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MID-CITY ART @ DOWNTOWNA group exhibition of participating artists in 2009 mid-city studio tour September 1 – November 1, 2009 Reception: Saturday September 26, 4-6 pm S ANDY ABRAMS, SLATER BARRON,C ARYN BAUMGARTNER, JUDY CHAN,V ICTORIA DAMREL, CYNTHIA EVANS,M ONICA FLEMING, MARY GRACE, GISELE,K AREN HOLDEN, ILEE KAPLAN, DOUG ORR,S UE ANN ROBINSON, JOAN SKOGSBERS SANDERS,A NNIE STROMQUIST, GAIL WERNER
WORKS ON PAPER February 10 – April 7, 2009 Opening Reception: Saturday February 21, 3:00 – 6:00 pm
December 8, 2008- February 8, 2009 Reception: Saturday December 13, 3-5 pm
RICHARD WOOD, DORIS WOOD, JOAN SANDERS, JOHN MONTICH, SLATER BARRON, JEAN CLAD, KAY ERICKSON, SABINE PINKEPANK, KAMRAN ASSADI, SHELLEY RUGG THORP,
Click here to see Frances Lai Wang web site
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Land scapes Sea scapesJason Reavis February 1 – March 31, 2008
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L e a v e s Pages from Artists’ Books Curated by Jean Clad Sue Ann Robinson Pia Pizzo Terry Braunstein Slater Barron October 13 – December 10, 2007
Long Beach Artists Present Pages from Their BooksLONG BEACH, CA: During October is Arts Month, guest curator Jean Clad has selected works by four Long Beach-based artists with distinguished careers for the exhibit, Leaves: Pages from Artists’ Books at Utopia Restaurant in the East Village. Visual and literary art works by Slater Barron, Terry Braunstein, Pia Pizzo, and Sue Ann Robinson will be on view at Utopia Good Food & Fine Arts, between October 13 and December 10, 2007. The public is invited to meet the artists and curator on Saturday, October 13, from 4 to 6 pm at the opening reception for the exhibition and learn more about the richness and variety of the Artist’s Book format. All four of the artists have exhibited their art works at galleries and museums nationally and internationally—including together in Italy and southern California, and at the Long Beach Museum of Art. While all four artists have worked in a variety of media over the years, the works on view at Utopia are mixed media artists’ books or pages from artists’ books. Pia Pizzo makes “wordless” books in which the form, color and paper comprise the symbology of the book’s meaning. Terry Braunstein, whose artworks also include public sculptures in Long Beach and her largest book to date at the Cerritos Library, uses photomontage images gathered from media all around us. Slater Barron has created a visual and poetic book, Remembering the Forgetting, whose pages present her experience of her parents’ Alzheimer’s disease. Sue Ann Robinson works in series and presents a selection of pages from three of her series: a manuscript about oak trees; pages from a contemporary book of hours about cowboys, and, her newest series, an archeological exploration of memory with her mother, Peg Robinson. At the opening reception, Slater Barron will sign copies of her book, Remembering the Forgetting, the story of the art she made to help her cope with her parents’ Alzheimer’s disease. Order a copy of the book in advance on line at www.lulu.com, or purchase a copy at the reception on October 13. If ordering on line, please allow two weeks for delivery. Terry Braunstein collects found images from old magazines, encyclopedias, maps, and dollhouse furniture with other bric-a-brac at flea markets, yard sales, and used bookstores. These form the archives of materials that Braunstein draws upon for her photomontage-based work. She transforms the issues of daily life and personal memory into imagery about the larger forces at work in the universe and human history in her visual books. Pia Pizzo makes wordless books whose silence speaks volumes. The viewer focuses on the light and shadows created in the empty spaces of the book pages construction. The quality of light raking across the surface of the pages causes vibrations as the light changes with the passage of time. Her work reflects what she describes as the “music of silence.” Sue Ann Robinson’s work is often inspired by the tradition of illuminated manuscripts in which the words and images are nearly indivisible from each other. The initial page from her series about oak trees—Quercus Manuscript--was first printed in the California Year of the Oak and published as an insert in the Hudson River Valley News, New York. It inspired a series of art works culminating in the Library Fellows Artist’s Book Award from the National Museum of Women in the Arts. The exhibit, Leaves: Pages from Artists’ Books also includes the first page of Robinson’s latest series in collaboration with her mother, Peg Robinson. Additional information and biography available on request. Photographs of the art works are available on request. Utopia Good Food & Fine Arts Mon-Fri: Noon to 9:30 pm Sat: 5 to 10:30 pm & Sun: 5 to 9:30 pm 445 E. First Street, Long Beach Ca, 90802 Phone: 562.432.6888 www.utopiarestaurant.net
PAINT PAINT M A R T H A F I T Z P A T R I CK D O R I S W O O D G A I L W E R N E R January 2 – February 19, 2007
Rearing Horses, Fighting Words A selection of expressive thematic and abstract prints by: D i a n e M c L e o d Oct 6 – Nov 9, 2006 Reception Saturday October 14, 4-6 pm
Artist Statement I feel a kinship with artists of antiquity and with others through the ages who take pleasure in repetitious mark making; figures dancing around a Greek vase, nature inspired patterns on a Roman wall or the carefully wrought grid work of contemporary textile designers and weavers. My work is not intended to beautify the surface of a utilitarian object or to look like the work of a cartographer, although it might. I work from the imagination, feelings, spiritual intuitions, or inspiration from nature. I do not begin with preliminary drawing, but let the marks and forms emerge spontaneously, satisfying the need I may have at the time to express joy, anger, despair or childlike fun and wonder. I give careful consideration to color, and believe the value variations augment the repetitious nature of the marks and the power of the emergent forms. Like the quilt maker, each of my pieces has its own story, and sometimes I suggest it with text fragments. Abstraction permits the inference of realms of meaning beyond the concrete. The compelling act of repetition, there in the most ancient art of the past and existent in the creation of the world and in the make-up of every living thing, contains an element of magic and communicates the longing of the soul. Diane McLeod
T h r e e Site-specific installation By John Hillis Sanders Unit E Gallery 117 By appointment (562)432-6888 June 20– Aug 20, 2006 “Three” Video and Photographs are available for viewing at Utopia
New Photographs by John Montich March 24 – May 11, 2006
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I work from a conceptual foundation, trying to use the media that best fits the idea. Recycled materials are often the media of choice. I like to make objects, usually trying to do things I may not be able to pull off. The process of problem solving becomes obsessive and joyful. While attaining my M.F.A. at the California State University, Long Beach and bachelors at the University of California, Irvine, I had the privilege of studying with art notables John Paul Jones and William Wegman. Now, I am inspired by my surroundings and those I hold dear as well as many social causes I feel strongly about. Some of the work you see no longer exists, such as the Lint Environments and Installations, although several of the small artifacts from these pieces are intact. Some pieces have been placed in the collections of museums and individual collectors. Some of my installed mural have, unfortunately, been vandalized. Many works had literary additives, were multimedia, or included performance. Fortunately, I have a good photographic record and I have included statements with several bodies of work explaining the conceptual origins of the art and outlining the presentation details . Slater Barron
PLAYFUL IMAGERY of NATURAL FORMS N e w D i g i t a l P r i n t s By R i c h a r d L W o o d Sep27 – Nov 17, 2005
ARTIST’S STATEMENT My art work is a reflection of a lifetime love of the beauty and remarkable diversity of forms in nature. I pursued professional training in marine biology, and supplemented that with training in the identification of the structure of cells and tissues using light and electron microscopy. Light microscopy involved the use of colored dyes to enhance contrast, but subcellular structures viewed by electron microscopy were readily identified without the use of color, and it became clear to me that structure was usually much more important than color in the differentiation of natural forms. Therefore, as I began making art, I first delineated selected forms with simple free-hand line drawings, and only secondarily introduced colors. I am now merging my general interest in nature and my professional background to create compositions that use real natural forms in combinations that do not occur in nature, but which still can be considered vignettes of natural diversity. I use the images in a playful manner, disregarding the usual relationships of size and disposition that occur in nature, and then introduce color in a similarly playful manner. My goal is to capture the essence of natural diversity without being confined to realism. As previously noted, I begin the process by creating free-hand line drawings, which are then scanned into a computer, and color and texture are added. Because of the unusual combinations of form and color that arise during these manipulations, the compositions become increasingly fanciful and unique. All the forms in the compositions either exist now or existed at some time in the distant past (now seen as fossils), and all the colors, however flamboyant they may appear in my pictures, do occur in nature. R.L. Wood
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Ciphers Paintings & Lithographs By Sabine Pinkepank August 13 - September 22, 2005
In 1988, Sabine Pinkepank showed her first works to a small audience in her studio. Now her long list of exhibition includes Meguru Museum in Tokyo, Academie des Beaux Arts and Gallery Lafayette in Paris, and finally SoundWalk Long Beach. The artist lives and works in Ilsede, a small town near Hanover, Germany and in Paris, France. The contrast of the two sites is also present in her work. Her studio is installed in an industrial site of the former Ilsede ironworks. The studio is a large open and windy area. In this quiet, lonely space, she paints large format paintings with layered brushstrokes with the square as her principle design choice. She prepares her canvases with rabbit skin glue and mixes her oil paints according to old formulas. These elements combine in modern lyrical abstraction as her characteristic style. The conditions for her graphic work are quite different. The art metropolis Paris is marked by pulsating, creative energy and the contact with colleagues and friends. Here Pinkepank works in tight quarters with several artists and their printer. Everything here is historical. The stones have been used by at least two generations of artists. Intersections lead to new colors that are predetermined. She says: In my head everything is finished and then there come the surprises. In 1999, Jürgen Paul wrote sonnets to accompany eight paintings from Pinkepank’s cycle "Mirabel Orchard" and published them under the same title. In 2000, Arndt Netzel composed eight pieces for piano to correspond to the cycle. They were first performed in 2002 during an exhibition in Ilsede. In 2003, the art book Pinkepank, Qui-Vive with a text by Antonia B. Uthe was published by Axept Publishers. It appears in a German/English version in 2005 translated by Frauke von der Horst
ROBERT ADAM MALIN
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