Britton, Val 2160498232 - San Francisco · Britton, Val 2160498232 1 San Francisco Arts Commission New Commissions at San Francisco International Airport Val Britton San Francisco,

Britton, Val 2160498232

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San Francisco Arts Commission

New Commissions at San FranciscoInternational Airport

Val Britton

San Francisco, CA US

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Submitted: Jun 7 2012 3:30PM CST/CDTOverall Rating: 100/100

Tags: SFO- Non Secure Connector, SFO- T3 Pool

Resume/C.V.

1. Please copy/paste your Resume/C.V. in the space below.


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Val Britton______________________________________________________________________

Born in Livingston, New Jersey. Lives and works in San Francisco, California.

EDUCATION

2006 M.F.A., California College of the Arts, San Francisco + Oakland, California1999 B.F.A., Rhode Island School of Design, Providence, Rhode IslandFrench Coursework, Brown University, Providence, Rhode IslandStudy Abroad, Edinburgh College of Art / Edinburgh Printmakers Workshop, SCOTLAND

SOLO AND TWO-PERSON EXHIBITIONS

2012TBA Two-Person Exhibition, Foley Gallery, New York, NY (upcoming)TBA Solo Exhibition, San Francisco Arts Commission Gallery, San Francisco, CA (Nov 2012-Jan 2013)TBA Solo Exhibition, Addison Street Window Gallery, Berkeley, CA (Aug 2012-Jan 2013)Infinite Loop: Art + Sound by Val Britton and John Colpitts, Secret Project Robot, Brooklyn, New York (Jan 2012)

2010Index to Selected Stars: Recology Artist-in-Residence Program, Recology, San Francisco, CA

2009The Echo Fields: Val Britton + Michael Meyers, Johansson Projects, Oakland, California

2007Near and Far: New Work by Val Britton, 301 Bocana Gallery, San Francisco, California

SELECTED GROUP EXHIBITIONS

2012Group Exhibition, CES Contemporary, Laguna Beach, CA (Sept-Oct)TBA, American Association for the Advancement of Science, Washington, DC (Aug-Nov)Inked Surfaces, Diablo Valley College, Pleasant Hill, CA (August-Sept)

2011The Collage Show, Jack Fischer Gallery, San Francisco, CASLASH: An International Survey of Contemporary Collage, CES Contemporary, Laguna Beach, CAHere Be Dragons: Mapping Information and Imagination, Intersection for the Arts, San Francisco, CATopophilia, work-detroit gallery, University of Michigan, Detroit, MichiganKala Art Institute, The Mills Building, San Francisco, CaliforniaLife of the World to Come: Chase the Tear, National Institute of Art and Disabilities (NIAD), Richmond, CAUcross Retrospective Exhibition, Ucross Foundation Art Gallery, Clearmont, Wyoming

2010Mapping: Memory and Motion in Contemporary Art, Katonah Museum of Art, Katonah, NYUcross, Nicolaysen Art Museum, Casper, WyomingConstructed Territory, Robert & Elaine Stein Galleries, Wright State University, Dayton, OHOCAC Artist-in-Residence Exhibition, Oregon College of Art and Craft, Portland, OregonResidency Projects I, Kala Art Institute, Berkeley, California

2009GeoMorph: New Currents in Geometric and Biomorphic Abstraction, Pence Gallery, Davis, CASalon #2, Marine, Santa Monica, CaliforniaLA to OC - Emphasis: Extreme, Orange County Center for Contemporary Art, Santa Ana, CAMy Certain Fate, Pharmaka, Los Angeles, CaliforniaAll Over the Map, John Michael Kohler Arts Center, Sheboygan, WisconsinCollective Compulsions, Johansson Projects, Oakland, California

2008Road Trip, San Jose Museum of Art, San Jose, CaliforniaVital Signs, Newcomb Art Gallery, Tulane University, New Orleans, LouisianaRaw Boundaries, KN Gallery, Chicago, Illinois


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Amidst the Ruins, Mission 17, San Francisco, CaliforniaOut of the Fog: Artists from Headlands, Art Works Downtown, San Rafael, CaliforniaClose Calls: 2008, Headlands Center for the Arts, Sausalito, California

2007There’s No Place Like Here, University Art Gallery, Sonoma State University, Rohnert Park, CAExcavations, Johansson Projects, Oakland, CaliforniaTime Lines, Mina Dresden, San Francisco, California

2006Dowser’s Delight: Divining the Inner Cartographic Impulse, the Front Gallery, Oakland, CANew California Masters, Works/San José, San José, CaliforniaGraduate Exhibition, California College of the Arts, San Francisco, CAOcean Crossing: Osaka University of Arts + CCA 2006 Print Exchange, Oliver Art Center, CCA, Oakland, CANew Prints 2006 / Winter, International Print Center New York, New York, New YorkGo. #2: Space/Time, Varnish Fine Art, San Francisco, California

2005People, Places & Things, the Gallery at R & F, Kingston, New YorkOcean Crossing: Osaka University of Arts + CCA Print Exchange, Osaka University of Arts, Osaka, JAPANEntangled Orbits: You Could Be Me, PLAySPACE Gallery, San Francisco, CaliforniaVisual Scholars: New School, Up and Coming Southern California Artists, Santa Ana College, Santa Ana, CAOcean Crossing: Osaka University of Arts + CCA Print Exchange, Oliver Art Center, California College of theArts, Oakland, California

2004Multiple Encounters: Indo–US Print Exhibition, The Indira Gandhi National Centre for the Arts, New Delhi, INDIA;Govt. College of Art, Chandigarh, INDIA; Rajasthan Lalit Kala Akademy & Jawahar Kalakendra, Jaipur, INDIA;Manhattan Graphics Center, New York, NY.Pattern & Decorations, Woman Made Gallery, Chicago, IllinoisThe 4th National Minnesota Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN

2003Manhattan Graphics Center 9/11 Portfolio, The New-York Historical Society, New York, NYNew York Scenes and Dreams, New York Public Library, Tompkins Square Branch, New York, NY

AWARDS, GRANTS, FELLOWSHIPS, AND RESIDENCIES

2011Millay Colony for the Arts, Austerlitz, New York - Artist ResidencyCaldera, Sisters, Oregon - Artist Residency

2010The Pollock-Krasner Foundation, Inc., New York, New York - Grant RecipientThe Jentel Artist Residency Program, Banner, Wyoming - Artist ResidencyRecology, San Francisco, California - Artist Residency

2009Kala Art Institute, Berkeley, California – FellowshipOregon College of Art and Craft, Portland, Oregon - Artist ResidencyUcross Foundation, Clearmont, Wyoming - Artist Residency

2007The Drawing Center, New York, New York - Viewing Program (Current Participant)

2006Headlands Center for the Arts, Sausalito, California - Affiliate Artist Program (2006-2008)

2004California College of the Arts, Oakland, California - Yozo Hamaguchi Teaching Assistantship

2001Manhattan Graphics Center, New York, New York - Grant Recipient


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1999Sitka Center for Art and Ecology, Otis, Oregon - Emerging Artist ResidencyRhode Island School of Design, Providence, Rhode Island - RISD Alumni ScholarshipRhode Island School of Design, Providence, Rhode Island - Annual Tuition ScholarshipRhode Island School of Design, Providence, RI - G. W. Hodge Ritchie Award for Excellence in Printmaking

VISITING ARTIST LECTURES AND PRESENTATIONS

2012Visiting Artist Residency, Illinois State University School of Art, Normal, Illinois (October)Advanced Drawing, University of California Berkeley, Berkeley, California

2011Distinguished Majors Program Visiting Artist, University of Virginia Art Department, Charlottesville, VAThe Urban School of San Francisco, San Francisco, CaliforniaSan Francisco Art Institute, San Francisco, CaliforniaCaldera Artist in Residence Program, Sisters, Oregon

2010Jentel Presents, the Jentel Artist Residency Program, Sheridan, WyomingArt at the Dump, Recology, San Francisco, CaliforniaFellowship Lecture, Kala Art Institute, Berkeley, CaliforniaAdvanced Drawing and Painting, San Jose State University, San Jose, CA

2009Pacific Northwest College of Art, Portland, OregonArtist-in-Residence Lecture, Oregon College of Art and Craft, Portland, OregonPrintmaking Department, Cabrillo College, Santa Cruz, California

2008Painting Department, California College of the Arts, San Francisco, CASan Jose Museum of Art Docents, San Jose Museum of Art, San Jose, CA

BIBLIOGRAPHY

Art Auction 2008, exh. cat. SFMoMA, San Francisco: 2008.Braithwaite, Michael. “4 Emerging Artists.” Plastic Antimony Issue #2 (Spring 2008): 33.Buuck, David. “Collective Compulsions.” Artweek April 2009.Cheng, DeWitt. “Babel-icious: Four artists explore medium and message in Echo Fields.” East Bay Express 3June 2009.Cheng, DeWitt. “End Products at Kala.” East Bay Express 11-17 August 2010.Cheng, DeWitt. “Life of the World to Come: Chase the Tear.” East Bay Express 29 June 2011.Crews, James. The Book of What Stays. (Cover Art) Lincoln: University of Nebraska Press, 2011.Elephant: The Arts & Visual Culture Magazine, Issue 7, Summer 2011.Flavorpill Los Angeles, October 2009. Flavorpill San Francisco, February 2007.Harmanci, Reyhan. “On the Level: ‘Excavations’ / New Oakland gallery displays ‘magical mix’ of emerging andestablished artists.” San Francisco Chronicle 10 May 2007.Harmon, Katharine. The Map as Art: Contemporary Artists Explore Cartography. New York: PrincetonArchitectural Press, 2009.Hawkes, Alison. "Where art meets recycling." Way Out West News 16 September, 2010.Hiatt, Melissa. "Mapping your world: New exhibit offers intrinsic pathways to everything." Davis Enterprise 29October 2009.Invisible City, Issue 05: Mapping, September 2009.Leaverton, Michael. “Out of Time.” SF Weekly 9 Feb. 2007.Locke, Michelle. "Dumpster divas practice art of recycling." Associated Press 5 October 2010.Mapping: Memory and Motion in Contemporary Art, exh. cat. Katonah Museum of Art, Katonah: 2010.Martens, Anne. "Bring It On Home: Los Angeles Art Outside the White Cube." Artillery, Nov/Dec 2009.New American Paintings, No. 79, December 2008.Peng, Qi. “ASSASSINATION: Val Britton.” Salt Lake City Fine Arts Examiner 8 March 2009.Reetz-Laiolo, Chaz. “’Excavations’ at Johansson Projects.” Shotgun Review 11 June 2007.Scholz, Zachary Royer. “Here Be Dragons: Mapping Information and Imagination.” Art Practical, Issue 3.6December 2011.Scholz, Zachary Royer. “’There’s No Place Like Here’ at Sonoma State University Art Gallery.” Shotgun Review 4December 2007.Vikram, Anuradha. “Johansson Projects: Val Britton, Michael Meyers, Jennifer and Kevin McCoy.” SFMOMA


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Open Space 29 May 2009.sleek magazine, “Local/Global,” Winter 2008/09.Ucross Foundation: Twenty-Seven Years of Visual Arts Residencies, exh. cat.Nicolaysen Art Museum & Discovery Center, Casper: 2010.Westbrook, Lindsey. “Seeking Epiphany.” California College of the Arts News, 9 May 2011.

SELECTED COLLECTIONS

Alameda County Art Collection, Oakland, CAThe Ellington, Oakland, CAPrint Collection, Library of Congress, Washington, DCNational September 11 Memorial & Museum, New York, NYThe New-York Historical Society, New York, NYPrint Collection, the New York Public Library, New York, NYRecology, San Francisco, CASAP, Palo Alto, CAVisa Inc., Foster City, CA

Letter of Interest

1. Letter of Interest:


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My art practice uses the language of maps to create mixed media abstractions that describe physical andpsychological spaces. Much of my immersive, mixed media work was initially inspired by my longing to connect tomy father, a long-haul cross country truck driver and mechanic who passed away when I was a teenager. Basedon road maps of the U.S., routes my father often travelled, and an invented conglomeration, mutation, andfragmentation of those passageways, these works help me piece together the past and make up the parts Icannot know. An ongoing concern in my work is how to push the language of abstraction in order to create avisceral sense of movement through space and a universal, emotional impact. Mapping serves as a metaphor forsearching, an implication of the unknown in wide, open spaces, and a trace of how we see where we’ve been.

The San Francisco International Airport is a site that resonates with the themes of my work, being a hub for traveland exchange. I have been a resident of the Bay Area for eight years, but I grew up in New Jersey with a fatherwho criss-crossed the country. During graduate study and in the years since, I have amassed a large mapcollection as research and source material for my large-scale abstractions. Flight maps, the ocean floor,earthquake maps, road maps, and many others have provided inspiration for my ongoing body of work that usesmaps as metaphors, charting the psychological, emotional spaces we inhabit and how those spaces seem to bein perpetual flux.

In addition to my work with mapping, I have a deep engagement with the element of recycling in San Franciscoas an urgent, productive, transformative strategy in my art practice. Recycled materials gleaned from Recology,also known as the San Francisco Dump, have become an important component in my work. I became invested inreuse while an Artist-in-Residence at Recology in 2010, where I was challenged to make an entire body of workusing solely materials scavenged from the dump. The experience of using recycled materials had a deep impacton my practice. Integrating materials imbued with the history of someone else's unknown journey imbued thework with another layer of embedded meaning for me, informing and expanding my work conceptually inunexpected ways. During the four months I was in residence at Recology, I spoke several times per week topublic tours of diverse ages and communities, speaking about my work and experiences with recycling and reuseand how it deeply affected not only my artistic life but my everyday life. I became more educated about our wastestream and the urgency of reducing our environmental impact. This residency was pivotal and life changing, andmy work with reclaimed materials has continued to influence my practice.

In the context of a public artwork, much of my work has been large-scale, and I am dedicated to pushing theboundaries of scale. I often work with paper and two-dimensional materials through collage processes that cansometimes be sculptural and low relief. I have also been expanding my practice into three-dimensional installationover this past year through several projects, including a show in New York last winter and an upcoming soloexhibition for the SF Arts Commission Gallery. As a self-employed artist for the last decade, I have learned tomanage my time and to be flexible and adaptable to working in many different freelance, exhibition, andresidency environments with diverse communities.

For this public art project, I envision multiple methods of translating my ideas into durable materials. Possibilitiesfor artwork above the escalator are a suspended sculpture of laser-cut aluminum or plastic hung with lines fromthe ceiling. I am particularly interested in the Control Tower connector wall and the Terminal 3 Checkpoint Wall assites for a series of large-scale, two-dimensional artworks. The potential 10’ x 10’ scale for each panel is an idealworking size for me that I have utilized for several existing pieces. I have installed a 10’ x 10’ sculptural paperartwork in the lobby of a residential building in Oakland, working with professional art installers to build a framesupport on which to mount the paper work for long-term display on the lobby wall.

Glass or tile mosaic could be an apt material in which to translate my ideas for the connector wall site, as well ascollage/mixed media work on wood or artist panels, which would then be sealed with resin or varnish. I see theconnector corridor as a site rich with potential in which to make a dramatic, high impact visual statement thatconnects to our human experience of travel, transition, and interconnectedness. My approach to the project willbe to research the site--it’s history, the diverse population that travels through it, et cetera--and to synthesize theresearch visually, extracting elements and symbols in order to create the piece. Thank you for your time andconsideration.

Annotated Image List

1. Annotated Image Descriptions


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IMAGE LIST

1. Title: impossible boundariesMedium: ink, collage, graphite, gouache, and hand cut paperDimensions: 84h x 108wYear: 2009

2. Title: impossible boundaries (detail)Medium: ink, collage, graphite, gouache, and hand cut paperDimensions: 84h x 108wYear: 2009

3. Title: collapsible cityMedium: graphite, ink, tempera, and collage on paperDimensions: approximately 6h x 7wYear: 2012

4. Title: Beginning anywhereMedium: ink, graphite, collage, and hand cut paperDimensions: 108h x 108wYear: 2008

5. Title: under the ruptured skyMedium: ink, graphite, and collage on paperDimensions: 54h x 72wYear: 2010

6. Title: string theoryMedium: ink, collage, graphite, and gouache on paperDimensions: 72h x 96wYear: 2009

7. Title: possibilityMedium: 56h x 94wDimensions: collage, acrylic, ink from printer cartridges, graphite, and colored pencil on antique window shadeYear: 2010Description of work: This piece was made from 100% reclaimed materials scavenged from Recology/the SanFrancisco dump.

8. Title: Celestial ViewingMedium: ink, collage, and graphite on paperDimensions: 45h x 60wYear: 2010

9. Title: Double IMedium: mono print, ink, acrylic, watercolor, and latex paint on paperDimensions: 26h x 40wYear: 2011

10. Title: Burst Apart IIMedium: Site specific installation of hand cut paper, ink, tempera, and threadDimensions: VariableYear: 2012Description of work: Site-specific mixed media installation created for the exhibition "Infinite Loop: Art + Sound byVal Britton and John Colpitts" at Secret Project Robot, Brooklyn, NY, January 2012. The installation functioned asa set, and many musicians, including an experimental drum ensemble called "Man Forever" performed under thepiece as part of a month of programming in January 2012.


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Overall Rating: 100/100 Rating: 100

Taleporos, Zoe 100/100


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"impossible boundaries"

84" x 108"2009

ink, collage, graphite, gouache, and hand cut paper

"impossible boundaries (detail)"

84" x 108"2009

ink, collage, graphite, gouache, and hand cut paper

"Collapsible City"

Approximately 6' h x 7' w2012

graphite, ink, tempera, and collage on paper

"beginning anywhere"

approximately 108" x 108"2008

Ink, graphite, collage and hand cut paper

"string theory"

72" x 96"2009

ink, collage, graphite, and gouache on paper


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"under the ruptured sky"

54" x 72"2010

ink, graphite, and collage on paper

"possibility"

56" x 94"2010

Collage, acrylic, ink, graphite, + colored pencil on antique window shade.This piece was made while I was an Artist-in-Residence from June through September2010 at Recology, San Francisco, CA. All the materials used (the antique window shade,vintage papers, wallpaper, ink, acrylic paint, and even the glue used to adhere the collagetogether) are100% recycled and have been scavenged and reclaimed from the SanFrancisco dump.

"celestial viewing"

45" x 60"2010

ink, collage, and graphite on paper

"Double I"

26"h x 40"w2011

monoprint, ink, acrylic, watercolor, and latex paint on paper

"Burst Apart II"

Dimensions variable2012

Site-specific mixed media installation of hand cut paper, ink, tempera, and thread createdfor the exhibition "Infinite Loop: Art + Sound by Val Britton and John Colpitts" at SecretProject Robot, Brooklyn NY


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"impossible boundaries" "impossible boundaries (detail)"

"Collapsible City" "beginning anywhere"

"string theory" "under the ruptured sky"

"possibility" "celestial viewing"


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"Double I" "Burst Apart II"

colburn, adriane 1110241206

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2011-2012 Prequalified Artist Pool -- Requestfor Qualifications

adriane colburn


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Submitted: Jan 17 2011 7:47AM CST/CDT

Tags: Cabrillo, Prequal-Yes Daggett, PUC 2D Program,Yes 17th and Folsom, Yes Prequal Pool

Geographical Eligibilty

1. Are you a resident of one of the following Western States?:Yes

Resume/C.V.



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Adriane Colburn

San Francisco, CA - -

@www.adrianecolburn.com

EDUCATION

BFAPrintmaking, The School of the Art Institute of Chicago, 1997

MFANew Genres, Stanford University, Stanford, CA, 2001

UPCOMING PROJECTS:

2011oFor the Deep, Dark, The Luggage Store Gallery, SF (solo)oPaper Quilt Exhibition, Berkeley Art Musuem, Berkeley, CAoArtist in Residence, Los Amigos Bilogical Preserve, Madre de Dios, PeruoArtist in Residence, USCG Healy (w/ University of Fairbanks, Alaska)

2012oNew commissioned work, San Francisco Film Instittue, SF (solo)oTBA, Smack Mellon, Brooklyn, NY (solo)

SELECTED EXHIBITIONS

2010oUnfold, Traveling exhibition: Vienna, London; Tokyo; Chicago; SeouloThe Biomimicry Project, Eleanor Harwood Gallery, San Francisco, CA

2009oEarth, Art of a Changing World, Royal Academy of Arts, London, UKoMapping and the Imagination in California Art, SFSUore:con-figure, Kala Art Instiitute, Berkeley CAoNear Everywhere, G.A.S.P, Boston, MA

2008oArtisterium, International Forum on Contemporary Art, Tbilisi, Republic of GeorgiaoThe Shape of Things: paper traditions and transformations, Museum of Craft and Folk Art, San Francisco, CAoResidency Projects-Part 4 Kala Art Institute, Berkeley, CAoVital Signs, Newcomb Art Gallery, Tulane UniversityoPacific Light, California Watercolor Refracted, 1907-2007, The Nordic Watercolor Museum, Skarhamm, SwedenoSedimentary Emergence, Firehouse Gallery, Burlington, VT (solo)

2007oIn the Fullness of Time, Luggage Store Gallery, San Francisco, CAoAn Affair With Artists, Michael Rosenthal Contemporary Arts, Redwood City, CA

2006oArtadia Award Exhibition, CCA San Francisco, CAoPaper, Traywick Contemporary, Berkeley, CAoInternational Waters, Steven Wolf Gallery, San Francisco

2005oExplosive Compulsive, The Luggage Store, San FranciscooAdriane Colburn, Gallery 16, San Francisco (solo)oBay Area Now 4, Yerba Buena Center for the Arts, San FranciscooAdriane Colburn, Before the Rush, Southern Exposure, San Francisco (solo)

2004o2 1/2: Art at the Corner of Two + Three Dimensions, Fine Arts Gallery, SFSU


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oSF Drawing Show, New Image Art, Los AngelesoEcotopia, Lump Gallery, Raleigh, NCoThe Way It Looks From Here, Spanganga Gallery, San Francisco

2003oClose Calls, Headlands Center for the Arts, Sausalito, CAoNO WAR: 70 Artists Respond to the Threat of War (Curated by Adriane Colburn, Laurie Lazer, and DarrylSmith), The Luggage Store, San Francisco

2002oNewFangle 2002, GenArtSF, San FranciscooGenealogy Project, Adriane Colburn, Francis Colburn Gallery, UVM (solo)oMusée Miniscule, New Langton Arts, San Francisco

2001oMastermind, Richmond Art Center, Richmond, CAoPoster Show, New Image Art, Los AngelesoTrails: Adriane Colburn, The Luggage Store, San Francisco (solo)

SELECTED RESIDENCIES, AWARDS AND HONORS

2010-Artist in Residence, Carnegie Airborne Observatory, Stanford University

2009-Artist In Residence, Blue Mountain Center, NY-Andes to Amazon Expedition, Cape Farewell Project

2008-Arctic Sea Floor Mapping Expedition, USCG Healy-Eureka Fellowship, Fleishhacker Foundation-Artist in Residence, Center for Coastal and Ocean Mapping, Durham, NH

2007-Fellowship Award, Kala Art Institute, Berkeley, Ca

2006-Artist in Residence, Macdowell Colony, Peterborough, NH

2005-Artist in Residence, Headlands Center for the Arts, Sausalito, CA-Artadia Award for Visual Arts

2004-Commissioned permanent photographic Installation, Meditation Room, Kaiser Hostial, SF

SELECTED BIBLIOGRAPHY

•Buckland, David, Unfold; A Cultural Response to Climate Change, Springer Wien, 2010•Earth; Art of a Changing World, Exh. Cat. Royal Academy of Art, 2009•Near Everywhere, Exh. Cat. Deb Todd Wheeler, 2009•Perfect Paper, Page One, 2009•Thompson, Nato, Experimental Geography: Radical Approaches to Landscape, Cartography and Urbanism.Melville House, 2008•Modus Operandi- In Quest of a Different Way, exh. cat. Artisterium ,08 Tbilisi•Nordhal, Bera; Johnson, Mark. “Pacific Light: California Watercolor Refracted, Nordiska Akvarellmuseet 2008•Nolan, Abner. Exposure #2— Adriane Colburn, Before the Rush, exh. cat. SOEX 2005.•Porges, Maria. “Review: Adriane Colburn.” Artforum (Summer 2005).•Silverman, Jessica. International Waters, exh. cat. San Francisco, Steven Wolf 2006

Letter of Interest


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1. Letter of Interest:I am writing to express my interest in joining the 2011 Prequalified Artist Pool.

During the past 20 years, I have been deeply involved with the San Francisco art community throughrelationships with artists, galleries, non-profits and as a teacher at CCA and the SFAI. My career as an artist hasallowed me a number of unique experiences, exhibitions and commissions that provide a solid background forpublic art. I have exhibited throughout the United States and internationally, recently at the Royal Academy of Artin London where I was commissioned to create an installation in conjunction with the COP15 Climate Talks. Ihave been awarded an Artadia Award and a Fleishhacker Fellowship as well as residencies at the Headlands andthe Macdowell Colony. I have also participated in scientific expeditions in the Amazon with Cape Farewell and inthe Arctic onboard US Coast Guard Icebreaker, The Healy. These experiences have deepened my involvementwith my work and increased my commitment to research, exploration, and innovative process.

My work consists of a series of large-scale cartographic installations comprised primarily of layers of metal, handcut paper, light and shadow. This work is, in part, an investigation into what is revealed when hidden systems aremade visible and displayed. Over the years, my artwork has explored body systems, urban infrastructure such asthe San Francisco Sewer System and historic network of creeks, networks of oil pipelines as well as scientificdata collected while participating in expeditions in the Arctic and Amazon.

In my practice I seek to reimagine maps and photographs of places (and networks) that are obscured bygeography, scale or the passing of time. At the core of this is a fascination with the way that our attempts to makesense of the world around us through maps, data and images result in abstractions that are simultaneouslyinformative and utterly ambiguous. I create my installations by transforming images through a system of physicalremoval, cutting out everything except imperative lines, thus creating constructions that are informed by voids asmuch as by positive marks. Through this cutting and display, an intricate array of reflective shadows results. All ofmy projects are based heavily on research and have a strong connection to place. My work tends to have afragile appearance, however, my recent projects are constructed primarily of steel and aluminum, giving them ahigh level of permanence while maintaining their delicacy.

I am particularly interested in public art in San Francisco because of my investigations into urban systems, therelationship between humans and the natural world and urban landscape history- topics that have great potentialin a public context. I am enthusiastic about the immense conceptual possibilities that come with art in a specificsite, building or public municipal space. The high level of public visibility, relative permanence, and relationship toarchitecture are all challenging and exceptional opportunities. I am confident that my work would translate verynaturally to public art in both form and content.




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IMAGE LIST- ADRIANE COLBURN

1-2. Forest for the Trees, 2010Ink jet prints, film, sumi ink, gouache12’x7’Forest for the Trees is a meditation on the complex relationship between nature andindustry; sustained land vs. commodified land; matter on the surface of the earth vs. thematter below ground; the morphing of the forest into an industrial landscape; and thefines lines between use and exploitation. This piece is inspired by a swath of thePeruvian Amazon that is the subject of a contentious debate over whether or not to allowoil exploration in the region.

3-4. Up From Under the Edge, 2009Aluminum, paper, ink jet prints, 2 channel video, steel, wood, c-prints14’x24’Like Forest for the Trees, Up From Under the Edge is also inspired by the PeruvianAmazon. In this work, photography and video shot in a section of the Amazon slated foroil exploration, are used to create the installation. The videos, inside small viewers,depict a remote view of the place. The photographic elements, have been transformedinto silhouettes.

5-6. For the Deep, Phase Two, 2009Ink Jet prints, paper11'x40’ (variable)For the Deep, is derived from maps of the arctic seafloor; video and photographs takenwhile onboard USCG icebreaker, The Healy; audio recordings of ships, ice and marinemammals recorded from the bottom of the Arctic Ocean; and sub-bottom profiles of thegeology of the Arctic. The primary map-structure of For the Deep depicts the US effortsin the Arctic to support Article 77 of the UN Convention for the Law of the Sea. In aneffort to determine the location and span of the United States’ continental shelf north ofBarrow, Alaska, scientists are making the first detailed maps of the seafloor using sonar.

7-8. Piped In, Hooked On, 2007Paper, aluminum, ink and latex paint10’ x 30’ x 8’This project is derived from maps of the crude oil and natural gas pipelines of the US, amassive system that each member of contemporary society interacts with in nearly allaspects of life, but which is seldom visible.

9-10. Just Below (sewer to bay), 2005Paper and inkDimensions variable (app: 30’ high x40’wide)This installation, displayed at Yerba Buena Center for the Arts, charts the course ofwater from the museum’s pipes to the Bay through the San Francisco sewer system andwastewater treatment plant. The layers of maps represent the sewer lines, city streets,the historic creek network that now runs through the sewer system, as well as the pipesthat form wastewater treatment.


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"Forest for the Trees"

12'x7'x8"inke jet prints, film and sumi ink2010

Forest for the Trees is a meditation on the complex relationship between nature andindustry; sustained land vs. commodified land; matter on the surface of the earth vs. thematter below ground; the morphing of the forest into an industrial landscape; and the fineslines between use and exploitation.This piece was created from photographs taken in an area of the Peruvian Amazon that isbeing monitored to decipher the carbon storage value of tropical forests.

"Forest for the Trees"

12'x7'x8"Ink jet prints, film and sumi ink2010

Forest for the Trees is a meditation on the complex relationship between nature andindustry; sustained land vs. commodified land; matter on the surface of the earth vs. thematter below ground; the morphing of the forest into an industrial landscape; and the fineslines between use and exploitation.This piece was created from photographs taken in an area of the Peruvian Amazon that isbeing monitored to decipher the carbon storage value of tropical forests.

"Up From under the Edge"

14'x23'x3'Aluminum, paper, ink jet prints, steel, video2009

Like Forest for the Trees, this piece looks at the balance between nature and industry in acontentious piece of forest. This work is inspired by a swath of the Peruvian Amazon thatis the subject of a contentious debate over whether or not to allow oil exploration in theregion. This work includes two video viewers that depict abstracted views of the forest,including underground footage, rotting carcasses and illegal gold mines.

"Up From under the Edge"

14'x23'x3'Aluminum, paper, ink jet prints, steel, video2009

Like Forest for the Trees, this piece looks at the balance between nature and industry in acontentious piece of forest. This work is inspired by a swath of the Peruvian Amazon thatis the subject of a contentious debate over whether or not to allow oil exploration in theregion. This work includes two video viewers that depict abstracted views of the forest,including underground footage, rotting carcasses and illegal gold mines.


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"For the Deep"

12'x35'x4' (app)Ink jet prints, paper, wood, video, audio, etc2009

For the Deep, Phase Two is derived from maps of the arctic seafloor; video andphotographs taken while onboard USCG icebreaker, The Healy; audio recordings of ships,ice and marine mammals recorded from the bottom of the Arctic Ocean; and sub-bottomprofiles of the geology of the Arctic. The primary map-structure of For the Deep depictsthe US efforts in the Arctic to support Article 77 of the UN Convention for the Law of theSea. In an effort to determine the location and span of the United States continental shelfnorth of Barrow, Alaska, scientists are mapping the seafloor using sonar. The path theychoose to map is determined by where it is believed the continental shelf might extendand where the ice pack allows the ship to break through. In this process, we gain strandsof information that bring to light this submerged topography.

The installation includes sound recorded from the sea floor and three video viewers withfootage from Arctic Ocean inside.

"For the Deep"

12'x35'x4'Ink jet prints, paper, video, wood, audio, etc2009

Detail shows: close up of installation with video viewer and video still.

For the Deep, Phase Two is derived from maps of the arctic seafloor; video andphotographs taken while onboard USCG icebreaker, The Healy; audio recordings of ships,ice and marine mammals recorded from the bottom of the Arctic Ocean; and sub-bottomprofiles of the geology of the Arctic. The primary map-structure of For the Deep depictsthe US efforts in the Arctic to support Article 77 of the UN Convention for the Law of theSea. In an effort to determine the location and span of the United States continental shelfnorth of Barrow, Alaska, scientists are mapping the seafloor using sonar. The path theychoose to map is determined by where it is believed the continental shelf might extendand where the ice pack allows the ship to break through. In this process, we gain strandsof information that bring to light this submerged topography.

"Piped In Hooked on"

11'x20'Aluminum, Paper, latex, Ink2008

This project is derived from maps of the crude oil and natural gas pipelines of the US,amassive system that each member of contemporary society interacts with in nearlyallaspects of life, but which is seldom visible.


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"acolburn_10"

11'x20'Aluminum, Paper, Latex, Ink2008

This project is derived from maps of the crude oil and natural gas pipelines of the US,amassive system that each member of contemporary society interacts with in nearlyallaspects of life, but which is seldom visible.

"Just Below (SF Sewer to Bay)"

30'x40' (variable)Paper and Ink2005

Made in collaboraion with the SF Sewer Depatment, this installation, displayed at YerbaBuena Center for the Arts, charts the course ofwater from the museum’s pipes to the Baythrough the San Francisco sewer system andwastewater treatment plant. The layers ofmaps represent the sewer lines, city streets,the historic creek network that now runsthrough the sewer system, as well as the pipesthat form wastewater treatment.

"Just Below (SF Sewer to Bay)"

30'x40' (variable)Paper and Ink2005

Made in collaboraion with the SF Sewer Depatment, this installation, displayed at YerbaBuena Center for the Arts, charts the course ofwater from the museum’s pipes to the Baythrough the San Francisco sewer system andwastewater treatment plant. The layers ofmaps represent the sewer lines, city streets,the historic creek network that now runsthrough the sewer system, as well as the pipesthat form wastewater treatment.


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"Forest for the Trees" "Forest for the Trees"

"Up From under the Edge" "Up From under the Edge"

"For the Deep" "For the Deep"

"Piped In Hooked on" "acolburn_10"


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"Just Below (SF Sewer to Bay)" "Just Below (SF Sewer to Bay)"

Melchert, James 2160503972

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James Melchert

Oakland, CA , US

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JAMES (JIM) MELCHERT

Oakland, CAwww.jimmelchert.com

EDUCATION1952 Princeton University A.B.1957 University of Chicago M.F.A.1961 University of California at Berkeley M.A.

ACADEMIC APPOINTMENTS

1952-1956 Tohoku Gakuin Schools, Sendai, Japan1957-1959 Carthage College1961-1965 San Francisco Art Institute1965-1992 University of California at Berkeley

NON-ACADEMIC APPOINTMENTS

1977-1981 National Endowment for the ArtsDirector, Visual Arts Program1984-1988 American Academy in RomeDirector

AWARDS AND HONORS

Woodrow Wilson Fellowship, 1961-1962Louis Comfort Tiffany Fellowship, 1964Adeline Kent Award, San Francisco Art Institute, 1970Artist Fellowship, National Endowment for the Arts, 1973Honorary Fellow, National Conference of Educators in the Ceramic Arts (NCECA), 1978Honorary Doctor of Fine Arts Degree, San Francisco Art Institute, 1984Honorary Fellow of the American Craft Council, 1988Award of Distinction, National Council of Art Administrators, 1989Elected to Membership, The Century Association, 1989Honorary Doctor of Fine Arts Degree, Maryland Institute, College of Art, 1993Citation for Distinguished Service in the Visual Arts, National Association of Schools of Art and Design, 1993 Award for Design Collaboration, Boston Society of Architects, 1995Regis Masters Award, Northern Clay Center, Minneapolis, 1998Distinguished Alumnus Award, College of Environmental Design, UC-Berkeley, 1999 Class of 1952 Distinguished Career Award, Princeton University, 2002Juror, World Ceramic Biennale Korea 2009, Icheon, South KoreaWatershed Legends Award, Watershed Center for the Ceramic Arts, Maine 2009Kala Master Artist Award, Kala Institute, Berkeley, 2011

SOLO EXHIBITIONS

2011 Gallery Paule Anglim, San Francisco2008 Gallery Paule Anglim, San FranciscoB. Sakata Garo, Sacramento2007 Paul Kotula Projects, Detroit2006Katzen American University Art Museum, Washington, D.C.2005Fresno Art Museum, CAGallery Paule Anglim, San Francisco2004 Revolution Gallery, DetroitGallery Paule Anglim, San Francisco2001 Revolution Gallery, DetroitFranklin Parrasch Gallery, New YorkBACCA, Berkeley2000 Howard Yezerski Gallery, Boston1999 Revolution Gallery, DetroitRobert Mondavi Winery, Oakville, CA


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1998 European Ceramic Work Centre, s-Hertogenbosch, HollandRevolution Gallery, Detroit1996 Jernigan Wicker Fine Arts, San Francisco1995 Revolution Gallery, DetroitJernigan Wicker Fine Arts, San Francisco1994 Revolution Gallery, Detroit1992 Fabric Workshop, Philadelphia1991 Century Association, New YorkKala Institute, BerkeleyHolly Solomon Gallery, New York1990 Grey Gallery, East Carolina State, Greenville1989 College of Notre Dame, Belmont, CA1984 Fuller Goldeen Gallery, San Francisco1983 University of New Mexico, Albuquerque1981 San Francisco Art InstituteFendrick Gallery, Washington, DC1978 Galerie Fignal, Amsterdam1977 Nancy Lurie Gallery, ChicagoMadison Art Center, WI1975 Museum of Modern Art, San FranciscoDaniel Weinberg Gallery, San Francisco1974 de Saisset Art Gallery, University of Santa Clara, CA1973 In Out Gallery, Amsterdam1972 Ceragenetics, AmsterdamGallery Reese Palley, San Francisco1971 School of the Art Institute, Chicago1970 Obelisk Gallery and Parker Street 470, BostonSan Francisco Art Institute1969 Reed College, Portland1968 Gallery 669, Los Angeles Obelisk Gallery, BostonSOLO EXHIBITIONS cont.

1964 Hansen Galleries, San Francisco1961 Richmond Art Center, CA

SELECTED GROUP EXHIBITIONS

2011 Under the Big Black Sun: California Art 1974-1981, MOCA Contemporary, Los Angeles State of Mind: New California Art Circa 1970, Orange County Museum of Art Mind Over Matter, Meulensteen Gallery, NYC Get Lucky: The Culture of Chance, SOMArts, San FranciscoCrafting Modernism: Midcentury American Art and Design Museum of Arts and Design, NYC Cracks, Drips, and Markings, with Nancy Genn, Sanchez Art Center, Pacifica, CA2010 Out of Order, Fine Arts Gallery, San Francisco State University Ceramics Annual of America, San Francisco Six Treasures, Berkeley Art Center, Berkeley, CA Hand + Made, Contemporary Art Museum, Houston Susie Lee Exhibition, Lawrimore Project, Seattle2009 Life of Making, Sonoma Valley Museum of Art, Sonoma, CA Watershed Legends Exhibition, SOFA, Chicago2008 64th Annual Ceramics Exhibition, Scripps College, Claremont , CABay Area Ceramic Sculpture, diRosa, Napa2007Garage Biennale, San FranciscoPeter Selz Tribute, B.Sakatagaro Gallery, Sacramento2006 Practice Makes Perfect: Bay Area Conceptual Craft, Southern Exposure, San FranciscoSlides, Baltimore Museum of Art; Contemporary Arts Center, and the Cincinnati Museum of Art2004Continuations, the Nelson Gallery, University of California at Davis Beyond Boundaries: Bay Area Conceptual Art of the 1970s, Pasadena Museum of California Art A Secret History of Clay, from Gauguin to Gormley, Tate Liverpool, England Bay Area Now 3, Yerba Buena Center for the Arts, San Francisco Contemporary American Ceramics (1950-1990), Aichi Prefectural Ceramics Museum and the National Museum of Modern Art, Kyoto)2003 Inaugural Exhibition, Racine Art Museum, Racine, WI


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Works from the diRosa Collection, Kreeger Gallery, Washington, D.C.60th Annual Ceramics Exhibition, Scripps College, Claremont, CABlobs, Wiggles and Dots, The Workspace, New York2001 World Ceramic Exposition 2001 Korea, Icheon Ceramics as Sculpture, Minneapolis Institute of Arts2000 Made in California; Art, Image & Identity, 1900-2000, Los Angeles County Museum of ArtColor & Fire; Defining Moments in Studio Ceramics, Los Angeles County Museum of ArtHigh Minded: Conceptual Art in Moving-Image Media, San Francisco MOMABricks & Tiles, with Mark Boulding, Zwick Gallery, Denver1999 Interaction 99, Mimar Sinan University, Istanbul1998 NCECA Fellows, Modern Art Museum, Fort WorthRegis Master Series, Northern Clay Center, Minneapolis1997 Abstract Expressionist Ceramics Revisited, Garth Clark Gallery, NYCEarly Work, Nancy Margolis Gallery, New York City1996 Hot Off the Press, (traveling exhibition), United KingdomGROUP EXHIBITIONS cont.

1996 cont. Affinities, with Jamie Walker, Dorothy Weiss Gallery, San Francisco1995 Potent Matter/Pertinent Material, Betty Rymer Gallery, Chicago Art Institute1993 Beyond Boundaries: Art of the '60's and '70's, San Francisco MOMAClay 1993: A National Survey, William Traver Gallery, Seattle1992 In the Spirit of John Cage, Jernigan-Wicker Gallery, San FranciscoFive by Seven, Alfred University1987 The Projected Image, San Francisco MOMA1986San Francisco Bay Area, the Drawing Center, New York The Object as Poet, the Renwick Gallery, Washington DCWords at Liberty, Museum of Contemporary Art, ChicagoSculpture from the Museum Collection, San Francisco MOMA1977California Painting and Sculpture, National Museum of American Art, Washington DC1974 Artists' Books, Groningen, the NetherlandsThe Biennial, Sydney, AustraliaTwo Performance Works, South of the Slot, San Francisco1973 Video Verslag, Lignbaancentrum, Rotterdam1972 Documenta 5, Kassel, West Germany Contemporary Ceramic Art, National Museums of Modern Art, Kyoto and Tokyo1971Sound as Sculpture, Museum of Conceptual Art, San Francisco Annual Exhibition of Painting and Sculpture, Whitney Museum of American Art. New York1969 The Spirit of the Comics, ICA, Philadelphia Twentieth Century American Art, Rhode Island School of DesignObjects USA, National Museum of American Art, Washington DC1968 The Wellington-Ivest Collection, Museum of Fine Arts, BostonAnnual Exhibition of Painting and Sculpture, Whitney Museum of American Art, New York1967 The West Coast Now, Portland, Seattle, San Francisco and Los Angeles Funk Art, Art Museum, University of California at Berkeley1966 Annual Exhibition of Painting and Sculpture, Whitney Museum of American ArtAbstract Expressionist Ceramics, University of California at IrvineTwenty American Studio Potters, Victoria and Albert Museum, London1965 Slant Step Show, Berkeley Gallery, San FranciscoYoung American Sculpture-East to West, New York World's Fair1963 Onze Sculpteurs Americains, Musee d'Art Modern de la Ville de Paris1962 Work in Clay by Six Artists, San Francisco Art Institute

COMMISSIONS

1965 diRosaNapa, CAConcrete sculpture entitled "Earth Door"7'h x 4' x 2'

1967 diRosaNapa, CACeramic water jet, 8" x 5" x 10"COMMISSIONS cont.


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1989 Oliver Ranch and Sculpture ParkGeyserville, CACeramic tile for border of swimming pool and shower20' x 40' x 1' and 8' x 4' x 6' respectively

1990 River West Development Sculpture Park,Folsom, CACeramic tile mural 8 x 8

1991 Metropolitan Rapid TransitSacramento, CABus shelter consisting of a steel trellis and a tiled bench10' x 18' x 8'

1994 Massachusetts Institute of TechnologyCambridge, MACeramic tile mural in the new biology building14'h x 225'

1994 Case Western Reserve UniversityCleveland, OHSculpture installation in the new biomedical research buildingBronze component 12' across, Brass component 3' in diameter

1996 Residence for the American AmbassadorSingaporeTwo ceramic tile murals inside the entrance4' x 8' each

PUBLIC, INSTITUTIONAL, AND CORPORATE COLLECTIONS

Victoria and Albert Museum, LondonStedelijk Museum, AmsterdamMuseum Het Kruithuis, 's-HertogenboschNational Museum of Modern Art, KyotoWorld Ceramic Center, Icheon, KoreaMuseum of Arts & Design, New YorkRenwick Gallery, Smithsonian InstitutionPUBLIC, INSTITUTIONAL, AND CORPORATE COLLECTIONS cont.

Baltimore Art MuseumMuseum of Contemporary Art, San DiegoLos Angeles County Museum of ArtSan Francisco Museum of Modern ArtAchenbach Foundation, San FranciscoCrocker Art Museum, SacramentoOakland MuseumBerkeley Art MuseumThe diRosa, NapaDes Moines Art CenterRose Museum, Brandeis UniversityAddison Gallery of American Art, Andover AcademyRhode Island School of Design, ProvidenceThe Henry Art Gallery, University of Washington, SeattleUniversity of California at Davis


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University of Colorado Boulder Art MuseumUniversity of New Mexico, AlbuquerqueUniversity of Iowa Art Museum, Iowa CityYale University Art Gallery, New HavenWellington-Ivest, Inc., BostonIBM CorporationPacific Bell

PRIVATE COLLECTIONS

Edward Albee, MontawkMr. and Mrs. Tom Freudenheim, New York CityMr. and Mrs. William Roth, New York CityMrs. Stephen Paine, CambridgeMarion Stroud, PhiladelphiaMaxine and Stewart Frankel, Bloomfield HillsLarry and Cindy Meeker, Kansas CityJun Kaneko, OmahaPaule Anglim, San FranciscoCarl Djerassi, San FranciscoAnn Hatch, San FranciscoJames Newman, San FranciscoMrs. Robert Mondavi, Oakville

Letter of Interest

1. Letter of Interest:Letter of InterestThe possibility of having ones artwork located in a public space is exciting. It allows an artist to contribute in apositive way to the spirit and flow of what goes on there among the people using it. When the space is an airterminal travellers are at the center of the activity. The building facilitates their circulation, guiding them to wherethey need to be; the artworks, however, have to do with celebrating activity that leads to new beginnings. If youthink of the terminal as a doorway through which people come and go, the artwork in it makes the differencebetween a significant gateway and an opening in the wall. The artworks help frame and dignify the passagethrough. (Every time I wait for a friend clearing customs at the International terminal, I have Lewis deSotos floorinstallation to enjoy again and reconnect me with the larger frame of things.)As a seasoned traveler I especially like the artwork in airports that represents the community Im either about toenter or leave. It speaks for the spirit of the people and the culture there and makes the possibility of connectingwith them attractive. I would gladly offer my services to be on the team whose work engages visitors as theypass through our point of entry.




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1. Oliver Ranch PoolGlazed Ceramic Tilesca 15' x 30'1989Commission $20,000

The border that I made for the swimming pool is half submerged so that the lower band of tiles is underwater and,therefore, refracted. Since the upper row is reflected on the surface of the pool there were three rather than twostrips of colored shapes to play with.

2.MIT Biology Building Mural (detail)Glazed Ceramic Tile220’ long by 16’high1994Commission $ 300,000

The mural in the Biology Building lines the corridor on the ground floor and can be viewed from the streetoutdoors as well. Though it measures 220’ in length, the wall is in two sections divided by a second entrance tothe building. The passage shown in the photograph was done in response to a request from biologists on the jurywho wanted a panel of microbes. By contrast, the panel before this one is a broad field of clear glass dots; whenyou’re facing it with your back to the window, you can see yourself reflected in all of them but only a half inch tall.


I chose this section to illustrate the difference between what can be seen from the street and as opposed to insidethe corridor in Image 4. It was a challenge to make both views engaging. The two sets of ellipses address ofmagnification. I got them by blowing up a zero on a computer keyboard


When approached inside the corridor, the rings appear to vary in size as though stacked instead of flat. Itsuggests that what you see depends on where you are when you see it.


Some reference to the double helix seemed in order but what interested me most was the sense of spiralingmotion down the corridor as it neared the second entrance. The dark bands are filled with images of microbes yetto be known and explored.


In this second segment of the end wall, I initiated a spiral by drawing the arc in a single tile to the left of the doorthat progress through the Fibonacci sequence. I liked the notion that the simple act of opening a door could set inmotion the formation of a snail shell.

7.MIT Biology Building Mural (detail)Glazed Ceramic Tile


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220’ long by 16’high1994Commission $ 300,000

No single photograph can convey the nature of the commission I was given in the new Medical Building at CaseWestern Reserve. There were three elements to the work of which this bronze wall figure is one. They all stemfrom the curious fact that the clock in the tower of the building has no numbers while the windows in the buildingare executed in blocks of twelve.

8.Feathers of the Phoenix (Black)Broken and glazed porcelain tiles5’10”x 6’10”2004$20,000

“Feathers of the Phoenix (Black)” is one of several large wall panels that have to do with things broken and givennew life in reference to the phoenix the bird that was destroyed by fire but later rose to rise from the ashes. I onceasked a physicist about this and learned that cracks are not random. A break simply reveals where there the linksbetween clay molecules are weak. The interior structure of a tile is a network of fault lines can be exposed ifgiven a shock. When broken a certain way nearly all the fragments of a tile will have a vortex in their shape. Byglazing them as chevron s I made them resemble feathers.

9.Feathers of the Phoenix (Red)Broken and glazed porcelain tiles,9’2”x 7’10”2005diRosa Collection $26,000

“Feathers of the Phoenix (Red)” has had a fair amount of exposure in that it is now mounted at the entrance tothe galleries in the gatehouse at the diRosa outside Napa.

10.Keyboard Score for David TudorBroken and glazed porcelain tiles4 ½’ x10 ½’2012University of California at DavisCommission $10,000

In “Keyboard Score for David Tudor” the edges of the broken tile interrupt bands of glaze determined by chancewhile a grid of circles in the background provide a beat or a pulse. It’s not unlike a jazz trio.


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"Oliver Ranch Pool"

ca 15' x 30'1989

The border that I made for the swimming pool is half submerged so that the lower band oftiles is underwater and, therefore, refracted. Since the upper row is reflected on thesurface of the pool there were three rather than two strips of colored shapes to play with.

"MIT Mural: Organisms Segment"

16' x 220'1994

"MIT Mural"

16' x 220'1994

"M.I.T.Mural"

16' x 220'1994

"M.I.T.Mural"

16' x 220'1994

"M.I.T. Mural"

16' x 220'1994


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"Case Western Reserve"

12' 12'1994

"Feathers of the Phoenix (black)"

5' 10" x 6' 10"2004

"Feathers of the Phoenix (red)"

9' 2" x 7' 10"2005

"Keyboard Score for David Tudor"

4' 6" x 10' 6"2012


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"Oliver Ranch Pool" "MIT Mural: Organisms Segment"

"MIT Mural" "M.I.T.Mural"

"M.I.T.Mural" "M.I.T. Mural"

"Case Western Reserve" "Feathers of the Phoenix (black)"


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"Feathers of the Phoenix (red)" "Keyboard Score for David Tudor"

Wagner, Catherine 2150497207

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Catherine Wagner


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EDUCATION1977/81, Masters of Art, San Francisco State University, CA1975, Bachelors of Art, San Francisco State University, CA (Honors, Cum Laude)

PUBLIC ART COMMISSIONSIn process: Mercer West Art Project, Seattle, WA, Atmospheric FlurryIn process: Moscone Central Subway Station, San Francisco, CA, Arc CycleIn process: 474 Natoma, San Francisco, CA, Global GardenIn process: The Village, Santa Monica, Civic Center, Santa Monica, CA, Wave Echo2011, Millennium Tower, San Francisco, CA Vitreous Bench2011, Education Branch Library, San Jose, CA, Nature/Knowledge2009, Ronald F. Deaton Civic Auditorium, Los Angeles, CA, Ghost Grove2008, Sava Pool, San Francisco, CA, Swimmers’ Waves2004, Frisson Restaurant, San Francisco, CA, Flux Density2003, UCSF Medical School, San Francisco, CA, Cell Wall II2002, Comme des Garçons, Kyoto Japan

AWARDS (partial listing)2007, Artadia: The Fund for Art & Dialogue Award2007-09, Artist-in-Residence, California Academy of Sciences, San Francisco, CA2002, Joan and Robert Danforth Distinguished Professorship in the Arts, Mills College, Oakland, CA1998, Visual Arts Fellowship, Weizmann Institute, Rehovot, Israel1997, Visual Arts Fellowship, San Jose Museum of Art, San Jose, CA1990/91, Visual Artist Fellowship in Photography, National Endowment for the Arts1987, Visual Artist Fellowship, John Simon Guggenheim Memorial Foundation1981, Visual Artist Fellowship in Photography, National Endowment for the Arts

ONE PERSON EXHIBITIONS (partial listing)2011, Reparations, Gallery Luisotti, Santa Monica, CA2010, Reparations, Stephen Wirtz Gallery, San Francisco, CA2010, Morphology, Stephen Wirtz Gallery, San Francisco, CA2007, A Narrative History of the Light Bulb, Stephen Wirtz Gallery, San Francisco, CA2005, Re-Classifying History, de Young Museum (inaugural), San Francisco, CA2005, Catherine Wagner: Early Works 1975-1981, California Landscapes and Moscone Site, Gallery Luisotti,Santa Monica, CA2004, Trilogy: Reflections on Frankenstein, the Arctic Circle, and the History of Science, Stephen Wirtz Gallery,San Francisco, CA (catalog)2003, Cross Sections: Catherine Wagner, Pasadena Museum of California Art, Pasadena, CA2001, Cross Sections: Catherine Wagner, San Jose Museum of Art, San Jose, CA2001, Catherine Wagner: Selections 1980-2000, Stephen Wirtz Gallery, San Francisco, CA1999, Realism and Illusion: Catherine Wagner Photographs the Disney Theme Parks, Modern Art Museum ofFort Worth, Fort Worth, TX; Gallery Luisotti, Santa Monica, CA1999, Catherine Wagner, Selections 1978-1998, Jack Shainman Gallery, New York, NY1997, Catherine Wagner: Art & Science, Investigating Matter, University Art Museum, California State University,Long Beach, CA; Gallery Luisotti, Los Angeles, CA; International Center Of Photography, New York, NY;Fraenkel Gallery, San Francisco, CA1994, American Classroom, Museum fur Moderne Kunst, at Amerika House, Frankfurt, Germany (catalog)1993, Home and Other Stories, Mills College, Oakland, CA; Fraenkel Gallery, San Francisco, CA; Los AngelesCounty Museum of Art, Los Angeles, CA (catalog)1989, Photographs 1978-1988, Fraenkel Gallery, San Francisco, CA1988, American Classroom, The Photographs of Catherine Wagner, Museum of Fine Arts,Houston, TX (catalog)1987, Catherine Wagner, 1976-1986, Min Gallery, Tokyo, Japan ( catalog)

GROUP EXHIBITIONS (partial listing)2012, Stage Presence: Theatricality in Art and Media, SFMOMA, San Francisco, CA2012, New Acquisitions, The Walker Art Center, San Francisco, CA2011, The Altered Landscape, The Nevada Museum of Art, Reno, NV2011, Polaroid [Im]possible, WestLicht – Museum of Photography, Vienna, Austria2011, HERE, Pier 24 Photography, San Francisco, CA2010, Know the Rules – Then Break Them, di Rosa, Napa, CA2010, Masterworks of American Photography: Popular Culture, Amon Carter Museum, Fort Worth, TX2010, Real and HyperReal, San Jose Museum of Art, San Jose, CA2009, 75 Years of Looking Forward: The Anniversary Show, SFMOMA, San Francisco, CA


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2009, An Autobiography of the San Francisco Bay Area Part One: San Francisco Plays Itself, SF Camerawork,San Francisco, CA2007, Rembrandt to Thiebaud: A Decade of Collecting Works on Paper, The Legion of Honor Museum, SanFrancisco, CA (catalog)2007, Bios 4, Centro Andaluz de Arte Contemporáneo (CAAC ), Seville, Spain2003, How Human: Life in the Post-Genome Era, International Center of Photography, NY, NY2002, Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001 WhitneyMuseum of American Art, New York, NY2001, Architecture in Photography, Museum Folkwang, Essen, Germany2000, Made in California: Art, Image, and Identity, 1900-2000, Los Angeles County Museum of Art1999, Museum Pieces: Bay Area Artists Envisioning the de Young, de Young Museum of Art, San Francisco, CA(brochure)1999, Bay Area Now, II, Yerba Buena Center for the Arts, San Francisco, CA (catalog)1998, American Vernacular, Museum of Contemporary Art, Los Angeles, CA1997, Absolute Landscape: Between Illusion and Reality, Yokohama Museum of Art, Yokohama, Japan

COLLECTIONS (partial listing)de Young Museum, San Francisco, CALos Angeles County Museum of ArtMuseum of Contemporary Art, Los AngelesMuseum of Fine Arts, Houston, TXMuseum Folkwang, Essen, GermanyMuseum of Modern Art, New York, NYSan Francisco Museum of Modern Art, CAVictoria and Albert Museum, London, EnglandWalker Art Museum, Minneapolis, MNWhitney Museum of Art, NY

REVIEWS (partial listing)2011, Spot Magazine, Lisa Sutcliffe, “Catherine Wagner speaks with Lisa Sutcliffe on Reparations and itsconnection to war, identity, and spirituality." Fall2011, Artillery Magazine, Scarlet Cheng, “Catherine Wagner, May/June2011, Art News, Lea Feinstein, “Catherine Wagner,” April2010, The Huffington Post, “Catherine Wagner’s `Reparations` at Stephen Wirtz Galler.” Dec.2010, Art Ltd. Magazine, Hearne Pardee, “Catherine Wagner: “Morphology” at Steven [sic] Wirtz Gallery.” March.2008, Los Angeles Times. Pauline O’Connor, “New art exhibits are illuminating.” April 24th.2007, San Francisco Chronicle. Kenneth Baker, “Everything is illuminated in show of lights,” April 7th.2004, ArtForum.com, Glen Helfand, “Critics Picks, Catherine Wagner,” March 10th.2004, San Francisco Chronicle, Kenneth Baker “Art Grapples with Science and Politics,” March 27th2003, Los Angeles Times Calendar, Scarlett Cheng “Catherine Wagner: Cross Sections,” March 9th.2002, New York Times Science, “Inside, Up Close: Medical Scans as Art,” Tuesday, July 2.2002, Art in America, “Report from San Francisco,” November, p. 69.

Letter of Interest

1. Letter of Interest:


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For over thirty years I have investigated contemporary culture making art from the physical traces we leavebehind. My public artwork connects viewers with the surrounding cultural, historic, or geographic context. This isparticularly important in airports, which physically displace people from these surroundings. In this context I willprovide, as critic Hearne Pardee writes, a “stage for our old-fashioned sense of wonder.”For a project at the L.A.P.D. headquarters civic auditorium I etched images of a citrus grove onto golden,anodized aluminum panels set flush with the interior walls of the building. This artwork needed to be completelyUV resistant due to its location in direct sunlight. This dramatically lit imagery glows at night and is visible from thestreets of downtown L.A., which were once flourishing orange groves and reminds viewers of the city’s history.In 2001 The San Jose Art Museum commissioned a large-scale installation entitled “Pomegranate Wall.” Thispiece is composed of a series of repeating images, lit from behind, on modular Plexiglas panels. The piecedepicts layers of the inside of a pomegranate I photographed with MRI and SEM imaging devices.As well, I created public art for the most frequented public swimming pool in San Francisco, Sava Pool. Thisproject had to be realized in a permanent, waterproof material, impervious to chlorine. I worked with photographicimagery of swimmers’ waves imbedded in porcelain enamel on steel. There is a rhythmic pattern to the panelinstallation that is in harmony with the architecture of the cast concrete walls.In the 1970’s I photographed the construction of the Moscone Center, a project that became a symbol of changein San Francisco. For the new Moscone subway station these photographs will be laser-etched onto floor-to-ceiling granite slabs, which will encourage viewers to consider both the area’s past and its future.I am currently working with two unique panel-mounting systems for “Global Garden” an affordable housingdevelopment in downtown San Francisco and “Atmospheric Flurry,” an exterior piece using algorithmic patterns ofrain and wind, installed at either side of an underpass in Seattle. These projects connect viewers with theirsurroundings through formal strategies using light, materiality, and site-specific imagery.I have extensive experience with public art, particularly site-specific works employing panel-mounting systems.For this reason I am particularly interested in creating art for the San Francisco International Airport’s new controlbuilding.Through my public projects I give locations an identity, formal beauty, a connection to the surrounding natural orcultural environment. I welcome collaborative work on design teams and engage well with communitystakeholders. I look forward to the opportunity to create public artwork for the San Francisco International Airport.




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1, 2, and 3, GHOST GROVEMedium: Etched Anodized Aluminum PanelsDimensions: 8’ x 155’ x 0"Date: 2009Commission Amounts: $500,000

For the new civic auditorium in downtown Los Angeles I chose to create an image of an orange grove, laseretched onto anodized aluminum along the corridor walls of the building. Because the exterior walls are made ofglass, the frieze is also visible from the outside of the building. The orange grove imagery honors the history ofdowntown LA, which was once flourishing with citrus groves. This piece seeks to extend the idea of the publicpark and plaza by referencing the notion of landscape, and to provide both a beautiful and interactiveenvironment.

4, and 5, - 86 DEGREE FREEZERSMedium: Laminated Light Jet Prints on Stainless Steel PanelsDimensions: 100’ x 20’Date: 2002Commissioned Amount: $150,000

Photos from my series “Art & Science: Investigating Matter” cover the curving walls and recesses of this high-enddesign space, Comme des Garcons, Kyoto, Japan. The images are of the interior of freezers used in geneticresearch. The piece provides a serious contrast to the notion of a design store.

6, and 7, SWIMMERS' WAVESDimensions: 14’ x 55’Medium: Photographic Images on Porcelain Enameled SteelDate: 2008Commission Amounts: $77,500

The Sava Pool is the most frequented city pool in San Francisco. This project is a tribute to Charlie Sava, thepool’s coach who was inducted into the Swimmer’s Hall of Fame. Commissioned by the SF Arts Commission.

8, and 9, POMEGRANATE WALLDimensions: 8’ x 40’Medium: Lambda Duratrans and LightboxDate: 2001Commission Amounts: $100,000

I used medical imaging devices, such as MRI and SEM machines, to explore the topography and internalstructure of familiar and not-so-familiar organic materials such as the pomegranate. I am interested in whatimpact the changes that emerge from contemporary scientific research will have on our culture.

10, ATMOSPHERIC FLURRYDimensions: 5’ x 240’ x 1’Medium: Laser Cut, Powder Coated Aluminum and LED LightingDate: In Process, expected 2013Commission Amounts:: $350,000

As drivers, pedestrians, and bicyclists move along the Mercer Corridor they enter an illuminated underpasscontaining abstract, interactive imagery based on a rainstorm. This Moire patterning is designed to create theexperience of the ever-changing weather patterns of Seattle. (Images are of mockup and rendering.)


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"Ghost Grove (LAPD Civic Auditorium)"

8 x 1552009

For the new civic auditorium in downtown Los Angeles I chose to create an image of anorange grove, laser etched onto anodized aluminum, along the corridor walls of thebuilding. Because the exterior walls are made of glass, the frieze is also visible from theoutside of the building. The orange grove imagery honors the history of downtown LA,which was once flourishing with citrus groves. This piece seeks to extend the idea of thepublic park and plaza by referencing the notion of landscape, and to provide a beautiful,interactive environment.


8 x 1552009



8 x 1552009


"Comme des Garcons"

100’ x 20’2002

Photographs from the series "Art & Science: Investigating Matter" cover the curving wallsand recesses creating a new interior skin of Comme des Garcons in Kyoto, Japan, a high-end design space. The images are of the interior of freezers used in genetic research. Thepiece provides a serious contrast to the notion of a design store.

"Comme des Garcons"

100’ x 20’2002

Photographs from the series "Art & Science: Investigating Matter" cover the curving wallsand recesses creating a new interior skin of Comme des Garcons in Kyoto, Japan, a high-end design space. The images are of the interior of freezers used in genetic research. Thepiece provides a serious contrast to the notion of a design store.


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"Pomegranate Wall"

8' x 40'2001

This sculptural wall is designed as an illuminated, free-standing, curved arc (8'x40') thatdepicts an MRI of the interior of a pomegranate repeated thousands of times. The distantview reads as a celestial body while the more intimate view reveals cellular structures."Pomegranate Wall" is designed as a traveling installation that can be reconfigured.

"Pomegranate Wall (detail)"

8' x 40'2001

This sculptural wall is designed as an illuminated, free-standing, curved arc (8'x40') thatdepicts an MRI of the interior of a pomegranate repeated thousands of times. The distantview reads as a celestial body while the more intimate view reveals cellular structures."Pomegranate Wall" is designed as a traveling installation that can be reconfigured.

"Swimmers Waves (Sava Pool)"

14 x 552003

The Sava Pool is the most frequented city pool in San Francisco, used for bothcompetitive and recreational purposes. Charlie Sava, the pools coach and namesake,portrait is combined with images of the reflection of swimmers waves. The installation ofthe image panels create a continuous visual connection with the reflective light patternsgenerated by moving water in the pool itself. These elements work in concert with oneanother to create a visually activated wall that embraces the memory of Charlie Sava.

"Swimmer's Waves (Sava Pool)"

14 x 552003

The Sava Pool is the most frequented city pool in San Francisco, used for bothcompetitive and recreational purposes. Charlie Sava, the pools coach and namesake,portrait is combined with images of the reflection of swimmers waves. The installation ofthe image panels create a continuous visual connection with the reflective light patternsgenerated by moving water in the pool itself. These elements work in concert with oneanother to create a visually activated wall that embraces the memory of Charlie Sava.

"Atmospheric Flurry"

5" x 240" x 1"2013

As drivers, pedestrians, and bicyclists move along the Mercer Corridor they enter anilluminated underpass containing abstract, interactive imagery based on a rainstorm. ThisMoire' patterning is designed to create the experience of the ever-changing weatherpatterns of Seattle. (Image of digital mockup)


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"Ghost Grove (LAPD Civic Auditorium)" "Ghost Grove (LAPD Civic Auditorium)"

"Ghost Grove (LAPD Civic Auditorium)" "Comme des Garcons"

"Comme des Garcons" "Pomegranate Wall"

"Pomegranate Wall (detail)" "Swimmers Waves (Sava Pool)"


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"Swimmer's Waves (Sava Pool)" "Atmospheric Flurry"

Documents

Britton, Val 2160498232 - San Francisco · Britton, Val 2160498232 1 San Francisco Arts Commission New Commissions at San Francisco International Airport Val Britton San Francisco,