SQUEAK CARNWATH HOW T HE MIN D W O RK S
SQUEAK CARNWATH
Catalogue © 2019 Frederick R. Weisman Museum of Art. Artworks by Squeak Carnwath © 2019 Artists Rights Society (ARS) New York. No part of this catalogue may be printed or reproduced without the artist’s permission. Publication made possible thanks to support from the Pollock-Krasner Foundation. This catalogue accompanies the exhibition Squeak Carnwath: How the Mind Works May 18 - July 28, 2019 Frederick R. Weisman Museum of Art Pepperdine University 24255 Pacific Coast Highway Malibu, CA 90263 Design: Julia Schwartz Photography: M. Lee Fatherree Cover image: Beginner, 2008. Oil and alkyd on canvas over panel, 70 x 70 inches.
SQUEAK CARNWATH HOW TH E MIN D W ORK S essay by Daphne Anderson Deeds
Frederick R. Weisman Museum of Art Pepperdine University May 18 - July 28, 2019
HOW TH E M I ND W O RKS Daphne Anderson Deeds
Squeak Carnwath is an uncommonly
the Mind Works.
An examination of
generous artist. Her expansive mind
four key pieces elucidates the exhibition
draws us in, including us as she muses
title. Beginner is a large work that can
and questions her way through each
be seen as a tutorial for understanding
painting. Philosophical, revelatory and
how and why a painting is made. Like the
often wry, Carnwath’s honed canvases
treasure maps Carnwath made as a child,
are observations of the human condition
Beginner invites us to “enter here”. Two
offered without pronouncements. We
abutted rectangles painted in different
feel the embrace of her compassionate
shades of pale pigment segment the
intelligence, allowing our minds to
space, becoming more nuanced as we
wander into our own conclusions.
consider them.
Carnwath renders her
canvases in bas-relief, lending the twoCarnwath uses an array of visual
dimensional three-dimensional depth.
systems to convey her polymathic mind.
We feel the corporeal substance of the
Universal symbols, personal references,
paint, because we can see the edges
topical information and scribed words
of her application. There are no tricks
function in tandem to convey personal
or gimmicks. Every part of each of her
truths and big concepts. Her ability to
paintings is evidence of her brush and
cohere seemingly disparate ideas into
her hand. She welcomes pentimenti
visual poetry entails a sophisticated
and detours, even as she applies more
sense of time. Like a Medieval painting
paint to an already laden passage. To
that depicts the journey as well as the
Carnwath, process is revelation.
destination,
Carnwath’s
is telescopic.
temporality
Each painting has an
Beginner’s veiled layers and brushed
implied history and a sense of the future
texture are punctuated by small, dark
unfolding.
In these well- articulated
vertical marks that pull us back to the
spaces, the mundane is at parity with
surface, reminding us that reality is
the sagacious, and it all makes sense.
always in tandem with illusion. Triangular
The clarity of the finished work derives
sections of the color wheel project like
directly from her well-examined life.
sign posts at the upper and right edges of the canvas, inserting their imperative.
Twenty-three paintings comprise How
A grey, impastoed area partially overlaps 5
one of the striated wedges, reiterating
many studio sessions. It is her stream of
that the expressive is tangential to the
consciousness writ large in paint. Using
rational. At the left, two octagonal forms
words as both abstract markings and
are grouped with a vigorous scribble,
content-laden text, she gives us a painting
aligning geometry and abstraction.
that captures her mental activity while
Carnwath’s objectives are laid bare in her
conveying a compelling sense of intimacy.
signature trompe l’oeil notebook page
From afar, the black script on the cream
telling herself, and thus the viewer, “All
field, punctuated by the occasional red
photos contain the death of the subject
underline, seems like an ancient text
– a photograph preserves something
on parchment. At closer range, we feel
which will cease to exist. Painting
almost voyeuristic as we read the artist’s
preserves ephemerality and the fragile”.
fleeting thoughts. The handwritten words
For Carnwath, painting is a Proustian
flow rhythmically across the canvas, and
language she uses to retain her elusive
variances in the size and density of the
thoughts as she seeks to make the
entries create an inherent pattern. A sense
philosophical tangible.
of urgency is palpable as the notations
Her paintings
are always in the present tense.
move from top to bottom, ever smaller and increasingly compacted. As the eye
Mental Chatter is the record of Carnwath’s
rests, different words and phrases leap
peripatetic
in
out, imparting meaning to each reader
paint. This graphic cacophony was
differently. Particularly prominent in the
accumulated during the course of
upper register is the statement, “The
mind
immortalized
Beginner, 2008. Oil and alkyd on canvas over panel, 70 x 70 inches. 6
Mental Chatter, 1999. Oil and alkyd on canvas, 48 x 48 inches.
search is now more arduous more time
space. With Nina, each segment of color
consuming more slow”. We read on,
is filled by block letters in a contrasting
and understand that Carnwath’s search
color spelling a Simone song title. These
may refer to the Truth, women’s rights,
honorific paintings have distinct palettes.
economic
the
Girls is in pinks and reds. Dylan’s songs are
Shakers, the legal system, and myriad
an array of greens. Nina is a more varied
other topics.
The transitory nature
suite of blues and pastels. The pattern
of the thoughts revealed also make
of the patchwork composition and the
Mental Chatter an emblem of mortality
variously sized words move together as
– moments of awareness caught in the
a whole across the canvas, like a musical
amber of paint.
score. And though Nina is a tribute to the
disparity,
Nabokov,
activist and her music, it is also the shared Carnwath often listens to music as she
memory of an iconic soundtrack that
paints. In recent years, she has made
immediately unites the artist and viewer.
a group of large paintings as homages to favorite musicians, including Bob
Many
Carnwath
(Bob Dylan), Edith (Edith Piaf), Nina
elements of her personal iconography.
(Nina Simone), and Girls – featuring
Though
song titles by female singers.
Her
symbols convey subconscious meanings.
quilt-like format is a return to an earlier
Mars functions like as a small retrospective
series comprising colorful, irregular
because the viewer who is familiar with
rectilinear shapes that occupy an airless
Carnwath’s oeuvre will notice the return of
Girls, 2015. Oil and alkyd on canvas over panel, 75 x 75 inches.
Bob, 2015. Oil and alkyd on canvas over panel, 80 x 80 inches.
not
paintings
overtly
narrative,
include these
7
earlier imagery. The sinking ship takes
of her life and the lives of fellow listeners.
on a contemporary political meaning,
The lumpen mass may refer to the artist’s
even though the painting dates from
training as a ceramicist.
2012. Carnwath has continued to use
working with clay remains in the density of
this image, now as a metaphor for the
Carnwath’s compositions and the plasticity
helplessness many Americans currently
of her paint. Again we see the intermittent
feel. The upended boat appears twice,
vertical brushstrokes floating just above the
painted to appear as though collaged
painting’s surface, singular marks signifying
onto the canvas, reminding us that
the essence of art-making. The image of
every Carnwath painting is all paint.
a framed page of casually handwritten
The grid sections of color and horizontal
notes reads: “there are no mistakes failure
black lines have also appeared in other
is a good thing, it is the key to success”
works as art historical references, or
and “Not all George Washington’s teeth
touchstones for her artistic evolution.
were wooden, or made from cow’s teeth,
The lower half of Mars features images
some of his dentures were from slaves’
of a candelabrum, two LP records, and
teeth.” These statements sum up two of
an amorphous form on a pedestal. The
Carnwath’s credos. First, work from self-
candles suggest enlightenment, or the
knowledge and follow where the work
luminosity that emanates both from
leads you. And second, seek the truth on
painting and from spiritual awareness.
behalf of the common good.
Evidence of
The records allude to Carnwath’s love of music, and thus they serve as markers
Nina, 2015. Oil and alkyd on canvas over panel, 70 x 60 inches. 8
Mars, 2012. Oil and alkyd on canvas over panel, 75 x 65 inches.
P L AT ES
Mystery, 1991 Oil and alkyd on linen 20 x 20 inches 11
Waiting for Spring, 1992 Oil and alkyd on linen 36 x 36 inches 12
What is Heard, 1993 Oil and alkyd on panel 24 x 24 inches 13
Mental Chatter, 1999 Oil and alkyd on canvas 48 x 48 inches 14
Sign Seen, 1999 Oil and alkyd on canvas over panel 15 x 15 inches 15
In Pursuit of Happiness, 2000 Oil and alkyd on canvas 77 x 77 inches 16
Reflection, 2005 Oil and alkyd on canvas over panel 90 x 80 inches 17
Perfect, 2006 Collograph with chine collĂŠ 64 1/4 x 52 1/4 inches Edition of 12 18
Beginner, 2008 Oil and alkyd on canvas over panel 70 x 70 inches 19
Thought & Pleasure, 2009 Oil and alkyd on canvas 10 x 10 inches 20
This Road Only, 2010 Oil and alkyd on canvas over panel 70 x 70 inches 21
Many Selves, 2011 Oil and alkyd on canvas over panel 70 x 70 inches 22
Catch Light 2, 2012 Oil and alkyd on canvas 24 x 24 inches 23
From Far Away, 2012 Oil and alkyd on canvas over panel 70 x 70 inches 24
Gently on the Sea, 2012 Oil and alkyd on canvas over panel 70 x 60 inches 25
Mars, 2012 Oil and alkyd on canvas over panel 75 x 65 inches 26
Beautiful Language, 2013 Oil and alkyd on canvas over panel 75 x 65 inches 27
Lucky Dog, 2014 Oil and alkyd on canvas over panel 75 x 65 inches 28
Nina, 2015 Oil and alkyd on canvas over panel 70 x 60 inches 29
How Our Minds Work, 2016 Oil and alkyd on canvas over panel 60 x 70 inches 30
Study Drawing for Roy, 2016 Oil and alkyd on polypropylene 31 x 30 inches 31
Send Help, 2017 Oil and alkyd on canvas over panel 70 x 70 inches 32
We Still Have Music, 2017 Oil and alkyd on canvas over panel 70 x 70 inches 33
Sit Grey, 2018 Gouache and graphite on polypropylene 36 3/4 x 29 3/4 inches 34
To the Sea, 2018 Gouache and graphite on polypropylene 35 1/2 x 29 inches 35
S QUEA K C A RNWAT H SELECTED SOLO EXHIBITIONS 2019 2016
2015 2011 2009
2007
2003
2000 1999
1998
1997
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Not All Black and White, Jane Lombard Gallery, New York, NY Crazy Papers and Sister Objects, American University Museum, Katzen Arts Center, Washington, DC What Before Comes After, Jane Lombard Gallery, New York, NY Squeak Carnwath, Triton Museum of Art, Santa Clara, CA Squeak Carnwath: Painting Is No Ordinary Object, Oakland Museum of California, Oakland, CA Squeak Carnwath Short Stories, Texas State University San Marcos, JCM Gallery, San Marcos, TX Squeak Carnwath: Paper Trail, John Berggruen Gallery, San Francisco, CA Squeak Carnwath, David Beitzel Gallery, New York, NY Squeak Carnwath: The Amness of Things, Palm Beach Community College, Museum of Contemporary Art, Lake Worth, FL Squeak Carnwath: Seeing in the Dark, California Museum of Art, Luther Burbank Center for the Arts, Santa Rosa, CA Squeak Carnwath: Undraped Human Being, John Berggruen Gallery, San Francisco, CA Squeak Carnwath: Recent Paintings and Works on Paper, Cohen Berkowitz Gallery for Contemporary Art, Kansas City, MO
1994
1986
1982
1980
1978 1975
Squeak Carnwath, Chrysler Museum, Norfolk, VA Squeak Carnwath, San Jose Museum of Art, San Jose, CA Squeak Carnwath: Paintings and Prints, The Contemporary Museum, Honolulu, HI Squeak Carnwath: New Paintings and Works on Paper, Van Straaten Gallery, Chicago, IL Squeak Carnwath, Fuller Goldeen Gallery, San Francisco, CA Squeak Carnwath, Hansen Fuller Goldeen Gallery, San Francisco, CA Society for the Encouragement of Contemporary Art (SECA) Award 1980, San Francisco Museum of Modern Art, San Francisco, CA San Francisco Art Commission Gallery, San Francisco, CA Squeak Carnwath, Richmond Art Center, Richmond, CA
SELECTED AWARDS 2018 2008
2002 1994 1990 1985 1980
Lee Krasner Award, The PollockKrasner Foundation Emil and Dines Carlsen Award, 183rd Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY Flintridge Foundation, Award for Visual Artists, Pasadena, CA Guggenheim Fellowship Alice Baber Art Award National Endowment for the Arts, Individual Artist Fellowship National Endowment for the Arts,
1980 (cont’d)
Individual Artist Fellowship Society for the Encouragement of Contemporary Art of the San Francisco Museum of Modern Art (SECA), Award in Art
EDUCATION 1977 1907-71 1969-70
California College of Arts and Crafts, Oakland, M.F.A. California College of Arts and Crafts, Oakland Goddard College, Plainfield, VT
TEACHING 2011 2008-10 1998-08
1983-98 1993-94
1982-83 1982 1980-82
1979 1978
1977-78
Professor Emeritus, University of California, Berkeley, CA Professor of Art, University of California, Berkeley, CA Professor in Residence, Department of Art Practice, University of California, Berkeley, CA Professor of Art, University of California, Davis, CA Visiting Professor & Associate Dean, School of Fine Arts, California College of Arts and Crafts, Oakland, CA Visiting Artist, University of California, Berkeley, CA Guest Artist, California College of Arts and Crafts, Oakland, CA Shopmaster (ceramics), California College of Arts and Crafts, Oakland, CA Guest Artist, California College of Arts and Crafts, Oakland, CA Instructor, Ohlone College, Fremont, CA Instructor, California College of Arts and Crafts, Oakland, CA Guest Artist, California College of Arts Crafts, Oakland, CA Community Artist, Neighborhood Arts Program, Alameda County
1976
1971
Teaching Assistant (ceramics), California College of Arts and Crafts, Oakland, CA Teaching Assistant (ceramics) for Vernon Coykendahl, California College of Arts and Crafts, Oakland
SELECTED BIBLIOGRAPHY Albright, Thomas. Art in the San Francisco Bay Area, 1945–1980. Berkeley and Los Angeles: University of California Press, 1985. P. 266. ISBN 0-520-05193-9. -- ISBN 0-520-05518-7 (pbk.) Bourbon, Matthew. “Squeak Carnwath at David Beitzel.” New York Arts Magazine, May 2000, 2 black and white plates, p. 39. Carnwath, Squeak. Squeak Carnwath: Lists, Observations & Counting. San Francisco: Chronicle Books, 1996, ISBN 0-8118-1220-0. -ISBN 0-8118-1171-9 (pbk.) Cotter, Holland. “Art in Review: Squeak Carnwath at LedisFlam Gallery.” The New York Times, September 17, 1993, p. C18. Istomina, Tatiana. “Squeak Carnwath. “ Art in America, January 6, 2016. Manoogian, Bridget. “Reconstructing Carnwath.” Shift X, 1990, pp. 16–18. Maxwell, Douglas F. “Squeak Carnwath at David Beitzel Gallery.” Review: The Critical State Of Visual Art In New York, February 1, 1998, pp. 27-28. Nadaner, Dan. “What Only Painting Can Do.” Artweek, January 25, 1986, p. 3. Ollman, Leah. “Wonder of Life Bathes Carnwath’s Canvases.” Los Angeles Times, May 1990.
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Smith, Roberta. “Review: Squeak Carnwath Speaks With Her Varied Palette.” The New York Times, December 31, 2015, p. C24. Tsujimoto, Karen and John Yau. Squeak Carnwath: Painting Is No Ordinary Object. Petaluma, CA: Pomegranate and Oakland, CA: Oakland Museum of California, 2009. ISBN 978-0-7649-4888-6. -- ISBN 978-0-76494917-3 (pbk.) Walrod, Anne. “Squeak Carnwath,” in Moira Roth, ed., Connecting Conversations, Interviews with 28 Bay Area Women Artists. Eucalyptus Press, Mills College, 1988, p. 22–28.
SELECTED PUBLIC COLLECTIONS American Academy of Arts and Letters, New York, NY Arkansas Art Center, Little Rock, AR Berkeley Art Museum, University of California, Berkeley, CA Bowdoin College Art Museum, Brunswick, ME Brooklyn Museum, Brooklyn, NY City and County of San Francisco, San Francisco Arts Commission, San Francisco, CA di Rosa Center for Contemporary Art, Napa, CA The Contemporary Museum, Honolulu, HI The Metropolitan Museum of Art, New York, NY Mildred Lane Kemper Art Museum, Saint Louis, MO Museum of Fine Arts, Boston, MA Richard L. Nelson Gallery & The Fine Arts Collection, University of California, Davis, CA Norton Museum of Art, West Palm Beach, FL Oakland Museum of California, Oakland, CA Palm Springs Art Museum, Palm Springs, CA Palmer Museum of Art, University of Pennsylvania, University Park, PA
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Pennsylvania Academy of Fine Art, Philadelphia, PA San Francisco Fine Arts Museums, San Francisco, CA San Francisco Museum of Modern Art, San Francisco, CA San Jose Museum of Art, San Jose, CA Santa Barbara Museum of Art, Santa Barbara, CA Yale University Art Gallery, New Haven, CT for full bibliography, visit squeakcarnwath.com
LIS T OF W ORKS EXH I B I T ED Mystery, 1991 Oil and alkyd on linen 20 x 20 inches
From Far Away, 2012 Oil and alkyd on canvas over panel 70 x 70 inches
Waiting for Spring, 1992 Oil and alkyd on linen 36 x 36 inches
Gently on the Sea, 2012 Oil and alkyd on canvas over panel 70 x 60 inches
What Is Heard, 1993 Oil and alkyd on panel 24 x 24 inches
Mars, 2012 Oil and alkyd on canvas over panel 75 x 65 inches
Mental Chatter, 1999 Oil and alkyd on canvas 48 x 48 inches
Beautiful Language, 2013 Oil and alkyd on canvas over panel 75 x 65 inches
Sign Seen, 1999 Oil and alkyd on canvas over panel 15 x 15 inches
Lucky Dog, 2014 Oil and alkyd on canvas over panel 75 x 65 inches
In Pursuit of Happiness, 2000 Oil and alkyd on canvas 77 x 77 inches
Nina, 2015 Oil and alkyd on canvas over panel 70 x 60 inches Courtesy of Jane Lombard Gallery, New York
Reflection, 2005 Oil and alkyd on canvas over panel 90 x 80 inches
How Our Minds Work, 2016 Oil and alkyd on canvas over panel 60 x 70 inches
Perfect, 2006 Collograph with chine collĂŠ 64 1/4 x 52 1/4 inches Edition 1 of 12
Study Drawing for Roy, 2016 Oil and alkyd on polypropylene 31 x 30 inches
Beginner, 2008 Oil and alkyd on canvas over panel 70 x 70 inches Courtesy of Jane Lombard Gallery, New York
Send Help, 2017 Oil and alkyd on canvas over panel 70 x 70 inches Courtesy of Jane Lombard Gallery, New York
Thought & Pleasure, 2009 Oil and alkyd on canvas 10 x 10 inches
We Still Have Music, 2017 Oil and alkyd on canvas over panel 70 x 70 inches Courtesy of Jane Lombard Gallery, New York
This Road Only, 2010 Oil and alkyd on canvas over panel 70 x 70 inches Many Selves, 2011 Oil and alkyd on canvas over panel 70 x 70 inches
Sit Grey, 2018 Gouache and graphite on polypropylene 36 3/4 x 29 3/4 inches To the Sea, 2018 Gouache and graphite on polypropylene 35 1/2 x 29 inches
Catch Light 2, 2012 oil and alkyd on canvas 24 x 24 inches 39