Yvette Drury Dubinsky: Dividing Time by Bruno David Gallery

YVETTE DRURY DUBINSKY Dividing Time: New Work on Paper

bruno david gallery

YVETTE DRURY DUBINSKY: Dividing Time: New Work on Paper May 14 - June 27, 2009 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Yvette Drury Dubinsky: Dividing Time: New Work on Paper Editor: Bruno L. David Catalog Designer: Yoko Kiyoi Printed in USA All works courtesy of Bruno David Gallery and Yvette Drury Dubinsky Cover Image: Yvette Drury Dubinsky. Breaking Open, Stems Falling (detail), 2009 55 x 40 inches (139.70 x 101.60 cm) Color coupler print mounted on acrylic panel Edition of 5 Copyright ÂŠ 2009 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

Contents

Essay by Peter Marcus Afterword by Bruno L. David Checklist of the Exhibition Biography

Essay by Peter Marcus 2

Yvette Drury Dubinsky’s exhibition, “Dividing Time” features two distinct bodies of work: oversized chromogenic prints of organic fruits and vegetables and monotypes with drawing and collaged layers. It is significant that these two series are shown simultaneously. Seemingly aesthetically unrelated, the dual focus of this exhibition illustrates the double focus of Dubinsky’s daily life and consciousness as well as the multiplicity of states and areas of concern we all go through as we play multiple roles. Dubinsky is at once internally and externally occupied, with change ongoing in several areas of her life. The exhibition is about time, time both divided by grand historical events and changes, and time in a personal sense, divided by the many experiences that one has and the multiple tasks that one does in one life. Simultaneous with her life as a studio artist, Dubinsky is an engaged mother of her three adult children and her time has involved traveling to visit them, keeping tabs on their human development and developing careers. She is occupied as well with her new grandchildren. In the past several years she has embarked on a new phase of life; exploring and traveling the world. At the same time that she is enjoying this time, its limitations and challenges have included confronting internal change and transformation; questions of aging, disease and longevity, a struggle with death. The large fruit and vegetable pieces are the latest in an ongoing series of antioxidant vegetables and fruits. They are partly an expression of Dubinsky’s interest in the magic of the way organic things look, and their variety in terms of line, color, shape. Also secondarily there is an interest in how they grow; their youth, peaks and ebbing. That they are nutrient-laden and medicinal on some level is equally relevant. Vegetable and fruit contours are similar to the lines and shapes that occur naturally on skin (former work was of over life size images of hands and the lines on fabric as it shows the girth of a body). Both the older work and this work reflect an interest in drawing as well as in aging and its inhibitors. She is fascinated with how line, shape, and color reveal the form and/or make patterns on a flat page. Dubinsky has been drawing since she was 11. She began studying it more seriously at 16 at the Art Institute of Chicago’s Saturday program for high school students.

The original idea for the show’s title came from a collage of disparate materials: maps of United States cities where Dubinsky’s children live, objects found on walks through St. Louis’ Forest Park and the beaches of Cape Cod, stamps from Moscow and the Hermitage in St. Petersburg, Russia, memories of a hospital in Soweto in South Africa, museums in Paris - all places where Dubinsky has spent time over the past several years. These ideas and materials are in the monotypes. There are texts, which feature Barak Obama’s speech on Race (“Transitions”, “Double type”), and information about the financial crisis (“Double type”) and other recent events, such as the Politics of the St. Louis Arch grounds (“To the Arch”). Recipes and mosquitos refer to Dubinsky’s vegetable garden (“September Tomatoes”) kept in Massachusetts in the summer. Helicopters (all Marine One) are flying around and there are five ways, including a Blackberry, to tell time. The helicopter can be found in “To the Arch”, “Transitions”, “Double type”, and “Goodbye George”. A timepiece is in “Transitions”. The original collage is a personal map in itself. The right side (East) contains a logo for the Museum of Modern art and a puzzle for New York’s Central Park, while the left side (West) has a San Francisco street map and lettering from the Discovery Museum. The word ART is carefully placed somewhere east of the middle and somewhat south, where St. Louis might be. There are photographs of pomegranates and leeks in it and also in “Transitions”, and a layer of abstract, gestural, watercolor printing serves as a background for the collage as well as the monotypes. This collage was both a reservoir for the ideas in the “Divided Time” exhibition and an attempt to integrate the ideas expressed separately in the Bruno David gallery exhibit.. Dubinsky did not think the work in progress, this collage, was complete enough to include in the show but the title of the collage seemed apt and remained. In the end both bodies of work are “process” driven, as well as about their content. Important is the making of the work, of finding and enjoying making one mark, (also one media idea) and then another. Making art (putting liquid and solid lines and color and form onto paper) is as important as the “subject” of the work, the healthiness and unnoticed beauty of the food

and the ideas of social change and personal experience. In the monotypes, the look of the watercolor (in the deep down first layer), painterly and transparent, combined with the sensuousness of the heavy paper is the primary ingredient. The words taken from current news and other readings and the cutouts of the helicopters, the timepieces and the fruit photographs are another form of mark. These are another size, for variation and interest. Of course, Dubinsky chose the helicopter because it resonated for her, it finally took George Bush away; but its shape was important. She wanted a mechanical, industrially produced shape juxtaposed with all the chaos of the random dots and pours, the out of control cells in her body, the data on the stock market fluctuations, the millions of people at the inauguration. “The art of making art is putting it together bit by bit. Putting it together…piece by piece.” Stephen Sondheim/George Seurat

-- Peter Marcus

Peter Marcus is an artist. He is Professor Emeritus at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and, the founder of the Washington University Collaborative Printmaking Workshop. This essay is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

Afterwords by Bruno L. David 6

I am pleased to exhibit a new series of works on paper by Yvette Drury Dubinsky at the Bruno David Gallery. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding. Yvette Drury Dubinsky’s remarkable and compelling works on paper make her one the most impressive artists of the gallery. Her recent and very large chromogenic prints show a continued fascination with the lines, textures, and colors found in natural forms. By enlarging and isolating what there is to see in common and less common vegetables and fruits, Dubinsky shows in a simple way why artists and designers throughout time have used the natural world as inspiration for making art, whether it is abstract or representational, sculptural or two-dimensional. These vegetables and fruits are pulled from their natural setting, cut, opened, rearranged, and enlarged to reveal more than is usually observed about their amazing nature. Though the artist does some placing, cutting, and cropping, the forms have a life of their own. They spill open and their insides fall out uncontrolled. The multi-layer monoprints and drawings also begin as simple meditations on shape, line, color, texture, and forms. The first layers, seemingly random shapes, bring to mind beautiful, colorful, and moving cells or galaxies. They appear uncomplicated, wild, and random, until upon further examination one observes machines and words mixed in with the more non-objective, simply sensual marks. The prints have a political and social concern within their layers as well as a general feel that mimics both a chaotic internal state and the current tumult in our economic and political world. Quoting Henri Matisse, producing art involves “a restructuring of time and space, a penetration into reality itself”. Dubinsky’s work is an illustration of that rearranging of time, an insight into an internal reality that resonates with our current socio-economic situation. Yvette Drury Dubinsky has exhibited her work widely, throughout the US and France. She received her B.A, M.A and M.F.A from Washington University in Saint Louis (Now Sam Fox School of Design and Visual Arts). She has also studied at the Art Institute of Chicago, Santa Reparata Print Studio in Florence, The Maine Photographic Workshop, and The Fine Arts Work Center in Provincetown, Massachusetts. A fully illustrated catalogue accompanies the exhibition.

Checklist of the Exhibition and Images

Breaking Open, Stems Falling, 2009 Color coupler print mounted on acrylic panel 55 x 40 inches (139.70 x 101.60 cm) Edition of 5 10

Moving Tentatively Now: Healthy Later, 2009 Color coupler print mounted on acrylic panel 55 x 40 inches (139.70 x 101.60 cm) Edition of 5 12

Tearing Away, Separating, 2009 Color coupler print mounted on acrylic panel 40 x 55 inches (101.60 x 139.70 cm) Edition of 5 14

Spilling Out, 2009 Color coupler print mounted on acrylic panel 40 x 55 inches (101.60 x 139.70 cm) Edition of 5 16

White Roots, 2009 Color coupler print mounted on acrylic panel 55 x 40 inches (139.70 x 101.60 cm) Edition of 5 18

Cutting for Concentric Circles, 2009 Color coupler print mounted on acrylic panel 55 x 40 inches (139.70 x 101.60 cm) Edition of 5 20

Flaring, 2009 Color coupler print mounted on acrylic panel 55 x 40 inches (139.70 x 101.60 cm) Edition of 5 22

Transitions, 2009 Monotype and mixed media on paper 30 1/2 x 42 inches (sheet size) 24

Double Type, 2009 Monotype and mixed media on paper 34 x 25 inches (sheet size) 26

Greenish Type, 2009 Monotype and mixed media on paper 30 x 22 inches (sheet size) 28

Blue Type, 2009 Monotype and mixed media on paper 30 x 22 inches (sheet size) 30

Redish Type, 2009 Monotype and mixed media on paper 30 x 22 inches (sheet size) 32

Can You See Duxbury, 2009 Monotype and mixed media on paper 11 x 11 inches 34

Orange Push, 2009 Monotype and mixed media on paper 11 x 11 inches 36

September Tomatoes, 2009 Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 38

To The Arch, 2009 Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 40

Thinking About Baragwanath, 2009 Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 42

BC 1, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 44

Goodbye George, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 46

Late Find, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 48

STL 2, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 50

Truro Shadows, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 52

Which Way?, 2009

Monotype and mixed media on paper 11 x 11 inches (27.94 x 27.94 cm) 54

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 56

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 58

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 60

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 62

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 64

Yvette Drury Dubinsky: Dividing Time: New Work on Paper at Bruno David Gallery, 2009 (installation view - detail) 66

Acknowledgments

Yvette Drury Dubinsky would like to warmly thank Robert Duffy, Linda Skrainka, John Dubinsky, Maggie Marcus and Eleanor Dubinsky.

YVETTE DRURY DUBINSKY Lives and works in St. Louis, Missouri and Truro, Massachusetts. EDUCATION 2000-08 2002 1990 1989 1987 1966 1964

Fine Arts Work Center, Provincetown, MA The Maine Photographic Workshops, Rockport, ME M.F.A., Printmaking, Washington University School of Art, St. Louis, MO The Maine Photographic Workshops, Rockport, ME Printmaking: Santa Reparata Graphic Arts Centre, Florence, Italy M.A., Sociology, Washington University, St. Louis, MO B.A., cum laude, Washington University, St. Louis, MO

SELECTED SOLO EXHIBITIONS 2009 2007 2006 2005 2003 2001 2000 1999 1994 1992 1991 1989

Bruno David Gallery, Dividing Time: New Work on Paper, St. Louis, MO, May. (Catalogue) Bruno David Gallery, Cité des Arts: Mixed Media, St. Louis, MO, April. (Catalogue) Cité Internationale des Arts Gallerie, Formes Biologiques, Paris, France Elliot Smith Gallery, Alternatives, St. Louis, MO (Curated by Bruno David) COA Art Gallery, Antioxidants and Alternatives, Truro, MA Bonsack Gallery, Cuba, St. Louis, MO Canyon Ranch Gallery, Antioxidant Vegetables and Fruits, Tucson, AZ Bonsack Gallery, Antioxidants Images: Works on Paper, St. Louis, MO Fleishman-Hillard Inc., Antioxidants Images: Works on Paper, St. Louis, MO Elliot Smith Contemporary Art, Works on/of Paper, St. Louis, MO Sazama Gallery, Contacts, Chicago, Il Elliot Smith Contemporary Art, New Work, St. Louis, MO Margaret Harwell Art Museum, Tactile Exteriors, Poplar Bluff, MO Martin Schweig Gallery, Surfaces, St. Louis, MO Meramec Theatre Gallery, Prints, St. Louis, MO

SELECTED GROUP EXHIBITIONS 2009 2008 2007 2006 2005 2004 2003 2002 2000 1999 1998 1997

Overview_09, Bruno David Gallery, St. Louis, MO Four Aces, Bruno David Gallery, St. Louis, MO (Traveling Exhibition) Overview_08, Bruno David Gallery, St. Louis, MO ArtsDesire, Contemporary Art Museum St. Louis, St. Louis, MO Rivulet, Bruno David Gallery, St. Louis, MO Metro, 2007, looped DVD projection, 3 minutes, Video by Yvette Drury Dubinsky and music composed by Axel Singer, Bruno David Gallery (new Media Room), St. Louis, MO Overview, Bruno David Gallery, St. Louis, MO Monoprint Projects, Fine Arts Work Center, Provincetown, MA Member Juried, Provincetown Art Association and Museum, Provincetown, MA Inaugural Exhibition, Bruno David Gallery, St. Louis, MO Women Only, Elliot Smith Contemporary Art, curated by Bruno David, St. Louis, MO Group Show, Photo District Gallery, NY, NY Twenty, Elliot Smith Contemporary Art, St. Louis Earth, Landscape and The Pamet, Ethan Cohen/Arthaus, Truro, MA SCOPE Art Fair, (With Ethan Cohen Fine Art, NY, NY) Miami Beach, FL Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Regarding Objects, The Sheldon Gallery, St. Louis, MO and Innsbrook Conference Center, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Show, Elliot Smith Contemporary Art, St. Louis New Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Sun Works, The Art Institute of Boston, Boston, MA Prints, Triton Museum, Santa Clara, California Contemporary Print Expo, Elliot Smith Contemporary Art, St. Louis, MO The People Project, St. Louis, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Of Self and World, St. Louis Art Museum and Innsbrook Estates, curated by Olivia Las Gonzales, St. Louis, MO Art, St. Louis Repertory Theatre, St. Louis, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Show, Hunt Gallery, St. Louis, MO Group Exhibition, Gallery 551, San Francisco, CA Group Show, Elliot Smith Contemporary Art. St. Louis, MO Group Show, East End Gallery, Provincetown, MA St. Louis, The City Series, Cedar Rapids Museum of Art, Cedar Rapids, IA Group Exhibition, Cherry Stone Gallery, Wellfleet, MA

1996 1995 1994 1993 1992 1991 1990 1988

NAWBO Awards Exhibition, St. Louis Art Museum, St. Louis, MO Group Exhibition, Elliot Smith Contemporary Art, St. Louis, MO Group Show, Cherry Stone Gallery, Wellfleet MA Sharing Images, Maryville University Gallery, St. Louis, MO Group Exhibition, The Saint Louis Art Museum, St. Louis, MO Group Show, Elliot Smith Contemporary Art, St. Louis, MO The Harbor, Provincetown Art Association and Museum, Provincetown, MA Absolutely Abstract, Elliot Smith Contemporary Art, St. Louis, MO The Box (From Duchamp to Horn), Ubu Gallery, New York, NY The Return of the Cadavre Exquis, The Forum for Contemporary Art, St. Louis, MO Group Exhibition, (California Society of Printmakers), Triton Museum, Santa Clara, CA New Work by Gallery Artists, Elliot Smith Contemporary Art, St. Louis, MO Group Exhibition, Chicago International Art Forms, Chicago, IL Gallery Artists, Sazama Gallery, Chicago, IL A compassionate Response to AIDS. The Design Center, St. Louis, The Return of the Cadavre Exquis, The Drawing Center, New York, NY Art St. Louis IX, Art Saint Louis Gallery, St. Louis, MO Summer Salon, Sazama Gallery, Chicago, IL US-Norway Exchange, Galleri Norske Grafikere, Oslo, Norway 510 Compton Show, Elliot Smith Contemporary Art, St. Louis, MO LAPS 93, Los Angeles, CA Crossroads, Art Festival, St. Louis, MO The Human Form, Metropolitan Square Building, St. Louis, MO Picture This, Atrium Gallery, St. Louis, MO VII Harwell Mail In Show, Margaret Harwell Art Museum, Poplar Bluff, MO Art St. Louis VII, Art Saint Louis Gallery, St. Louis, MO The Indomitable Spirit, The Greenberg Gallery, St. Louis, MO ACLU Biennial, Randall Gallery, St. Louis, MO National Exposures 90, Winston-Salem, NC Art St. Louis VI, Art St. Louis Gallery, St. Louis, MO Portrait, St. Louis Artists Guild, St. Louis, MO Thesis Exhibition, WU Gallery of Art, Washington University School of Art, St. Louis, MO Photography, St. Louis Artists Guild, St. Louis, MO Intimate Translations, The Hunt Gallery, Webster University, St. Louis, MO National Aperture 4, Associated Artists gallery, Winston-Salem, NC Prints and Drawings, St. Louis Artists Guild, St. Louis, MO Contemporary Women Artists VI, Bixby Gallery, St. Louis, MO

GRANTS & AWARDS Provincetown Art Association and Museum, National Finalist Competition/ National Association of Women Business Owners-St. Louis Honoree/ “Artists Choose Artists”/ Art St. Louis X/ First Place Purchase Award, Margaret Harwell Art Museum/ Honor Award, Art St. Louis BIBLIOGRAPHY Marcus, Peter. Stone, Harriet. Bonetti, David. Beall, Dickson Miller, Rob. Cooper, Ivy. Bonetti, David. Crone, Tomas. Beall, Hugh. Miller, Rob. Beall, Hugh & Griffin, William Bonetti, David. Sieloff, Alison. Bonetti, David. Murphy, Anne. Bonetti, David. ------------------ ----------------- ----------------- Cooper, Ivy. Cooper, Ivy. Duffy, Robert W. Bellos, Alexandra. Wasserman, Tina. James, Christopher. Weinstein, Michael.

“Yvette Drury Dubinsky”, Catalogue Essay, Bruno David Gallery Publications, May 2009 “Paris Palimpset”, Catalogue Essay, Bruno David Gallery Publications, April 2007 “Highlights”, St. Louis Post Dispatch, April 19, 2007 “Three’s Company”, West End Word, St. Louis, April 18, 2007 “’Over hung’ show or ‘Hung over’ critic?” Saintlouisart, November 17, 2005. “Bruno David Gallery: Inaugural Exhibition”, Riverfront Times, November 9, 2005. “Bruno David Gallery”, St. Louis Post Dispatch, November 9, 2005 “Bruno David to Open on Friday”, 52nd City, October 2005 “The Bruno buzz”, West End Word, October 26, 2005 “Bruno David Gallery: Inaugural Exhibition”, Saintlouisart, October 25, 2005 “Bruno David Gallery: Inaugural Exhibition”, Illusion Junkie, October 25, 2005. Web Video: http://illusionjunkie.blogspot.com/2005/10/bruno-david-inaugural-exhibition.html “Bruno David Gallery: Inaugural Exhibition”, St. Louis Post Dispatch, October 20, 2005 “Grand Grand Center”, Riverfront Times, October 19, 2005 “Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 “Art News”, The Healthy Planet, September 2005 “Art in 2004,” St. Louis Post-Dispatch, January 2, 2005 “----------------“, Cape Code Voice “----------------“, Provincetown Banner “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post-Dispatch, October 3, 2004. p. F6. St. Louis, MO. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29, 2004, St. Louis, MO. “Women Only”, Riverfront Times, April 28, 2004, St. Louis, MO “Tim Curtis...Yvette Drury Dubinsky: Alternative Photo Process with Mixed Media on Paper and Wood”, St. Louis Post-Dispatch, 1994, St. Louis, MO “Tim Curtis: Sculpture, Yvette Drury Dubinsky: Photography”, The Riverfront Times, 1994, St. Louis, MO “Yvette Drury Dubinsky”, New Art Examiner, 1994 The Book of Alternative Photographic Processes, Announcement Design “Contacts”, New City, 1994

Duffy, Robert W. “Subject, Ideas, Processes Make Harmonious Union”, St. Louis Post-Dispatch, 1992, St. Louis, MO Bellos, Alexandra. “Sketchbook: The Group Exhibition at the Blue Moon”, The Riverfront Times, 1991, St. Louis, MO Crets, Jennifer. “Variety Highlights Awards Exhibit”, St. Louis-Post Dispatch, 1991, St. Louis, MO Macias K. Patricia. “Art Honor Show Features 2-D Work”, The West End Word, 1991, St. Louis, MO Schmittendorf, Karen.“100 Works Offer Overview of St. Louis Art Scene”, St. Louis-Post Dispatch, 1990, St. Louis, MO Wolf, John-Paul. “Intimate Translations”, St. Louis Artists Coalition Newsletter, 1990 Shepley Ferring, Carol “Art St. Louis”, New Art Examiner, 1989 PUBLICATIONS - FILM The Book of Alternative Photographic Processes, Editions 1 and 2, Christopher James Announcement Design, Hand in Hand, Center for Contemporary Art, St. Louis, MO. Cover design “Ovations”, Brochure and Programs for Edison Theatre 1994-1995 Season, Washington University Truro Neighborhood Association, postcard design River Styx #34. Cover Design Yvette Drury Dubinsky, Dickson Beall, 4 minutes video, April 2007

ARTISTS Margaret Adams Dickson Beall Laura Beard Elaine Blatt Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Corey Escoto

Beverly Fishman Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Sandra Marchewa Peter Marcus

Patricia Olynyk Robert Pettus Daniel Raedeke Chris Rubin de la Borbolla Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Lindsey Stouffer Cindy Tower Ken Worley

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