibition of Contemporary Art, National Academy of Design, New York, NY Solos, Haven Arts, Bronx, NY White Out, 3 East 66th St., New York, NY Drawing Revealed, Garrison Art Center, Garrison, NY Bronx Studio Art Tours, Bronx, NY Paperworks, Charles Hewitt Gallery, Sydney, Australia 13 Women on 13 Walls, Haven Gallery, Bronx, NY Slowly, Slowly, Kudos Gallery, Sydney, Australia Visual Aids, Robert Miller Gallery, New York, NY Cork Gallery, Lincoln Center, New York, NY
Awards 2008 2005 2004 2003 1993
30
Dessie Greer Award for Graphics, National Academy Museum Mary Hinman Carter Prize, National Academy School of Fine Arts Mixed-Media Award, cash prize, National Academy School of Fine Arts Highly Commended, Drawing, National Academy School of Fine Arts Fresh Award for Emerging Artists, Craft Victoria
MA, Royal College of Art, London, England BA, Bradford College of Art and Design, Bradford, England
Selected Solo Exhibitions 2012 2012 2011 2010 2010 2009 2008
Stories from the Enchanted Forest, Long & Ryle, London, England Pretty Maid Ibronka, Faculty of Fine Arts, Cetinje, Montenegro Selected Works, The Center for Book Arts, New York, NY Happily Ever After, Long & Ryle, London, England Remnants, The Brontë Parsonage Museum, Haworth, England All the Things I Love Are Going to Disintegrate, The Scottish Gallery, Edinburgh, Scotland To Take Us Lands Away, Long and Ryle, London, England
Selected Group Exhibitions 2012 2011 2009 2009 2008 2006
The First Cut, Manchester Art Gallery, Manchester, England Ghosts of Gone Birds, Liverpool School of Art, Liverpool, England Can Art Save Us?, Millennium Gallery, Sheffield, England Slash: Paper Under the Knife, Museum of Arts and Design, New York, NY 8th East Wing Collection, The Courtauld Institute of Art, London, England Mostyn Open 2006, Oriel Mostyn Gallery, Llandudno, Wales, England
Awards 2012 2011 2007
The Fairy Tale Princesses “Thames and Hudson”, Crescer’s 30 Best Children’s Books of 2012 Window display for Nicole Farhi, London stores, winner of VM & Display Awards, Best Christmas Window Beringer “Vineyard” commercial, voted Best Ad on TV
BÉATRICE CORON
GUY LARAMÉE
b. 1956, Lyon, France Lives in New York, NY
b. 1957, Montréal, Québec, Canada Lives in Montréal, Québec, Canada
Education
Education
École des Beaux-Arts, Lyon, France
2004 2002 2000
Selected Solo Exhibitions 2014 2013 2012 2012 2011 2010 2008 2007 2006 2005 2005 2004 2004 2003 2003 2001 2001 2001 2014 2014 2014 2014 2014 2014 2014 2014 2014 2014 2014 2014 2013 2013 2013 2013 2013 2013 2013 2013
Villes en Folies, Chez les Libraires Associés, Paris, France Stories by a Thousand Cuts, Watershed Gallery, Ridgefield, CT Récits d’Abysses et Autres Histoires, Médiathèque Louis Notari, Monaco Dreams in White, Patchogue Theatre for the Performing Arts, Patchogue, NY Papercut Stories, The Flinn Gallery, Greenwich, CT The Identity Series, Aferro Galerie, Newark, NJ City Slices, Grady Alexis Gallery/El Taller Latino Americano, New York, NY The Secret Life of Cities, Lehmann College Art Gallery, Bronx, NY Rear Window, Asuka Gallery, Kanoya , Japan Personal Cities, Brooklyn Public Library, Brooklyn, NY Cutting Edge, Quincy Art Center, Quincy, IL Dessiner avec des Ciseaux, Maison des Mémoires, Carcassonne, France The Spelling Spider and Other Cuts, Azarian-McCullough Art Gallery, Sparkill, NY Fresh Cuttings, Alhum Gallery, Easton, PA SagaCity, The Cutting Edge, Chicago Center for Book & Paper Arts, Chicago, IL Papiers Découpés, Musée de l’Hospice Saint-Roch, Issoudun, France Livres et Découpes, Librairie Nicaise, Paris, France Le Prêt-à-Rêver, Terre de Chine, Paris, France Selected Group Exhibitions Fabergé Big Egg Hunt, Rockefeller Center, New York, NY Papercuts, Muskegon Museum of Art, Muskegon, MI Made in Metal, Light Art & Design, Chapell Hill, NC Whimsy, Watershed Gallery, Ridgefield, CT Obsession, Tabla Rasa, Brooklyn, NY Shifu Art, Library of UP, Baguio City, Philippines L’Art du Papier Découpé, 87400 Saint-Léonard-de-Noblat, France Fold, Paper, Scissors, Mesa Contemporary Arts Museum, Mesa, AZ Architectures de Papier, Château de la Roche Jagu, Ploëzal, France Deep Roots, El Pueblo—Pico House, Los Angeles, CA Uncanny Spaces, Bennington College, Bennington, VT Common Descent, Central Booking, Manhattan, NY The Art of Storytelling, American Visionary Art Museum, Baltimore, MD Architectures de Papier, Cité de l’Architecture, Paris, France Sprawl, Houston Center for Contemporary Craft, Houston, TX Shadow and Light: Contemporary Papercuts, Tinney Contemporary, Nashville, TN PaperWorks: Let the Magic Unfold, LaBrea Art Gallery, Los Angeles, CA The First Cut, Djanogly Art Gallery, Nottingham, England The Art and Science of a Remarkable Material, Berkshire Museum, Pittsfield, MA Directed: The Intersection of Book, Film, and Visual Narrative, Center for Book Arts, MN
MA Université du Québec à Montréal, Montréal, Québec, Canada MA Concordia University, Montreal, Québec, Canada BFA Concordia University, Montreal, Québec, Canada
Selected Solo Exhibitions 2012 2012 2012 2011 2011 2011 2010 2010 2010 2007 2007 2007 2007 2007
The Cave, Pertwee, Anderson & Gold, London, England Attacher les Roches aux Nuages, Centre Expression, Ste. Hyacinthe, Québec, Canada Guan Yin, Galerie d’Art Outremont, Montréal, Québec, Canada La Grande Muraille, Galerie Lacerte, Montréal, Québec, Canada The Great Wall, curated by Alex Campo, Center for Book Arts, New York, NY Le Pont, curated by Manon Regimbald, Centre d’Exposition de Val David, l’Église, Val-David, Quebéc, Canada Pluie, Galerie Orange, Montréal, Québec, Canada Le Sacrifice, Galerie Orange, Montréal, Québec, Canada Le Nuage d’Inconnaissance (The Cloud of Unknowing), CIRCA, Montréal, Québec, Canada Refuges, Praxis, Sainte-Thérèse, Québec, Canada Refuges, Galerie Lacerte, Québec City, Québec, Canada Biblios and Les Autels Domestiques, Axe Néo7, Hull, Québec, Canada Biblios, Espace Virtuel, Chicoutimi, Québec, Canada Biblios, Horace, Sherbrooke, Québec, Canada
Selected Group Exhibitions 2013 2013 2012 2011 2011 2011 2011 2011 2010 2010 2010 2009 2009
PaperWorks: The Art and Science of an Extraordinary Material, The Berkshire Museum, Pittsfield, MA Rebound: Dissections and Excavations in Book Arts, curated by Karen Ann Myers, Halsey Institute, Charleston, SC A Cut Above: 12 Paper Masters, curated by Diana Ewer, Christopher Henry Gallery, New York, NY Otherworldly, curated by Maddy Rosenberg and David McFadden, Museum of Arts and Design, New York, NY Earthworks, Central Booking, New York, NY Biennale du Lin, curated by Danielle Lord, Église de Deschambault, Québec, Canada Trifold: New Perspectives on Book Arts, curated by Yuko Nii, Williamsburg Art and Historical Center, New York, NY I Will Cut ThrU, curated by Alex Campos, The Barbara Walters Gallery, Heimbold Visual Arts Center, Sarah Lawrence College, Bronxville, NY L’Anti-Sublime, curated by Rafael Sottolichio, Maison de la culture Mont-Royal, Montréal, Québec, Canada Altered Books: A New Object, curated by Elizabeth Brown, Untitled, Oklahoma City, OK I Will Cut ThrU, curated by A. Campos, A. Macmillian, Center for Book Arts, New York, NY Toronto Art Fair, Galerie Lacerte, Toronto, Ontario, Canada Altered States: Artists Re-imagine the Book, Reed Whipple Cultural Center, Las Vegas, NV
MIA PEARLMAN
SARAH SZE
b. 1975, New York, NY Lives in Brooklyn, NY
b. 1969, Boston, MA Lives in New York, NY
Education
Education
1996 BFA, Cornell University College of Art, Ithaca, NY
1997 1991
Selected Solo Exhibitions 2011 2009 2008 2006 2004 2003
Mia Pearlman, The Study at Morgan Lehman Gallery, New York, NY Mia Pearlman: Maelstrom, Montgomery Museum of Fine Arts, Montgomery, AL Mia Pearlman: Paperstorms, Septième Étage, Geneva, Switzerland Cloudscapes, Ten Tents Art Lab, Beacon, NY Baited Breath, 31 West 21, New York, NY Lastoprexit, 31 West 21, New York, NY
Selected Group Exhibitions 2014 2014 2013 2012 2012 2011 2011 2010 2010 2010 2010 2009 2009 2009 2009 2009 2009 2008 2008 2008 2008 2008
Paper Work, Center for Visual Art, Metropolitan State University of Denver, Denver, CO PULP, Cohen Gallery, Alfred University, Alfred, NY Myths and Legends, Goyang Aram Nuri Aram Gallery, Goyang, Korea 40 under 40: Craft Futures, Renwick Gallery, Smithsonian American Art Museum, Washington, DC The First Cut, Manchester Art Gallery, Manchester, England Thinking through Drawing, Macy Gallery, TC, Columbia University, New York, NY PUSHING PAPER, A.D. Gallery at UNC Pembroke, Pembroke, NC Painting and Sculpture, Lehmann Maupin Gallery, New York, NY Crazy Beautiful, Kenise Barnes Fine Art, Larchmont, NY Escape from New York, The Fabricolor Building, Paterson, NY Mark, Paper, Scissors, Roos Arts, Rosendale, NY Slash: Paper Under the Knife, Museum of Arts and Design, New York, NY Weather Channel, Islip Art Museum, Islip, NY 10th Anniversary Show, Mixed Greens Gallery, New York, NY Drawing 2009, The Drawing Room, London, England Add and Subtract, Gallery Kayafas, Boston, MA Cutters, Hunterdon Museum/Hunter College, Hunterdon, NY All Cut Up, Roebling Hall, New York, NY Paper City, Mixed Greens Gallery, New York, NY Site Specifics ’08, Islip Art Museum, Islip, NY Site 92: Phase II, Smack Mellon, Brooklyn, NY I Wonder If You Know What It Means?, Sears Peyton Gallery, New York, NY
Awards 2011 2011 2011 2011 2009 2008
Bogliasco Fellowship, Liguria Study Center in Bogliasco, Italy Artist Fellowship, New York Foundation for the Arts Robert Sterling Clark Visual Arts Space Award The Marie Walsh Sharpe Art Foundation Space Program Award UrbanGlass Visiting Artist Fellowship for Established Artists Grant Foundation for Contemporary Arts Emergency Grant
MFA, School of Visual Arts, New York, NY BA, Yale University, New Haven, CT
Selected Solo Exhibitions 2014 2013 2012 2012 2011 2011 2011 2011 2010 2010 2009 2008 2007
Sarah Sze: Triple Point, United States Pavilion, Giardini della Biennale, 55th International Art Exhibition, La Biennale di Venezia, Venice, Italy Sarah Sze, Fabric Workshop and Museum, Philadelphia, PA Sarah Sze, Victoria Miro Gallery, London, UK Sarah Sze, MUDAM Museum, Luxembourg City, Luxembourg Sarah Sze: Infinite Line, Asia Society Museum, New York, NY The Distance Where Magnets Pull, University of California–San Francisco, San Francisco, CA Still Life with Landscape (Model for a Habitat), The High Line, New York, NY Sarah Sze, Musée d’art modern et d’art contemporain, Nice, France Sarah Sze, Tanya Bonakdar Gallery, New York, NY Momentum and Its Conservation, Mott Haven School, New York, NY Sarah Sze: Tilting Planet, Baltic Centre for Contemporary Art, Newcastle, UK Sarah Sze, Maison Hermès 8F Le Forum, Tokyo, Japan Sarah Sze, Victoria Miro Gallery, London, UK
Selected Group Exhibitions 2013 2013 2013 2012 2012 2012 2012 2012 2010 2010 2010 2010 2009 2009 2009 2008 2008 2008
Still Life with Flowers, Ekebergparken Sculpture Park, Oslo, Norway Poétique d’objets (Poetics of Objects), LAAC, Lieu d’Art et d’Action contemporaine, Dunkerque, France Drawing Line into Form: Works on Paper by Sculptors from the Collection of BNY Mellon”, Tacoma Art Museum, Tacoma, WA Fast Forward: Modern Moments 1913 >> 2013, High Museum of Art, Atlanta, GA; organized by the Museum of Modern Art, New York, NY Diamond Leaves: Brilliant Artist Books around the World, CAFA Art Museum, Beijing, China Misled by Nature: Contemporary Art and the Baroque, Art Gallery of Alberta, Canada Decade: Contemporary Collecting 2002–2012, Albright-Knox Art Gallery, Buffalo, NY Do a Book, White Space Beijing Gallery, Beijing, China Transformation, Museum of Contemporary Art, Tokyo, Japan Multiple Pleasures: Functional Objects in Contemporary Art, Tanya Bonakdar Gallery, New York, NY American Printmaking Now, National Art Museum of China, Beijing, China (traveling exhibition) Contemplating the Void: Interventions in the Guggenheim Museum, Solomon R. Guggenheim Museum, New York, NY Xth Biennale de Lyon: The Spectacle of the Everyday, Biennale de Lyon, Lyon, France Hundred Stories about Love, 21st Century Museum of Contemporary Art, Kanazawa, Japan The Collection, Victoria Miro Gallery, London, UK International 08: Made Up, Liverpool Biennial, Liverpool, UK Landscope, Galerie Thaddaeus Ropac, Paris, France Artists in Depth: Works from the MCA Collection, Museum of Contemporary Art, Chicago, IL
Awards and Residencies 2013
32
US Representative for the Venice Biennale
2012 2012 2012 2005 2003 2003 2002 1999 1997 1997 1997 1996
American Federation of the Arts Cultural Leadership Award Laurie M. Tisch Award for civic responsibility and action and significant leadership in education, arts, culture, civic affairs and/or health AICA Award for Best Project in a Public Space, Sarah Sze, Still Life with Landscape (Model for a Habitat), The High Line, New York, NY Radcliffe Institute Fellow MacArthur Fellow Lotos Club Foundation Prize in the Arts Atelier Calder Residency, Saché, France Louis Comfort Tiffany Award The Marie Walsh Sharpe Foundation Studio Residency, New York, NY Rema Hort Mann Foundation Award Paula Rhodes Memorial Award School of Visual Arts Graduate Fellowship
RANDAL THURSTON b. 1957, Fall River, MA Lives in Somerville, MA Education 1983 1979
MFA, School of the Museum of Fine Arts/Tufts University, Boston, MA BFA, University of Massachusetts, Dartmouth, MA
Selected Exhibitions 2014 2013 2013 2012 2011 2010 2008 2007 2006
On the Wall, Gallery Naga, Boston, MA Still Life Lives!, Fitchburg Art Museum, Fitchburg, MA The Language of Form, Broad Institute of MIT and Harvard, Cambridge, MA Contemporary Drawing with South Coast Connections, New Bedford Art Museum, New Bedford, MA Cannot Be Described in Words: Drawings Expanded, Concord Art Association, Concord, MA As Above, So Below, Laconia Gallery, Boston, MA Highlight: Randal Thurston’s Kingdom, DeCordova Sculpture Park and Museum, Lincoln, MA The Night Garden, University of Alabama, Tuscaloosa, AL Wunderkammern, Fuller Craft Museum, Brockton, MA
Awards and Commissions Cambridge Arts Council commission for public art project for Cambridge River Festival Cambridge Arts Council commission for public art project for Yerxa Road Underpass Montserrat College of Art, Artist Residency Somerville Arts Council Award in the Visual Arts New England Foundation for the Arts Regional Fellowship in the Visual Arts
LANE TWITCHELL
KAKO UEDA
b. 1967, Salt Lake City, UT Lives in Brooklyn, NY
b. 1966, Tokyo, Japan Lives in Brooklyn, NY
Education
Education
MFA, School of Visual Arts, New York, NY BFA, University of Utah, Salt Lake City, UT
1999 1989
Selected Solo Shows
Selected Solo Exhibitions
2008 2007 2005 2004 2004 2002
Leap with Me, Roebling Hall, New York, NY Revelation: Lane Twitchell, Drawing & Painting, Schweinfurth Memorial Art Center, Auburn NY Here & There, Greenberg Van Doren Gallery, New York, NY American Paradigms: David Opdyke and Lane Twitchell, Corcoran Gallery of Art, Washington, DC Foursquare, G Fine Arts, Washington DC Private Property, Artemis Greenberg Van Doren Gallery, New York, NY
2010 2008 2007 2007
MFA, Pratt Institute, Brooklyn, NY BFA, Tufts University/School of Museum of Fine Arts, Boston, MA
Flora/Fauna: Kako Ueda and Roxanna Jackson, Union Gallery, University of Wisconsin, Milwaukee, WI Totem, George Adams Gallery, New York, NY Kako Ueda: Recent Paper Cutouts, George Adams Gallery, New York, NY Kako Ueda and April Vollmer: Flowers and Insects, Steinhardt Conservatory Gallery, Brooklyn, NY
Selected Group Exhibitions Selected Group Exhibitions 2009 2009 2009 2008 2008 2006 2006 2006 2006 2006
Slash: Paper Under the Knife, Museum of Arts and Design, New York, NY The Second Biennial of the Canary Islands, Architecture, Art and Landscape, Santa Cruz de Tenerife and Las Palmas de Gran Canaria, Canary Islands Four Paper Artists, Mariboe Gallery, Peddie School, Hightstown, NJ The Deadliest Catch, The Core Club, Southampton, NY, curated by Michael Sellinger Cutting Fine, Cutting Deep: Cut Paper Works from Switzerland and North America, The University of the South, Sewanee, TN The Searchers, Whitebox, New York, NY Redefined: Modern and Contemporary Art from the Collection, Corcoran Gallery of Art, Washington, DC Drawings III (selected), G-Module, Paris, France Loveless (the shoegazer show), Team, New York, NY I Love the Burbs, Katonah Museum of Art, Katonah, NY
Awards 2003 2000 1999 1998 1998
New York Foundation for the Arts, Craft Fellowship Residency, Wier Farm Trust, Wilton, CT New York Foundation for the Arts, Drawing Fellowship Rema Hort Mann Foundation Grant P.S.1 National Studio Program
2012 2012 2011 2011 2010 2010 2010 2010 2010 2009 2009 2009 2009 2009 2009 2009 2008 2008 2008
Artists’ Ink, George Adams Gallery, New York, NY Fairytales, Fantasy, and Fear, Mint Museum of Art, Charlotte, NC 43rd Collectors Show and Sale, Arkansas Art Center, Little Rock, AR Rock/Paper/Scissors, Clark Gallery, Lincoln, MA Animal Instinct: Allegory, Allusion, and Anthropomorphism, Kohler Art Center, Sheboygan, WI 2010 Collector’s Show, Arkansas Art Center, Little Rock, AR Summer Group Show: New and Classic, George Adams Gallery, New York, NY Irrelevant: Local Emerging Asian Artists Who Don’t Make Work About Being Asian, Arario Gallery, New York, NY Redefining Drawing, Jennifer Kostuik Gallery, Vancouver, British Columbia, Canada Slash: Paper Under the Knife, Museum of Arts and Design, New York, NY Paper Cuts, Mariboe Gallery, Peddie School, Hightstown, NJ Group Show, George Adams Gallery, New York, NY X: Mixed Greens 10th Anniversary Show, Mixed Greens Gallery, New York, NY Making It: Selections from the 2008 NYFA Mentoring Program for Immigrant Artists, Deutsche Bank Gallery, New York, NY Cutters, Leubsdorf Art Gallery, Hunter College, New York, NY Other, Other…High Visibility, Bronx Council on the Arts/Longwood Arts Project, Bronx, NY Drawn in the Clouds, Contemporary Art Kiasma, Helsinki, Finland Building Steam, Grossman Gallery, Lafayette College, Easton, PA Drawn to Detail, DeCordova Museum and Sculpture Park, Lincoln, MA
Awards 2008 2007 2006
34
Fellowship, Urban Artist Initiative, New York City NYFA Fellow for Printmaking/Drawing/Artists’ Books Smack Mellon Studio Program Fellow
CRYSTAL WAGNER b. 1982, Baltimore, MD Lives in Springville, PA Education 2008 2004 2002
MFA, University of Tennessee, Knoxville, TN BFA, Atlanta College of Art, Atlanta, GA AFA, Keystone College, LaPlume, PA
Selected Solo Exhibitions 2015 2014 2014 2014 2013 2013
Pseudo-Forms, P/M Gallery, Toronto, Canada Bio Interloper, ArtPrize, Urban Institute of Contemporary Art, Grand Rapids, MI Synesthesia, Hashimoto Contemporary, San Francisco, CA Vestibule, Ann Wright Wilson Gallery, Georgetown College, KY Hyperplastic, Fountain Gallery, Purdue University, West Lafayette, IN The Arboretum, University of South Carolina, Beaufort, SC
Selected Group Exhibitions 2014 2014 2014 2014 2013 2013 2013 2013 2013 2013
Screen Print Biennial, Troy, NY LoveArt Contemporary Art Fair, w/ P/M Gallery, Toronto, Ontario, Canada Artmrkt Contemporary Art Fair, with Hashimoto Contemporary, San Francisco CA Paper Cuts, Spoke Art Gallery, San Francisco, CA Space/Squared, White Walls Gallery, San Francisco, CA Flirting with Abundance, Artspace, Raleigh, NC Beyond Eden Art Fair, Thinkspace Gallery, with Spoke Art Gallery, Los Angeles, CA Scope Art Fair, Hashimoto Contemporary, Miami, FL The Color Wheel, HereArt Gallery, New York, NY A Paper Affair, Kennesaw State University, GA
Awards 2014 2004
McClelland Sculpture Award and Survey Exhibition, McClelland Sculpture Park + Gallery, Melbourne, Australia Undergraduate Southern Graphics Council Fellowship
1. Béatrice Coron, “Cut Stories Statement,” Béatrice Coron, 2013, www.beatricecoron.com. 2. Brian Evenson, “In Conversation: Lane Twitchell,” The Brooklyn Rail, Phong Bui, publisher, February 1, 2004, www.brooklynrail.org. 3. Su Blackwell, “Profile,” Su Blackwell, 2014, www.sublackwell.co.uk/profile. 4. Andrea Dezsö, “Artist Statement,” Andrea Dezsö, 2014, www.andreadezsö.com.