Stanford MFA students are hosting Open Studios this Sunday, September 24th from 1-5pm. Snacks and Drinks will be provided throughout the studio spaces! Come on down and see what these participating artists have been up to!
Pacific Standard Time: LA/LA is a Getty-led event aiming to explore Latin American and Latino art in dialogue with Los Angeles, exhibiting in institutions all across Southern California. Here are a few shows in conjunction with PST: LA/LA that we're itching to check out, ( in no particular order.) Be sure to check out their website for all participating galleries.
A Universal History of Infamy: Virtues of Disparity
18th Street Arts Center
September 9th - December 15th
Zoe Childerley travels far and wide to capture images that tell the stories of man and nature. In her ongoing series, Dinosaur Dust, she explores the communities on outskirts of Joshua Tree, California. Check out Dinosaur Dust, now on view at Abrams Claghorn through August 31st and read her interview from our Spring 2016 issue to learn more!
About Dinosaur Dust:
This body of work, called Dinosaur Dust, was made with the community based around the edge of Joshua Tree National Park in California during an artist in residence programme and subsequent visits.
It is an intimate portrait of a peripheral and charismatic community of the high desert,struggling to find meaning and moments of grace in a hostile environment. The work explores the encounters between people and nature, playing with light, impermanence and the faculties of seeing.
Working with the contrast of the black of the night and the blinding light of the day, this work investigates the narrative potential of photography in relation to its abstract capacities, bringing forth a reality that is simultaneously uncanny and unknowable. I am interested in landscape, and particularly in combining a desire to experience the‘sublime’ with the inexplicable seduction of the abyss.
In the American West everywhere has been conquered and exhausted, so people look to the desolate outposts and then to the heavens in search of the authentic wilderness. The images generate a powerful atmosphere and sense of place, one that is infused with the longing, uncertainty and expectation associated with the unseen.
See the work!
We spoke with modern day Renaissance man, Tyler Thrasher a couple years ago in our Summer 2015 issue. Amber was drawn to his work after discovering their mutual interest in the Ozark Mountains. Read more about Tyler's work and stop by Abrams Claghorn to see Quartz Cholla!
Nature and its respective curiosities. That is my current narrative and inspiration. My work has always spoken of and about the natural elements and microscopic ones that surround each and everyone of us, the tendencies for humans to trace and follow curious and natural callings, and most importantly, the importance of curiosity and experimentation.
For as long as I can recall, my work has revolved around these things, because I revolve around these things. I am driven by these elements, and in turn they are driving me.
Most of my time is spent exploring, reacting to, and prodding nature. Taking any chance I can get to hike, look for caves, find rare plants, dance alongside the fundamental principles of molecular chemistry, and following EVERY SINGLE ITCH. Every calling, whether it be a faint whisper or more of a dire screaming that wakes me up in the middle of the night, I answer them. This tends to come across as sporadic and chaotic in my work and what I "want to do" but it couldn't feel more natural and at peace. While scrolling through my site, you'll get little glimpses of that knack to answer every calling. Rather it be chemistry, illustrating, painting, photography, music, writing, you name it. If I need it, I do it.
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Nearly a year ago we spoke to Spencer Merolla about her art that utilizes worn fabrics, human hair and several other materials to explore our relationship with grief. In our Autumn 2016 issue, you'll learn about her earlier works including Hairworks and Funeral Clothes. You can see Enfold now on view at Abrams Claghorn as part of Gathering: A Venison Magazine Retrospective, through August 31st.
My work is concerned with bereavement: the tension between public and esoteric grief, social customs and material culture of mourning, and objects as repositories of memory which both retain and transmit meaning. Among the media I work with are human hair, clothing, and found photographs.
Funeral Clothes Project: After a Fashion
Hairwork: Mourning Art for Moderns
This series takes the Victorian women's practice of sentimental hairwork as its jumping-off point. For the Victorians, mourning was a very public act. Rather than a esoteric emotion or an embarrassment, grief was a popular motif for the arts and fashion. What strikes modern sensibilities as mawkish and overly sentimental behavior was, at the time, considered proof of a person's sincerity and morality. Ornamental hairwork, painstakingly crafted from the hair of loved ones, was a fashion that insisted the wearer embodied these virtues. This work plays with the tension between sincerity and emotional performance, imagining a contemporary practice in which moderns might socially engage with death's physicality. The dissonance of the craft (when
transposed onto the emotional and aesthetic landscape of our times) draws attention to the ever-shifting boundaries of permitted public display.
That the hair must be severed from the body to be worked in this fashion is a compelling aspect of the practice for me. With few exceptions, the provenance of antique hairwork is now unknown. As a result, it loses its essential quality of referring to a specific person, while still being a distinctively “personal” object. In a sense, the story of hairwork is a testament not of our capacity to remember our lost loved ones, but of our ultimate inability to hold onto them.
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Skye Livingston is an interdisciplinary artist working with textiles, paper, and organic materials. She has received several awards for her work, including “Best of Show” in the Kansas City Art Institute’s 2012 BFA Exhibition, an award juried by artist Andres Serrano and director of the Nelson-Atkins Museum Julian Zugazagoitia. Her work is included in the collection of The Wichita Center for the Arts in Wichita, KS as well as numerous private collections. She has completed several residencies including the Artist in Residence program at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee. She received her BFA in Fiber, and BA in Art History from the Kansas City Art Institute and is currently maintaining her studio practice in Ashland, W
My work utilizes skin-like materials and recognizable motifs to rearrange the concept of home. Through elements oftranslucency, fragility and repetition, I investigate the idea that our homes and our identities are enmeshed within each other, aswell as individually faceted: we create and discard them through a psychological process of growing and shedding skins. Byutilizing repetitive processes and creating collections of subtly unique multiples, I aim to depict and memorialize this overlapbetween mental and physical space, and consider each piece a small monument, both personal and universal.
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Read about Samanta Rauchs's interactive works that address space, by creating playgrounds on and off the wall in our Summer 2015 issue and see what she's up to now by following her work on Instagram @sambinarausch
Her piece ZERO, is up for viewing at Abrams Claghorn as part of Gathering: A Venison Magazine Retrospective through August 31st!
Samantha Rausch is a conceptual artist whose interdisciplinary practice fuses installation, sculpture, painting, performance and public art together. Her work deals with creating immersive & interactive environments in relation to cosmic narratives Rausch devises. She currently lives and works in Chicago, Illinois. Rausch received her MFA from the Mount Royal School of Art at the Maryland Institute College of Art and her BFA & BA in Art History from the University of South Florida. Rausch has participated in a number residencies including the Vermont Studio Center, group shows around the country, and has multiple works as part of permanent public art works collection.
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We've compiled a list of shows we're excited about this summer. Here's just a fraction of what's happening along the west coast.
About my art It is important that my work contains a vibrant energy.
I want to capture the critical moment before the explicit outcome of a decision is possible to ascertain. I want to leave room for a great deal of ambivalence in the spectator. We don´t always make it easy on ourselves. But we communicate. Somehow. Autonomous from spatial realities.
Art as interactive speech bubbles. I adore the beauty of the uncouth and the slightly crude. I guess that´s why the knife is my tool when painting. I find knives easy to control and I love the sharpness, the edginess of its proceedings within the texture of the paint. To control it I have to hold my breath, so we´re both under an equal amount of pressure. Truce as an art form. When working with photography or making short films, I pretty much behave in the same way, I don’t look for absolute cleanliness. I want a certain amount of edge to remain. To cause some trouble. To stir something.
I want to pose questions, I don´t provide answers.
Meline Höijer Schou
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Philadelphia based artist Kay Healy spoke with Amber last summer about her large scaled screen printed and fiber based, installations. You can hear their conversation in our Summer 2016 issue! We're excited that Kay will be joining us on August 12th, 2017 for an artist talk at Abrams Claghorn as part of Gathering: A Venison Magazine Retrospective.
Since 2008 I have been creating large-scale screenprints of furniture, based on images I have found online, from my childhood, and most recently a series created based on other people’s descriptions of their childhood homes. Through my art I investigate themes of transience and the search for stability in an ever-changing world. I am by nature a nostalgic person and am very interested in how an object as mundane as a plastic salad spinner can embody vivid memories of people, events, and periods of someone’s life.
Screenprinting allows me to make large-scale works that I can detach from with relative ease. If I made large-scale paintings, each one would be too precious to wheatpaste onto buildings or gallery walls, which destroys the art object. In direct contrast to my nostalgic impulses with the original objects, working with the multiple enables me to let go of the pieces and spread them throughout the community.
By working with the memories of other people I am creating a physical representation of collective recollections, while investigating how a variety of people, who differ in gender, age, race, neighborhood, sexual identity, income, and education, all relate to the objects that populate their memories, and cope with the fact that there is no way to truly return home.
Artist talk with Kay Healy!
Philadelphia based artist Kay Healy will be joining us for our artist talk on August 12th from 5 - 7pm at Abrams Claghorn! This is an evening not to be missed!
Our Venison team uses this blog page to post short articles about events, projects, journeys, and art adventures that we find relevant to the contemporary lives of fellow artists.