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V A S T space projects

July 27 - August 24th, 2013


Some fine Women

table of contents

V A S T Space

Small Space

V A S T Satellite Space

Angela Kallus China Adams Edith Beaucage Jaime Scholnick Jane Callister Lily Simonson Mary Warner Michelle Carla Handel Nancy Riegelman Rachel Lachowicz Wendy Kveck

Angela Kallus Alex Berg Barbara McCarren Cathy Fairbanks China Adams Danielle Kelley Diane Butner Jaime Scholnick Jacqueline Ehlis Laura Krifka Laura Bowles Faw Eri King Erin Stellman Cristina Paulous Heather Younger Alisha Kerlin Sierra Sienz Jo Russ

Alexis Smith Alison O’Daniel Barbara McCarren Eloise Fornieles Patricia Burns

Page 6

Page 20

Page 28


Essay

artist bios

Publisher’s note

Acknowledgments

Page 04

Page 42

Page 40

Page 52

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vast space Catalog


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5 away from the experience of an ambitious exhibition such as this may ironically be that there is no single take-away on offer. The main thing such an exhibition is in a position to demonstrate, is that there is no single main thing about “women artists” that can be demonstrated. The best thing to do in the face of that is maybe to just relax into it, not think too much about the artist’s gender unless the artist is inviting you to do so. Though that said you might want to keep it in mind anyway since there is a case to be made after all that an artist’s -- any artist’s -- personal experience informs their work and being a woman is as personal as experience gets.

What Would Women Do? written by Shana Nys Dambrot

“A time of change. A time of change. Old values are being destroyed. Are men men enough to make for themselves new values? Will women have to do it for them?” -- Sherwood Anderson, Perhaps Women, 1931 As a curatorial framework, organizing an exhibition around gender is intriguing and academically insightful -- and also problematic and unpredictable, because the search for what might be inherently common among the artists beyond gender-identification is more than open-ended, it could well prove impossible. In full realization of this potential paradox, what this surprising and eclectic exhibition posits is precisely that gender does not make for destiny in artistic style. Its elegant and thoughtful three-part installation teases out certain formal and conceptual themes, but that does not disguise that the predominant relationship among the very fine women in the group is in fact one of divergence.

The 31 artists represent the upcoming and the influential, across generations and geographies, some who show together regularly, and many who have never encountered each other. There are feminist icons and women who eschew the label. There are practitioners of hardedge abstractionism, masterful line-work, witty material-repurposing, text-based and allegorical messaging, gestural explosivity, sculpture and sculptural installation, large scale and delicate intimacy, political commentary, social critique, personal revelation, portraiture, self-portraiture, formal classicism, and the mixed media avant-garde. There are those who have taught and those who have studied under them. The primary take-

The main gallery is heavy on paintings, installed to highlight formal correspondences such as the intense colors, hard and soft geometry, and complex patterns taking the place of a literary motif in the somewhat unexpected near-absence of figurative imagery. Yes, pure abstraction rules the day -- you were expecting maybe something more scandalous? Not that that work lacks for sensuality. The tempting surfaces, luxurious palette -- especially the siren-song reds -- of Angela Kallus’ circular, grooved paint application and Rachel Lachowicz’s lipstick, wax, and eyeshadow abstractions are dramatic, romantic, and dangerous -- and in Lachowicz’s case, the use of makeup as art material achieves a seductive effect while infusing the work with a conceptualism that addresses the rigors and obsessions underlying conventions of beauty in both art and people. The fetishistic anthropomorphism of Michelle Carla Handel’s sculptures using post-industrial materials to create primordial corporeality is both unsettling and lyrical. (Handel herself is curating a group show of women artists in the fall.) By contrast,


essay there is patient and obsessive technique at work in much of the more mathematically abstract works like China Adams’ white, shimmering flag-like tapestry; Jaime Scholnick’s wall-hanging sculptural forms, paintings executed on shaped styrofoam, whose technicolor striations are stacked in modernistic vertical

the service of striking styles that are not interested in realism. For their part, Lily Simonson’s strange and compelling portrayal of the protean sexuality of underwater slugs and Mary Warner’s majestic and gothic wilting sunflowers of such humanistic and almost mythological sensibility each in a particular way

“”

“” arrangement of bars and pleats; and Nancy Riegelman’s enormous, meditative, obsessively crisp yet undeniably labor-intensive graphite mandala. Blurring the line between abstraction and figuration with emotive gesture are Jane Callister’s chromatically saturated, tempestuously oceanic quasilandscape painting; and Wendy Kveck’s reclining woman, rendered in a traditional portrait format of loose pigment and wide, apparent brushstrokes that both evokes and describes the subject’s being. Similarly, Edith Beaucage offers a thin girl in a bikini and two other portraits of women, using cakefrosting impasto and a high-contrast or dark, rich palette; while Beaucage is definitely working in portraiture, she really blows through that boundary in the way she renders. There are paintings of nature, too, but in

imbue our relationship to the natural world with grandeur and suspicion. In the Drawing Room find mostly black and white works on paper such as might be expected from a drawing show; but not everyone sketches without color, and not everyone sees works on paper as ancillary. This section features compellingly raw works, urgent and considered works, and fully realized works, that taken together provide the same dynamic of eclecticism as the larger show that contains it. Because “drawing” is as openended a proposition as “being a woman” but also because the depth and breadth of what drawings can be is a similarly salient exploration. A word-based (aka overtly narrative) approach utilizing both found and augmented text yields both personal and analytical and frequently hilarious work. For example Angela

The prevailing tendency toward non-figurative abstraction is alive and well in the Drawing Room, too, as China Adams shows seismic black and white linear studies; Eri King generates a black and white field of contiguous orbs like raindrops on an ocean or a teeming microbial lichen; and Erin Stellmon’s gem-faceted stalactite- and stalagmite-like mounds frame a field of vertical color striping with striking con-

Some fine Women

Its elegant and thoughtful three-part installation teases out certain formal and conceptual themes, but that does not disguise that the predominant relationship among the very fine women in the group is in fact one of divergence.

Kallus who uses both collage and hand-drawn elements in a series of witty, axiomatic mixed media works; Barbara McCarren whose phraseology drawings on hotel stationery split the difference between private and public memories; and Cathy Fairbanks whose mildly alarming first-person declaratives are rendered in a frantic hand that lends an uber-narrative of trouble to the proceedings. In these cases, the partial storyline does some of the job of portraiture, communicating an experiential state of mind on behalf of the subject. And yet there are also more actual pictures of women in the Drawing Room than anywhere else in the show. Wendy Kveck’s standing figure is more vivacious, steeped in color, and more roughly made than her painting in the other room; Alex Berg’s exquisite drawing of the back of a girl’s head and Laura Krifka’s pencil drawing of a nude man in a pastoral setting share a wistful, nearly traditional sense of drawing, which for Berg makes for a kind of haunting distance from the subject, and for Krifka creates a veneer of androgyny that belies her content. Jo Russ’ gleaming, celebratory portrait of a curvy urban goddess on brown board fuses folk-art and religious tropes to redistribute the equation of honor; while Cristina Paulos offers a vision of decaying beauty that is at once tragic and defiant.


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7 trast. Heather Younger incorporates the ashes of a place lost to fire in a silent storm of viscous gray-scale that both chronicles and enshrines; Laura Boles Faw deracinates a moment of biomorphic shape from the art-historical landmark Laocoon; while Jaime Scholnick’s work from the same series as her ritually-adorned paintings that shows how her process of obsessive patterning translates onto paper in the absence of the formed styro that initially informed this particular visual motif. As random objects are wont to offer themselves as still life, naturally there are drawings of familiar objects -- but almost never left at that. Alisha Kerlin’s spiky cacti and quirky collage inject vague threats into the appearance of common things; Claire Little’s small sculpture really is like a drawing in its delicacy and the way it hints at allegory; and Jacqueline Ehlis’ salon-style suite of gestural yet skeletal line drawings occupies space with delineated emptiness. Sierra Sientz shows spectral studies for planned installations and silhouette-based compositions use color and absence to hint at something that is already in the past. Danielle Kelly blurs the line between figure, symbol, and object in surreal exquisitecorpse mammarian style. In this context of this show, it is tempting to see Diane Butner’s drawing of raw steak as a commentary on the meat-market like objectification and consumption of bodyimage -- but it is also a wry take on conventional still-life, which the French helpfully call “nature morte” meaning dead nature. The satellite space is a warehouse, the better for stagings on a truly grand scale. Barbara McCarren’s sculptural array addresses the correlation of the human body with inanimate natural forms like the driftwood she uses to suggest anatomy,

and the hand-smoothed plaster evoking the feel of our skin -- as well as the human penchant for projecting ourselves on to and seeing ourselves reflected in everything in the world. Her collaboration with Jud Fine, Face Off I, is a church window-size occulated mandala made of global currencies that feature national heroes whose stories involved standoffs and nationalistic zeal in order to examine the overlaps between money, power, mythology, honor, wealth, religion, and violence. This examination of a commerce-centric visual vocabulary as cultural shorthand and sociological code is worthwhile not only for women, though arguably for them it’s more personal, and Alexis Smith is something of an icon on that score. She is showing Five Easy Pieces, an important series which tackles that very question in a group of the kind of deconstructed and repurposed commercial graphicsbased collages for which she is best known. Her Scarlet Letter was first installed as an outdoor printed mural and now finds new life as the very ground beneath our feet, conflating public shame with advertising as twin modes of shaping (read: controlling) public (female) behavior (sexuality). Patricia Burns has engineered a transformative installation incorporating industrial construction and more ethereal non-traditional materials in ways that both reinforce and countermand the gridded and swaying rhythms of the extant architecture, turning follies of corridor and cul-de-sac into receding factory grottoes, and randomly placed windows into luminous confectionary accents. Alison O’Daniel’s video The Tuba Thieves: Scene 29: The Plants Are Protected is right at home adjacent to this sprawling environmental interpretation, as O’Daniel herself tends to make sculptural forms inspired

by rhythms, in particular as suggested by the soundtrack and musical score of the videos. In Scene 29 a lush but haphazard ad hoc indoor garden of potted succulents speaks and sings to one another as they take shelter from a thundering rainstorm. Eloise Fornieles formulates her own allegory of man and nature somewhat differently, but she too takes elements of the environment as touchstones. Her video chronicles a performance-based residency she undertook at a local casino, where she collected thousands of dollars worth of pennies which she then gambled away and buried the remainder in the dry earth from which the copper was mined -- her stated goal, to complete the ritualistic cycle of life and return the metal to its source, enriched now as it is by the power of the thousands of people who have held it along the way. Women are not typically permitted to decide whether/how much gender matters in their own work -- that is, the mantle of deliberate gender-consciousness is easily claimed but nearly impossible to shirk. It is assumed that gender informs most or all art made by most or all women at most or all times; it is stipulated that knowing the artist’s gender informs the audience’s experience. Even rebuffing assumptions about what women would do is seen as a response, and there we are again. Among these “fine women” then, there are some who embrace the question, some who ignore it, some who seek to subvert the entire debate, and many who leave room for the viewer to decide -because part of being a woman, like being a man after all, is the transcendent and autonomous part that is only being a human.


Essay

Some fine Women

Angela Kallus, “Blue Fixed”, acrylic on canvas over panel, 53x53”, 2011 Angela Kallus, “Red Fixed”, acrylic on canvas over panel, 53x53”, 2011


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vast space

Angela Kallus • China Adams • Edith Beaucage Jaime Scholnick • Jane Callister, • Lily Simonson Mary Warner • Michelle Carla Handel • Nancy Riegelman Rachel Lachowicz • Wendy Kveck


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Michelle Carla Handel, “Tell Me Something, Both Carnal and Heartfelt�, wood, fabric, plaster, silicone rubber, polyester fiberfill, $3,800, 2012


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Mary Warner, “Sisters”, oil on linen, 40x60”, 2013; Mary Warner, “Portal”, oil on linen, 36x60”, 2013


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China Adams, “Flag #5”, junk mail, acrylic paint, recycled mailing tube, cotton, 44x22.5x2”, 2009 Michelle Carla Handel, “I Want a Boyfriend”, gypsum cement, fabric, plaster, silicone rubber, polyfill, 18.5x32x24”, 2013


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Nancy Riegelman, “Untitled”, graphite, gesso on canvas, 60x52”, 2011


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Rachel Lachowicz, “Untitled Lipstick Painting from ‘Pour: Transitional States’” Lipstick wax on canvas, 72” x 72”, 2010


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Jane Callister, “Fire on Skunk Moutain”, acrylic on canvas, 48x60”, 2008 Lily Simonson, “Polymasthia Invaginata”, acrylic, oil and ultraviolet pigment on canvas, 36x48”, 2012


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Wendy Kveck, “Dead Girl”, oil on canvas on board, 2013, 32”x48”


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Edith Beaucage, “Blossom”, 2012, oil on canvas, 60”x46”


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Jaime Scholnick, “Corner Seersucker Stack”, acrylic and flashe on polystyrene, 48x17x13”, 2013 Jaime Scholnick, “Folded”, acrylic and flashe on polystyrene, 40x9x7”, 2013


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Michelle Carla Handel, “Falling out of Love”, silicone rubber, apoxy clay, fabric, wood, 64x14x12”, 2013 Rachel Lachowicz, “Untitled (Through Twilight: Lava Rock B8D01)”, Eyeshadow, aluminum, plexi-case, 18 5/8” x 18 5/8”, 2012


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small space Alex Berg • Alisha Kerlin • Angela Kallus • Barbara McCarren • China Adams Clare Little • Cristina Paulous • Cathy Fairbanks • Danielle Kelley • Eri King Erin Stellmon • Heather Younger • Jacqueline Ehlis • Jaime Scholnick • Jo Russ

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Laura Krifka • Laura Bowles Faw • Sierra Slentz • Wendy Kveck

Cathy Fairbanks from drawing series in her book, “Agency”, 2013, Digital mounted prints between plexi and diebond


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Alexis Smith, “Five Easy Pieces”, mixed media paper collage, 2013


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Cristina N. Paulos, “Dominatrix Hoisery”, etching; Diane Butner, “T BONES”, Pencil on paper; Barbara McCarren; Sierra Slentz, “Silhouette Studies”, Pen and ink on paper; Heather Younger, “Burned Leaves”; China Adams, “A Certain Period of Time (Mini) I-III”, Graphite on paper; Laura Krifka, “Swing”, pencil on paper; Eri King, “Light Study”, Graphite and ink; Jacqueline Ehlis, “Blurred Lines”, Colored pens and pencil; J.K. Russ, “From the Sketchbook”, Graphite and synthetic polymer


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Cristina Paulos, “Dominatrix Hosiery”, etching on paper an edition of 15, 20 1/5 x 16 1/2”, 2012 Laura Krifka, “Swing”, 12.5 x11.5”, $850, 2012


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Angela Kallus; Alisha Kerlin, “Teddy-Bear Cholla aka Security”, ball point pen on paper; Wendy Kveck, “Sketch for Princess (Red Legs)”, Oil, sharpie on paper; Erin Stellmon, “Squeeze”, ink on paper; Jaime Scholnick, “Gold Lame/Red Boots”, Acrylic on paper; Angela Kallus, “Help Desk”.


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Alisha Kerlin, “Untitled (Eye-Fly)”,

artificial lash, mini clothespin, found crayon on paper drawing, cut flycard and google eye on paper, 11x9.5”, 2013 Angela Kallus, “Dark Season”, colored pencil, pastel, graphite, 12.5x 15 ¼”, 2013 Cristina Paulos, “Right Eye Femme”, fabric dye, graphite, charcoal, and acrylic paint on paper, 42x28”, 2012


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Alex Berg, Danielle Kelly, Barbara McCarren, Angela Kallus, “Intentionally Blank”; Laura Boles Faw, “Untitled (Laocoön series)’, Graphite on paper.


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Danielle Kelly, “Feeders”, graphite on paper, 34 3/4x 26 ¼”, 2013 Alex Berg, “Back of a Young Girls Head”, mechanical pencil on paper, 18 3/4x 15.5”, 2012


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V A S T satellite space

Alexis Smith • Alison ODaniel • Barbara McCarren Eloise Fornieles • Patricia Burns


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Smith’s former student and mentee, Barbara McCarren’s sculptures dot a space around the mural. The plaster objects are based on various things: domesticity, friendship, loss, paranoia, Pink Floyd and surrogates. McCarren’s “Face Off”, greets viewers in the reception to the warehouse. In the same space, a built-out office room has been hijacked by recent graduate Patricia Burns (student of Rachel Lachowicz). Burns’s sculptural, site specific installation using industrial door jams continues her work with objects, buildings and encounters. Scenes from an Alison O’Daniel film, “The Tuba Thieves”, that was shot in a moving truck and shown in July as part of LA Louvre’s “Rogue Wave” show, screens along side “Eternal Sea, Eternal Sky” by Eloise Fornieles, whose work treads lines between beauty and violence, intimacy and over-exposure.

Some fine Women

In addition to the painting show exhibited in the white, cube gallery space and the intimate “drawing room” with works on paper, the show takes over an adjacent 5,000 sq. foot warehouse. A controversial Alexis Smith mural, “The Scarlett Letter” was pulled from Las Vegas Cultural Affairs storage and lays flat on the concrete. Referencing a Christopher Burden exhibit she saw in Chelsea, Alexis poses ladders around the mural for better viewing.


33 Alexis Smith

“The Scarlet Letter”

Some fine Women

Alexis Smith is a multimedia artist known for her witty collages and assemblages that mine pop culture and pulp fiction to produce irreverent critiques of consumerism, advertising, and celebrity culture. Smith has been recognized through numerous awards and fellowships, including the Rockefeller Foundation Study Center, Bellagio, Italy; a grant from the National Endowment for the Arts, and an honorary doctorate from Otis College of Art and Design, Los Angeles. She has shown at The Museum of Contemporary Art, Los Angeles, the Museum of Modern Art and the Whitney Museum in New York, and Boston’s Institute of Contemporary Art. Her public art installations can be seen at the University of California, San Diego, the University of California, Santa Barbara, and a widely admired wall installation at the Getty Center restaurant in Los Angeles.

Smith was commissioned by The Las Vegas Centennial Committee to create a mural to commemorate the centennial celebration—100 Murals for 100 Years. Catching the attention of many, her mural, “Scarlet Letter,” features an inverted “A” atop an upside down rendition of “Pinkie” by Thomas Lawrence. The piece hung, 36 by 22 feet, on the side of the Sahara West Library. The mural was a depiction of an iconic piece of literature displayed on the side of the library, however, others construed the work to be a controversial message. The City was stirred to action, citing the reference to the Scarlet Letter as an (imagined) advocacy for adultery. Mother Jones published an article, “Vegas Covers its Nipples” discussing the irony of ‘Sin City’ finding objection to a Scarlet Letter reference. More commentary than advocacy, the piece acted as an invitation to a provocative yet contextually appropriate discussion.

“The outrage unleashed four years ago by members of the Las Vegas Centennial Committee over a mural by Los Angeles artist Alexis Smith made the statement that it’s okay to market sex in Southern Nevada for financial gain, but sexual dialogue in public art is not welcome.” Kristen Peterson, Las Vegas Sun, “Is it Still Art With Pasties?,” December 29, 2009


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35 Patricia Burns

Some Fine Women at Vast August 2013

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Patricia Burns was born and raised in Southern California. From an early age she trained in gymnastics and dance and physicality has always been an essential concern for Burns. She graduated from Claremont Graduate University Claremont, CA in 2013 with her MFA in Studio Art and Chapman University, Orange CA in 2009 with a BFA in Studio Art. She currently lives and works in Los Angeles, CA.

Patricia Burns’s installations and photographs explore the relationships we have with ourselves, with others, and with our surroundings by focusing on the various ways in which we seek to identity ourselves through these various relationships. Her installations are three dimensional drawings in space, using materials to roughly convey gestures and movement that are more expansive than the limitations of her own physical body. In using societal structures as a framework for her investigation Burns seeks to destroy gender roles and paradigms that are limiting and discriminating, often promoting ideology that encourages women to be seen as nothing more than objects, both desirable and ornamental. In using humor and a form of serious playfulness Burns seeks to subvert archetypal female and male stereotypes. The locations and objects Burns chooses are unique and at the same time, anonymous. They often look like buildings, galleries, studios, chairs, objects, or construction sites you have seen or experienced yet they are widely universal. While objects and places may be seemingly “genderless” they carry a physical and emotional weight that can reassure us however they can also become burdensome albatrosses keeping us stagnant and confined. The objects and places Burns chooses become stand-ins for the body and the psychological precariousness one might feel for participating both willingly and obligingly in the systems and roles enacted in our day-to-day lives.

Carrying these divergent yet related themes forward for this site specific installation created for Vast Burns explored the idea of conveying identity and gender through space. Burns used metal doorframes taken from Shannon Mc Mackin’s father’s construction yards, which were then painted a soft gray and installed precariously through the industrial office space with black rubber bungee cords and metal hooks. Burns took out the institutional office ceiling tiles to reveal the open space above the “normal” ceiling. She created a “path” for her viewer to navigate through leaning, cantilevered, and tilted doorframes to reveal a photograph in the back of the room. Other objects further distort space such as blinds and a boat window bathed in lighting reminiscent of beet juice to simultaneously reveal and conceal space creating an inner sanctum of mystery.


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Patricia Burns, “Window Licker�, 2013, Metal door frames, elastic bungee cords, rubber bungees cords, digital photographic print, colored light gels, wire, rope, found light fixture, blinds, & boat windshield


37 Eloise Fornieles, “Eternal Sea, Eternal Sky”

Some fine Women

In the first part of the performance at P3 Studios of The Cosmopolitan of Las Vegas, Eloise Fornieles collected messages of hope and fear from casino visitors. For a month, she sat in a wooden boat. in an enclosed glass room, with the floor covered in her artist fee of $2,000 - all in pennies. The performance mapped a journey of human discovery rather than a physical one.

On the night concluding her residency at the Cosmopolitan, Eloise, in one round of roulette, gambled and lost half of the pennies on one color. The following day, this journey concluded at the V A S T space projects site in Tecopa Hot Springs, California where for two hours, Fornieles dug a life size hole in the middle of the desert. She took the remaining half of the copper pennies and buried them, returning the copper material back to the earth and suspending the journey of small talismans embedded with human history passed from hand to hand over decades. On the burial spot, she placed the wooden boat full of messages and set it aflame. The act released the hopes and fears that manifest within the urban spectacle of Las Vegas into the desert, which hosts the extraordinary city, creating a connection between the people and the land.

After a BA in Fine Art at Kingston University, Fornieles graduated from the Slade School of Fine Art in 2006 with an MFA in Fine Art Media. Her work engages with human interaction, intimacy and the relationship between beauty and violence, using photography and video as an extension of her work in performance and installation. Previous work includes Their Wonderlands, Midlands Art Centre, Birmingham; On and On, La Casa Encendida, Madrid; Natural Wonders: New Art from London, Babakov Art Projects, Moscow; Fashion in Film Festival, Tate Modern, London; Fierce Festival 2012, Birmingham; Carrion, Haunch of Venison, Berlin; and The Body is an Ocean, Paradise Row, London, 2011. “Eternal Sea, Eternal Sky” , Eloise Fornieles, 2013 Camera: Brent Holmes and Jacob McCarthy, Music: Tom Rosenthal, Photography: John Stoelting & Shannon Mc Mackin, Singer: Thomas Hydes


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Eloise Fornielles, “Eternal Sea, Eternal Sky�, video projected on alley wall - from Cosmopolitan residency and final performance at VAST space projects - Tecopa CA. Video - with spoken prose by Eloise, 2013.


39 Barbara McCarren “Face-Off”

Some fine Women

Artist Barbara McCarren creates site-specific works & sculpture, sometimes temporary, that are witty, thoughtful, and accessible. Particular works refer to their literal location, others to literature and music and all to loss and temporality in physical, visceral and intellectual practice and response. Although these themes are accelerated in the 21st Century, the themes are just as well evoked in John Keats’s 1820 poem “Ode On A Grecian Urn”.

McCarren received her BA in Fine Arts, Magna Cum Laude, from the University of California, Los Angeles and her MFA in Inter-media from the University of Southern California in 1986. She was awarded a grant from the National Endowment for the Arts, Visual Artists Fellowship in 1988. In 2003, the artist received an award for Design Excellence for the Santa Monica Boulevard, Transit Parkway Project from the City of Los Angeles. Her major public art commissions include Pershing Square Park, Los Angeles, Cesar E. Chavez Park, Long Beach, Split Mound at the San Francisco Zoo, Culver City City Hall, Long Beach Shoreline Gateway and Waterline at The Strand in Huntington Beach, California. The artist currently lives in Los Angeles and is working on a long-term project, Continental Edge Dwellers, with her partner Jud Fine.

Face off I and II (featured is Face off II) are concentric arrangements of the portrait side of nine international currencies that depict national heroes who have been involved in historic “faceoffs,” involving money, morals, and/or power (Press Release for McCarren/Fine: “Currency”).


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Barbara McCarren, sculptures & “Face-Off” Face Off”, 1994, concentric arrangements of the portrait ices of nine international currencies. The images on Face Off are currencies desaturated of color. The outer edge is from the UK, then Mao, Mobutu of Zaire, Ho Chi Minh, Gandhi, Saddam Hussein, Che Guevara, Golda Meir and the ‘framers’ from the back of the US $2 bill at the center – all those involved in international face offs at one time or another.


41 Alison O’Daniel

The Tuba Thieves: Scene 29 - The Plants are Protected

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Alison O’Daniel commissioned three musical scores from three composers (Steve Roden, Christine Sun Kim, Ethan Frederick Greene). She presented them with poems, artists, news stories about the tuba thefts, photos of specific architecture and other elements to consider as a ‘score’ for their score. Their compositions informed every decision she made while writing a screenplay and creating a body of objects.

What resulted was The Tuba Thieves - a meditative, meandering story of several days in the life of NYKE, a deaf drummer, her father ARCEY who drives a zamboni and manages an ice rink, and Nyke’s boyfriend NATURE BOY, an aspiring botanist who works for a moving van company. Nyke practices drums in an unused office in the ice rink her father manages, while Nature Boy’s work takes him all over the country. The three characters’ daily routines flow together against the backdrop of the ice rink and its skaters, coaches and parents, as well as a Los Angeles recording studio where Nyke works, and Nature Boy’s apartment where the couple cook, bathe and sleep in harmony. The main characters’ stories unfold quietly in a din of stolen sound, purposeful silence, and alternative communication. The film opens with a tuba heist in the middle of the night at an L.A. high school. Feverish reports of Hurricane Sandy are constantly heard on the radio, also identifying the time the film takes place. And a movement back in time to the Maverick Concert Hall in Woodstock, NY in 1952 grounds the entire film with John Cage’s performance of his ‘silent’ composition 4’ 33”.

Scenes from the film will screen within particular exhibitions at galleries, and will be stitched together eventually into a singlechannel feature length film. This model of production will result in releasing ‘chapters’ or ‘episodes’ of the film over a period of several years. This scene occurs in the middle of the film: Nature Boy is driving a moving van of sub-tropical plants from Los Angeles to an affluent neighborhood on the Jersey Shore as Hurricane Sandy is moving up the East coast, causing his trip to be re-routed and delayed. The truck is a moving greenhouse. Slowly, the plants begin to quiver - one by one- as if an internal tempo or rhythm possesses them. As they vibrate they emit tones and hums - aural contributions rise in a slowly mounting cacophony. O’Daniel’s previous feature-length film Night Sky premiered at the Anthology Film Archive in conjunction with Performa 11 and the exhibition Walking Forward-Running Past at Art In General, New York. The film has been presented with live musical accompaniment by various musicians or with live Sign Language accompaniment at The Nightingale (Chicago), MOCAD (Detroit), NYU, the Cleveland Museum of Art, the Museum of Jurassic Technology and other venues. Her own writing on Night Sky was recently featured in Artforum’s 500 Words. O’Daniel is a recent recipient of an Art Matters grant and a Franklin Furnace Fund fellowship and just completed a fellowship at the Fine Arts Work Center in Provincetown, MA. She holds an MFA from the University of Irvine, a Postgraduate Diploma from Goldsmith’s College, a BFA from the Cleveland Institute of Art, and also attended the Skowhegan School of Painting and Sculpture. O’Daniel (b. 1979 in Miami FL) lives and works in Los Angeles.


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Alison O’Daniel, from her second feature film, “Tuba Thieves”, film shot in moving van to have clip and photo stills projected in a trailer in gallery alley. Film made for ROGUE WAVE ‘13 - 15 ARTISTS FROM LOS ANGELES at LA Louvre - 18 July - 23 August 2013


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publisher's note

Some fine Women

Each V A S T space is a different experience and a case made for the necessity of the gallery exhibition. From the white cube of a gallery hung with vibrant paintings, to the intimacy of the small space hung with drawings made for the show or torn from a sketch pad, each one either hand-delivered over tea or shipped with clever packaging. Then to the vastness of the satellite space with video, photography and sculptural installations. This show is fun. This is the point. Inspired by the strong, smart women I’ve met through the gallery, I began with Angela Kallus and Mary Warner. From there, choosing the artists for “Some Fine Women” became like the 1970’s Faberge commercial where the frames of women multiply and the saying goes: “I told someone, she told someone, and she told someone and so on, and so on and so on.” I looked at the art but also the artist. Then I cast an eye toward giving a leg up to other women artists and widening the circles. The importance of mentorship became apparent.

Pen and ink drawings, videos, sculptures made with rubber and paintings poured from lipstick are some of the mediums used in this ambitious group show. Mary Warner, Alexis Smith and Rachel Lachowicz share space with former students - Angela Kallus, Wendy Kveck, Barbara McCarren, Patricia Burns and Michelle Carla Handel. These are women who have chaired departments, shown in museums and raised families. They are adept with power tools and can effortless segue from talking politics to passions. They share a resilience associated with a Western Spirit. These fine women know how to get it done. What began with a small group of artist friends eventually rippled into wider circles. Through their friendships and participating in the show, they are lending me a “leg up.” I’ve been looking forward to introducing everyone and everyone is eager to either reconnect or meet one another. These really are some fine women. It makes me realize that the real power women hold may lay in the connections made with each other.


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artist bios 1995 BFA, UCLA 2000 MFA, UNLV

*SOLO EXHIBITIONS

CURATIONAL PROJECTS

2009 2008 2004 2001 2000 1998 1997 1996 1994 1993

2012 2011

Lives & works in Los Angeles, CA.

EDUCATION

Some fine Women

Orange County Museum of Art, Newport Beach, CA. Defining the Sublime, Carnegie Art Museum, Oxnard, CA. Galleria Milleventi, Milan, Arte Della Americana, Galleria Milleventi, Milan

2000 1998

CHINA ADAMS

White Flags and Silent Chimes, Steve Turner Contemporary, Los Angeles, CA.. Flights of Fancy, Steve Turner Contemporary, Los Angeles, CA. Seventeen Names, Ace Gallery, Los Angeles Paintings Without Paint, Donna Beam Gallery, Las Vegas Premonition Scrolls, Ace Gallery, Los Angeles, CA. Blood Consumption, Ace Gallery, Mexico City Ms. American Woman, Ace Gallery, Los Angeles, CA. Paintings Without Paint and Mail Drawings, Ace Gallery, Los Angeles, CA. The Official Stitch and Hide Procedure, Ace Gallery, Los Angeles, CA. Notarized, Ace Gallery, Los Angeles, CA. Contract of Sale, Ace Gallery, Los Angeles, CA.

GROUP EXHIBITIONS 2012 2011 2010 2009 2007 2006 2005 2003 2002 2001 2000

Featherweight, West Los Angeles College, Los Angeles, CA. Linementa, Beacon Arts, Los Angeles, CA. The Loop Show, The Beacon Arts Building, Los Angeles Psychic Outlaws, Luckman Gallery, California State University, Los Angeles, CA. Under the Knife, Armory Center for the Arts, Pasadena Four Handed Lift, Moti Hasson Gallery, New York, N.Y. Lladres de Cossos, Metronom Gallery, Barcelona ARCO (with Hilario Galguera), Madrid, Spain. Comer O No Comer (To Eat or Not to Eat), Centro De Arte Salamanca, Salamanca, Spain. Ace Gallery, New York Recent Acquisitions, The Berkeley Art Museum. A Lasting Legacy: Recent Additions to the Collection,

* SELECTED

The Small Loop Show, FOCA, Los Angeles The Loop Show, The Beacon Arts Building, Los Angeles

EXHIBITION REVIEWS & PUBLICATIONS

Full list available on request 2012 Annie Buckly. On Seeing: Divination, on-line art exhibit & essay. 2012 Knight, Christopher. The Loop Show at Beacon Arts Building, LA Times, Dec. 2011 Steffen, Patrick. Artist China Adams Takes On Curating, Flash Art, Nov. 2011 Adams, Lisa. The Loop Show: Our Material Problem In The Hands Of Artists, Nov. 2010 Swenson, Kristen. China Adams, Art In America, March 2009 Hebron, Micol. China Adams, Artforum, Dec. 2008 Ollman, Leah. Not An Ordinary Craft Project, Los Angeles Times, June 20th. 2008 Harvey, Doug. Keeping Up With China (Adams), LA weekly, Volume 30, No. 28, P. 56.

Andrew Shire Gallery, Los Angeles, CA.

*GROUP EXHIBITIONS


2013 2012 2011 2010 2007

Verhonda’s First International Painting Show, Appels Gallery, Amsterdam (curated by Art Initiative Verhonda Miami Project Art Fair, CB1 Gallery Booth, Miami, FL Split Realities, Han Rae Gallery, Woodbury University, Los Angeles, CA , (curated by Katie Phillips)
 Ambassador artists, Appels Gallery, Amsterdam, Holland CB1 + Colburn, The Colburn School, Los Angeles, CA.
 The art that dare not speak its name., CB1 Gallery, Los Angeles, CA. All Together Now, MFA Graduate Thesis Exhibition, Bolsky Gallery, Otis College of Art & Design, Los Angeles, CA. Mid Residency MFA Show, Bolsky Gallery, Otis College of Art & Design, LosAngeles, CA.

*AWARDS & HONORS

2005 Chautauqua Institution Award: 48th Chautauqua National, (Juror: Stephan)

PRIVATE COLLECTIONS

Creative Artists Agency, Los Angeles, CA.

JANE CALLISTER EDUCATION

MFA University of Nevada, Las Vegas 1994

*SOLO EXHIBITIONS EDITH BEAUCAGE Lives & works in Los Angeles, CA.

EDUCATION 2010 1993 1986

MFA, Otis College of Art & Design, Los Angeles, CA.
 Palazzo Spinelli, Centro per L’arte e Il Restauro, Florence, Italy. B.A. Bishop’s University, Lennoxville, Quebec, Canada.

*SOLO EXHIBITIONS
 2012 2011 2010

Bidibidiba, CB1 Gallery, Los Angeles, CA.
 hurluberlu, CB1 Gallery, Los Angeles, CA. CAA Gallery, Creative Artists Agency, Los Angeles, CA. Image Repertoire, MFA Thesis Exhibition, Bolsky Gallery, Otis College of Art & Design, Los Angeles, CA 2005. Up-Life: Aseries Under Glass,

2010 2007 2006 2004 2002 2001

Tastes Like Pink…Smells Like Burning, Royale Projects, Indian Wells, CA. Velocity solo installation @ Bloom Projects, Contemporary Arts Fourm Santa Barbara, CA. Jane Callister, Michael Berger Gallery, Pittsburgh, PA. Jane Callister, Susanne Veilmetter :Los Angeles Projects, CA. Jane Callister, Susanne Veilmetter :Los Angeles Projects, CA. Jane Callister: Liquid landscape, Peter Miller Gallery, Chicago, IL. Vitamin P : Jane Callister, University Art Museum, UC, Santa Barbara. Cosmic Lingerie: Brooklyn àParis, Gallerie Anton Weller, Paris. Jane Callister, Southfirst art, Brooklyn, NY. Jane Callister, Frumkin/Duval, Santa Monica, CA.


46 2000

Sensate, W. Keith & Janet Kellog University Art Gallery, CAL Poly Pomona, CA. curated by Patrick Merrill (5 x solo artist exhibits). Architexture (aka The Virtual Drip Project), Contemporary Arts Forum, Santa Barbara, CA. Curated by Anne Philbin (Dir. UCLA Hammer Museum).

*GROUP EXHIBITIONS Gold Mime, University Art Museum, Cal State Longbeach. Summer Group Show, Susanne Vielmetter Los Angeles projects Surface Tension: Tradition & Innovation In Art South Bend Museum of Art, IN. Le Petit Objet, Royale Projects, Indian Wells CA. Reduce your Viewing Distance, Peter Miller Gallery Chicago IL Las Vegas Diaspora, curated by Dave Hickey for the Laguna Art Museum, CA. Prescient, Michael Berger Gallery Pittsburgh, PA. Summer Group Show, Peter Miller Gallery Chicago IL. Las Vegas Diaspora, curated by Dave Hickey for the Las Vegas Art Museum, NV. Inhale?Exhale, Peter Miller Gallery Chicago IL. California Biennial, Orange County Museum of Art, Orange County, CA. SouthwestNET, Scottsdale Museum of Contemporary Art, Arizona curated by Cassandra Coblintz. Extreme Abstraction, Albright Knox Museum, Buffalo, NY w/ catalogue Step into Liquid, curated by Dave Hickey, Ben Maltrz Gallery Otis College of Art Los Angeles CA. Wall Painting, University of Texas, San Antonio Gallery Curated by Frances Colpitt. Possible worlds, School of Fine Arts Gallery (SOFA), Indiana University, Bloomington, IN. Curated by Dana Sperry. The 2003 Prague Biennale, Veletrzni Palace Museum of Contemporary Art, Prague, curated by Lauri Firstenberg. The New York Armory Show. Susanne Veilemetter: Los Angeles Abstract-ed, LIMN Gallery, San Francisco, CA. Curated by Christine Duval Wheeling: Krad-Kult- Tour, POST, Los Angeles, CA. (travelling exhibit) Painting as Paradox, Artsists Space, NY, Curated by Lauri Firstenberg 21: Paintings from LA, The Robert V. Fullerton Art Museum, California State University, San

* SELECTED

Bernadino, CA. Curated by James Gobel Wheeling:Krad-Kult- Tour, Jette Rudolf Gallerie, Berlin, Germany. Curated by Marcus Sendlinger (travelling to Natalie De light gallery, Frankfurt, Germany:2002 & POST, Los Angeles,USA; London & Vienna in 2003). Live like there’s Yes tommorrow, Sala Diaz, San Antonio, TX Las Vegans, James Kelley Contemporary, Santa Fe , NM, Curated by Dave Hickey. Cal’s Art,Sampling California Painting, University of North Texas, Art Gallery, TX. The Dreams, Stuff is made of, Frankfurt ArtFair, Germany, Curated by David Pagel. Presh, The Altoids Curiously Strong & Original Art Collection, The New Museum, N.Y.

PUBLICATIONS 2008 2008 2008 2008 2007

2007 2007 2006 2005

Phil Oppenheim, ARTPAPERS, review of the Las Vegas Diaspora exhibit review Jan./Feb. Robert L Pincus, Art Lld: Westcoast Art + Design Magazine, Review of Las Vegas Diaspora. Kirsten Swenson, ART IN AMERICA, “Sin City Slickers” review of Las Vegas Diaspora, Feb. Richard Chang, OC Register, Review of the Las Vegas Diaspora at the Laguna Art Museum , March 4 Christopher Knight, Los Angeles Times, Calendar”Five Artists Who Help Make the Scene in LA” Dec. 2, 2007 (w/large full color imageon the front page).

Steve Friess, Vegas Magazine, “Rebels With a Cause”, Feature article about the Las Vegas Diaspora Exhibition. Dec. Shana Nys Dambrot Faster ab… ex kill kill kill!”catalogue essay for Velocity installation @ SBCAF Santa Barbara ,CA. Christopher Knight, Los Angeles. Review of 2006 California Biennial, Orange County David Pagel, Review of “space rocks” at Susanne Vielmetter, Los Angeles projects July Eve Wood “The Wondrously Strange and Sumptuous Sacrilusciousness of Jane Callister and Jennifer Vanderpool” essay for Sacriluscious exhibition at Green leaf gallery Whittier College, CA. Christopher Knight, Los Angeles Times. Review of “Step into Liquid” at the Ben Maltz Gallery Otis, Santa Monica CA. Jan. LA Artland, Blackdog press, London, UK Nov. 2005 Vicky Perry, “Abstract Painting:

2003 2002 2001 2000 1999 1998

Techniques & Concepts”Watson & Guptil NY, Aug. 2, Frances Colpitt, Wall Painting exhib cat. 32 pp. full color (w/DVD of video /interviews)

UTSA Press, TX. Sept. Jennifer Jankauskas, Glasstyre, revie w of “Wall Painting” review Exhibition at UTSA cureted by Frances Colpitt , Sept. Lauri Firstenberg, Flash Art, Feature: “Interview with Lauri Firstenberg”vol. 227, pp 89-92, Dec/Jan ‘03 David Perez, Flash Art , Feature: “Focus Painting Part 1”,vol. 226, pp 78-85, Oct. David Pagel, Phaidon Press, “VitaminP”, essay Re: Jane Callister /Contemprary Painting, ed. Valerie Breuvart Fall. Sarah King, Art in America, “ Report from Santa Fe” feature article /review “Las Vegans” at James Kelly Contemporary, Santa Feb., (Dec.). p51, July ‘02. The Chronicle, Review: “Cal’s Art: Sampling California Painting” University of North Texas, Art Gallery, Denton TX. Christopher knight, Los Angeles Times, Art Calendar: “Catching The Next Wave of painters”. Review of The Next Wave: New Painting in Southern California”, at California Center for the Arts, Escondido, CA. June 20, 2000 pp F1 & F8. Joseph Woodard, Artweek, Review of “Architexture” at CAF, Santa Barbara, CA. April. Dave Hickey, Artforum, Review “Best of the 90’s”, Dec. 1999,p.113. Colin Gardner, “Jane Callisters’s Artificial Elegance; Beyond the Pleasure Principal” Catalogue. Foreword by Frances Colpitt, UTSA Satellite Space, San Antonio, TX. Sept. 1999. David Pagel, Los Angeles Times, Art Calendar: “Human Appetites”Review of “Pornamental” at Sherry Frumkin Gallery, Santa Monica, CA. Feb. Dave Hickey “Ultralounge; The Return of Social Space (with Cocktails)” Exhib. cat., Diverse Works, Houston, TX. Micheal Odom, Art Forum, “Ultralounge”- Review, Housten, TX , Nov. Janaki Lennie, Artlies, ; review of “Ultralounge”, Houston, Tx., Summer 1998, p43.

MICHELLE CARLA HANDEL EDUCATION BFA Parsons The New School for Design New York, N.Y. MFA Claremont Graduate University Claremont, CA.

Some fine Women

2011 2010 2009 2008 2007 2006 2005 2004 2003 2002

2001


47 SOLO & 2 PERSON EXHIBITIONS 2013 2012 2011

Heart on Top of My Head, Shoebox Gallery, Los Angeles, CA. I Do Not Deny Them My Essence, Autonomie, Los Angeles, CA. Your Mouth, Undone, Garboushian Gallery, Los Angeles, CA. Hungry Me, Tender You, RAID Projects, Los Angeles, CA. Strange Skin, WEEKEND, Los Angeles, CA. Delicacies, MFA Thesis Exhibition, Peggy Phelps Gallery, Claremont, CA.

Some fine Women

* GROUP EXHIBITIONS 2013 2012 2011 2010 2009

White Soup and Weighty Air, JAUS, Los Angeles, CA. Love For Sale, XVY Gallery, Los Angeles, CA. The Bouba Kiki Experience, JAUS, Los Angeles, CA. Jamais Vu, Space 4 Art, San Deigo, CA. Constructing Fantasy, Beacon Arts Building, Los Angeles, CA. Ground Control, 5790 Projects, Pacific Design Center, Los Angeles, CA. I Don’t Know Where But She Sends Me There: Six Los Angeles Artists Now, Royale Projects, Indian Wells, CA. Vertigo, Durden & Ray/LA Mart 12th Floor, Los Angeles, CA. Hanging Gardens, 1019 WEST/ Beacon Arts Building, Los Angeles, CA. Co/Lab, Art Platform–Los Angeles, WEEKEND booth, LA Mart, Los Angeles, CA. GLAMFA (Greater Los Angeles Masters of Fine Art Exhibition), CSU, Long Beach, CA. BOOM. Southern California MFA Group Exhibition, LA MART, Los Angeles, CA. CGU Graduate Group Exhibition, Claremont Graduate University, CA. Traces, Peggy Phelps Gallery, Claremont, CA. Second Year MFA Group Exhibition, East Gallery, Claremont, CA. Wood and Paper, Claremont City Hall, Claremont, CA. Leak of Contemporary Artists II, dA Center for the Arts, Pomona, CA. Exhibit A, East Gallery, Claremont Graduate University, CA.

SPECIAL EXHIBITIONS 2012 Long-term installation of large-scale work, “Big Yearn (Let Down)” Torrance Art Museum, Torrance, CA.

ARTICLES 2012

Catlin Moore & Matthew Gardocki. “Emergent Presence, Fresh Faces i n Art: Eight LA Artists You Should Know”, Fabrik Magazine. Issue 18, Oct. Grant Vetter “Handel/James: I Do Not Deny Them My Essence”,
 Autonomie. Sept. Catlin

* SELECTED

Moore “Michelle Carla Handel & Eve Wood at Garboushian Gallery”. Daily Serving. Sept. Clifford Eberly “Your Mouth, Undone at Garboushian Gallery”,
 Los Angeles I’m Yours. Aug. Shana Nys Dambrot “Michelle Carla Handel & Eve Wood”, LA WEEKLY. Aug. 2. Eve Wood “Josh Atlas and Michelle Carla Handel”, Artillery. Sept./Oct.

ANGELA KALLUS EDUCATION 1998 2003

BFA, University of Texas, Arlington. MFA, University of Nevada, Las Vegas.

SOLO EXHIBITIONS 2012 2010 2006 2003 2002 1999

Peter Mendenhall Gallery, Los Angeles, Sept. – Oct. Peter Mendenhall Gallery, Los Angeles, Nov. - Dec.small, Trifecta Gallery, Las Vegas, Jan.- Feb. Rock-et Pop, Dust Gallery, Las Vegas , Jan.-Feb. Superficial, Dust Gallery, Las Vegas, Oct. -Nov. Snow and Roses, Donna Beam Gallery, UNLV, Las Vegas, Feb. - March. Baker’s Dozen, Grant Hall Gallery, UNLV, Jan. - Feb. New Talent, Handley - Hicks Gallery, Fort Worth, TX.

* GROUP EXHIBITIONS 2008 2007 2005 2004 2003 2002 2001

Las Vegas Diaspora, Laguna Art Museum, Laguna, CA. Las Vegas Diaspora, Las Vegas Art Museum, Sept. - Dec. curated by Dave Hickey. Struggle ain’t got no color, Marty Walker Gallery, Dallas, Dec. - Jan. On Loan, Las Vegas Art Museum, Las Vegas, July - Aug. Indulgence, Reed Whipple, Las Vegas, March - May. Angstrom Horseplay Glow Rug, Angstrom Gallery, Dallas, Dec. - Jan. Brr... , Dinaburg Arts, New York, Dec. - Jan. Glory, Glamour and Gold, The Proposition, New York, Sept. - Oct. Paint Draw, Dust Gallery, Las Vegas, May- June. Un-themed, Contemporary Arts Collective, Las Vegas Collecting Dust, Dust Gallery, Las Vegas. Local Color, Neonopolis Gallery, Las Vegas, Dec - Jan Un-themed, Contemporary Arts Collective, Las Vegas, Feb. Divergent Views, Jessie Metcalfe Gallery, UNLV, Oct. A Different Look, Jessie Metcalfe Gallery, UNLV, March.

PUBLIC PROJECTS 2003

Las Vegas Aerial Gallery.

BIBLIOGRAPHY 2001 2007 2006 2004 2003

Danielle Kelly, “Angela Kallus’ Trifecta exhibit will have you seeing circles ,” Las Vegas Sun, Feb. 12. Christopher Knight, “Embracing and Refining Las Vegas Gaudy,” Los Angeles Times, Nov. 20. Carol Cling, “Feels Like Home,” Las Vegas Review Journal, Oct. 26. Las Vegas Diaspora, catalog. Bright City Books, Las Vegas, NV. New American Paintings, no. 66, The Open Studios Press, Boston, MA. Chuck Twardy, “Glamorous Mimimalism,” Las Vegas Weekly, Feburary 2 Katie Anania, “Like a Record, Baby,” Las Vegas City Life, Jan. 19. Gregory Crosby, “Ten Artists to Watch,” Las Vegas Magazine, July - Aug., p 42. Chuck Twardy, “Optic Nerve”, Las Vegas Weekly, Nov. 27. Gregory Crosby, “Surface Levels”, Las Vegas City Life, Nov. 5. Matt Kelemen, “Roses Grow ... Angela Kallus develops her signature subject matter,” LasVegas City Life, March 5. Gregory Crosby, “Let them see cake,” Las Vegas Mercury, Feb. 27.

WENDY KVECK EDUCATION 2007 1992

MFA in Painting, University of Nevada, Las Vegas. BFA in Painting & Drawing, The University of Iowa, Iowa City.

SOLO EXHIBITIONS 2013 2012 2009 2008 2007 2006

GGW, College of Southern Nevada Fine Arts Gallery, North LV. The Pageant of the Amuse Bouche, P3 Studio, Las Vegas The Party’s Over, Kleven Contemporary, Las Vegas. Sweet Devouration, North View Gallery, Portland Community College, Portland, OR. The Look That Makes You Happy, Winchester Gallery, Las Vegas. The Good Eaters, Donna Beam Fine Art Gallery, Las Vegas. Insatiable, Grant Hall Gallery, UNLV, Las Vegas.

EXHIBITIONS & PROJECTS 2012 2011

Women Under the Influence: Conversations in Paint, Jay Jay, Sacramento, CA. Salon Show, Pop Up Art House, Henderson, NV. Momentum, anniversary catalog, Women’s Caucus for the Arts. International Art + Design Exhibition, Daegu University, S. Korea Feminist / Las Vegas, The Marjorie Barrick Museum, Las Vegas, NV. The Radiant City, Capital City Arts Initiative, Carson City, NV.


48 2010 2009 2008 2007

Unveiled, Craftswoman House, Pasadena, CA. Aqua Art Miami Get Outta Dodge, Gallery Neuartig, San Pedro, CA. The Unsceen Seen, Decorazon Gallery, Dallas, TX. For A Limited Time Only, The Art Center Highland Park, Highland Park, IL. On Being Good, The Reed Whipple Gallery, co-curator, Las Vegas. Mass Consumption, The Mesa Arts Center, Mesa, AZ. Wendy Kveck and Loo Bain, Main Gallery, Las Vegas.

HONORS & AWARDS/GRANTS Nominee, The Louis Comfort Tiffany Award. Curator’s Choice Artist, Around the Coyote Emerging Artists Art Festival, Juror. Allison Peters Quinn, Executive Director of Exhibitions at the Hyde Park Art Center, Chicago IL. Nominee, Joan Mitchell Foundation, MFA Grant.

RESIDENCIES 2012

P3 Artist Residency, sponsored by the Art Production Fund and the Cosmopolitan Las Vegas, L.V.

PUBLIC ART 2007

The Good Eaters - The Casting Out, Guest Artist at Americans for the Arts National Conference at the Flamingo Hotel and Casino, Las Vegas.

SELECTED BIBLIOGRAPHY 2013 2012 2008

“Artist Wendy Kveck explores women and excess, this time with works on paper” by Dawn-Michelle Baude, Las Vegas Weekly, June 26. “Women Under the Influence’ a lush show of painting” by Victoria Dalkey, Sacramento Bee, July 1. “Let Them Eat Cake: Wendy Kveck cooks up thought-provoking confection reflections of consumers and the consumed” by Cindi Moon Reed, Vegas Seven, June 7. “With Wendy Kveck’s ‘The Party’s Over’ Seeing is Believing” by Kristen Peterson, Las Vegas Weekly, March 29. “Art is Not Eternal” by Kathryn Born, ArtSlant Chicago, March. “Art Break: West Town Beat” by Jason Foumberg, www.art.newcity.com, Oct. 20.

RACHEL LACHOWICZ EDUCATION

1988 BFA California Institute of the Arts, Valencia, CA.

* SELECTED

2007 Claremont Graduate University, CA. Present Assistant Professor— Sculpture/Installation Core Faculty. 1995-2006 Adjunct Professor. Art Center, College of Design, Pasadena, CA.—Fine Art Department. 1993-2005 Adjunct Professor. California Institute of the Arts, Valencia, CA. 1995 Adjunct Professor.

* SOLO EXHIBITIONS

2010 2006 2005 2001 2000 1999 1998 1997 1996 1995 1993 1992 1991 1990 1989

Shoshana Wayne Gallery, Santa Monica, CA. Patricia Sweetow Gallery, San Francisco, CA. Shoshana Wayne Gallery, Santa Monica, CA. Chrysalis, light project, Los Angeles, CA. Kapinos Galerie fur Zeitgenössische Kunst, Berlin, Germany. Peggy Phelps Gallery, Claremont Graduate University, CA. Cristinerose Gallery, New York, N.Y. Dogenhaus Galerie, Berlin, Germany Shoshana Wayne Gallery, Santa Monica, CA. Magazin 4, Vorarlberger Kunstverein, Bregenz, Austria Fawbush Gallery, New York, N.Y. Shoshana Wayne Gallery, Santa Monica, CA. Newport Harbor Art Museum, Newport Beach, CA. Fawbush Gallery, New York, N.Y. Shoshana Wayne Gallery, Santa Monica, CA. Dennis Anderson Gallery, Antwerp, Belgium. Krygier/Landau Contemporary Art, Santa Monica, CA. Krygier/Landau Contemporary Art, Santa Monica, CA. Dennis Anderson Gallery, Los Angeles, CA.

* GROUP EXHIBITIONS

2012 2011 2010 2009 2008

Rachel Lachowicz + John McCracken, Orange County Museum of Art, Newport Beach, CA. 429INSPIRED, The Epic Hotel, Miami, FL. Body Gesture, Elizabeth Leach, Portland, OR. (re-): un-historical documents, The Guggenheim Gallery at Chapman University, Orange, CA. Pink Miami, Cerritos College, Norwalk, CA. Think Pink, Gavlak, West Palm Beach, FL. Focus: The Figure, Denver Art Museum, CO. (lecture series) Summer 2008, Shoshana Wayne Gallery, Santa Monica, CA. Infrastructures, Wignall Museum

2007 2006 2005 2004 2003 2002 2001

at Chaffey College, CA. Project for a New American Century, Rose Art Museum, Brandeis University, MA. Making It Happen, Bronx Museum, N.Y. Highlights of the Permanent Collection, Bronx Museum of the Arts, NY Dangerous Beauty, Palazzo Delle Arti Napoli, Naples, Italy. Art Since the 1960s: California Experiments, Orange County Museum of Art, CA. Soft Core, Kim Light Gallery, Los Angeles, CA. Group show, Shoshana Wayne Gallery, Santa Monice, CA. Five Stories Higher, Track 16 Gallery, Santa Monica, CA. Matter of Fact, Manhattan Beach Art Center, CA. Reverence: awe, admiration, love, devotion, honor, respect, Hudson Valley Center for Contemporary Art, Peekskill, N.Y. Flowers in Contemporary Art, Benaki Museum, Athens, Greece. Raw Materials, Riverside Art Museum, Riverside, CA. 100 Artists See God, Cheekwood Museum of Art, Nashville, TN. 100 Artists See God, ICA, London, England. 100 Artists See God, Contemporary Art Center of Virginia, Virginia Beach, VA. 100 Artists See God, Albright College Freedman Art Gallery, Reading, PA. 100 Artists See God, The Contemporary Jewish Museum, San Francisco,CA. 100 Artists See God, Laguna Art Museum, Orange Country, CA. Santa Monica Originals, Arena 1, Santa Monica Airport, CA. Influence, Anxiety, and Gratitude, the Mit List Visual Arts Center, Cambridge, MA, curated by Bill Arning. 100 Artists See God, Naples Art Museum, Naples, FL, travelling (catalog), curated John Baldessari and Meg Cranston. Dangerous Beauty, The Jewish Community Center, New York, N.Y. Profiler, Canterbury Royal Museum and Art Gallery, Canterbury, Kent. Retrospective: 25 years of Collecting Modern and Contemporary Art, Denver Art Museum, Denver, CO. 100 Artists See God, curated by John Baldessari and Meg Cranston for the Independent. Curators Incorporated, travelling (catalog). Art after Art, Neues Museum, Weserburg Bremen, Germany (catalog) Structure, Patricia Sweetow Gallery, San Francisco, CA. That Place, The Moore Space, Miami, FL. Song Poem, curated by Steven Hull, Cohan Leslie and Browne, New York, N.Y.

Some fine Women

2009 2008 2007

TEACHING EXPERIENCE


Some fine Women

49 2000 1999

Locating Drawing, organized by Maureen Mahony and Doug Lawing, Lawing Gallery, Houston, TX. Enduring Love, Klemens Gasser & Tania Gruner, Inc., New York, N.Y. Made in California 1900-2000, Los Angeles County Museum of Art, CA. Shades of Grey, Boulder Museum of Contemporary Art, CO. Box Project, Museum of Installation, London, England, travelling to: Angel Row Gallery, Nottingham, England, & Turnpike Gallery, Manchester, England. Post-War, Pre-Millenium; Works from the Collection of the Denver Art Museum, University of Colorado, Boulder Art Gallery, Boulder, CO. Ideas in Things, curated by Tim Jahns, Irvine Fine Arts Center, Irvine, CA. 54x54x54: 54 snapshots, 54 artists, 54 pounds a photo, organized by Michael Petry, Museum of Contemporary Art, London, England (catalogue). The Time of Our Lives, The New Museum, New York, NY. Sans Titre: Works from the Collection of Peggy, David & Scott Teplitzky, Boulder Museum of Contemporary Art, CO.

AWARDS 2003 2001 1995 1991 1988

John Simon Guggenheim Memorial Fellowship. The Edward C. Field Award The Lightproject Art Foundation. Louis Comfort Tiffany Foundation Award. Art Matters. Skowhegan School of Painting & Sculpture Fellowship, Skowhegan, ME.

BARBARA MCCARREN EDUCATION 1976 - 1978 Attended Georgetown University, Washington, D.C. 1980 BFA Magna Cum Laude, University of California, Los Angeles, CA. 1986 MFA University of Southern California.

COMMISSIONS, COLLABORATIONS & COMPETITIONS 2011 Anaheim Convention Center Grand Plaza, Anaheim, CA., Beginning. 2010 Waterline, Huntington Beach. Art Plan and large scale plaza design with lighting, paving & sculptures with Jud Fine. 2007 Long Beach Shoreline Gateway, CA., Approved, 2007, Construction TBD. An Art Plan for a large-scale development collaboration with Jud Fine, Artist, Altoon/Porter, Architects, and SWA Landscape Architects an urban residential/ commercial community developed by Anderson Pacific Development. 2004-06 Alhambra Gateway Walk,

* SELECTED

Alhambra, CA., Art Plan & implementation for the City of Alhambra in collaboration with the architects, the Olson Company, and a Feng Shui consultant for a 2.69 acre residential development in Downtown Alhambra. 2001-06 Santa Monica Boulevard Streetscape, Los Angeles, CA. 2001-06Art Plan implementation for the City of Los Angeles at Santa Monica Blvd. from Century City to the 405 Fwy. 2001-04 En Passant, Fairfax Avenue Bus Stop Gardens. Collaborative design of a two-corner transit area on Santa Monica Blvd. in West Hollywood, CA. with Pamela Burton and Company. 2001 Valley Transit Authority, Campbell, CA. Design of Hamilton and Winchester 2002 Stations including integrated & discreet artworks, architecture & landscape architecture. Transit line suspended. 2000 Media Studios, Burbank, CA. Bridge design with artist Jud Fine & Katherine Spitz Associates landscape architects. 2000 PlanetTrek, Pasadena, CA. With artists Ken Price, Ned Kahn & Jud Fine, the design, fabrication & installation of a solar system scale model throughout the city of Pasadena. 1998-2003 Split Mound, San Francisco Zoo, San Francisco, CA. Integrated art plan in collaboration with artist Jud Fine, architects Field Paoli, and landscape architect Robert LaRocca for the renovation of the San Francisco Zoo for the City of San Francisco Arts Commission. 1988-2000 Modestopo, Tenth Street Place Plaza, Modesto, CA. Approved Plaza and water feature design proposed with artist Jud Fine for Modesto City Hall/Stanislaus County Office building in collaboration with Fernando Micheli of Fong, Hart, and Shneider for the Joint Powers Agency. 1988-2000 Foretokens, Rancho del Pueblo Golf Course, San Jose, CA. Public Art Project for the Department of Public Works through the Office of Cultural Affairs. 1997-2000 Home Court, Palisades Recreation Center Gymnasium, Pacific Palisades, CA. In collaboration with Kanner Architects for the City of Los Angeles Department of Recreation and Parks. 1996-2001 Maiz, Cesar E. Chavez Park (Park on Golden), City of Long Beach Art plan for a park in the City of Long Beach in collaboration with Jud Fine, artist and RJM Design Group, Inc. for City of Long Beach Department of Recreation, Parks and Marine. 1996 Journey, Corporate Yard Facility, City of Montebello, CA., Courtyard project for the City’s new facility in collaboration with Blue McRight, artist, RNL Interplan, architects &

Melendrez and Associates, landscape architects. Completed in Aug. 1992-1995 Panoramic/Quotation Courtyard, City Hall, City of Culver City, CA. Set in Heritage Park with work by May Sun and Blue McRight in collaboration/CHCG Architects. 1991-1994 Heyday, Pershing Square Park, City of Los Angeles, CA. Art Plan for the five acre park renovation in collaboration with Ricardo Legorreta, architect, Laurie Olin, landscape architect & Langdon Wilson, executive architects.

* EXHIBITIONS 2006 Wives/Husbands, Domestic Setting, Los Angeles, CA. 2005 Currency, Ronald Freeman Gallery, New York, N.Y. 2004 PAC III Exhibition, Hanoi University of Fine Arts, Hanoi, Vietnam. 2003 Pacific Cross Currents, Royal Thai Consulate Gallery, Los Angles, CA. Chloroform, Panties and Peanut Better: Southern California Drawings, San Bernardino College Art Gallery. 2002-03 Small World, Silpakorn University Art Centre, Bangkok, Thailand and Fine Arts University, Hanoi, Vietnam. Travelling exhibition. 2002 Thai-American Exchange Exhibition, Phannari Building, Bangkok, Thailand 2001 Secret Formula, SAC Arts at the Santora Building, Santa Ana College, Santa Ana, CA. Faculty Show, Helen Lindhurst Fine Arts Gallery, University of Southern CA., Los Angeles, CA. 2000-01 Knowing Limits: The Arts as Environmental Lens, Travelling Exhibition, Pratt Manhattan Gallery, New York, N.Y. 1999-02 Botanica, Travelling Group Exhibition, Tweed Museum of Art, University of Minnesota @ Duluth, Chicago Cultural Center, University Gallery @ the University of Delaware, etc. 1998 Chair, Santa Ana College Art Gallery, Santa Ana, CA. 1997 Barbara McCarren/Billy Curmano, Center Gallery, St. Mary’s University,Winona, MN. 1997 Unbuilt Southern California, Guggenheim Gallery, Chapman University, Orange, CA. 1996 Mary Stuart’s Ravishment Descending Time, An Installation at Side Street Projects, Santa Monica, CA. 1994 Marcos Lutyens & Barbara McCarren, SITE Gallery, Los Angeles, CA. Women Sculptors- Public and Private Spaces, Todd Madigan Gallery, C.S.U. Bakersfield, Bakersfield, CA.

AWARDS & COLLECTIONS 1988 1990 2003

National Endowment for the Arts Visual Artists Fellowship. Los Angeles County Museum of Art, Marvin B. Meyer Family Endowment. Permanent Collection, Los Angeles County Museum of Art Award for


50

Design Excellence for Santa Monica Blvd. Transit Parkway Project, City of Los Angeles.

PROFESSIONAL/ACADEMIC AFFILIATIONS

* BIBLIOGRAPHY 2006 2005 2002 2001

Art in America, “Place Matters: Los Angeles Sculptors Today” by Anne Rochette and Wade Saunders, Nov. Business Life, Art in Public Places Enhance, Enliven, Activate, and Enrich the Community. 
by Beatrix Barker, Sept/Oct. Flaunt #64, People: Jud Fine and Barbara McCarren by Error! Contact not defined., June. Flaunt #63, Exhibitionism by Chris Miles, April. New York Sun, Arts+Letters, 03/28. Village Voice, Art Previews, March 2, by Jerry Saltz. Urban Surprises: Public Art in Los Angeles, Navigator Press, Monrovia. San Francisco Chronicle, “There’s More to S.F. Zoo’s New Look Than Meets the Eye” by Michael Dougan, 6/27. Public Art Review, “Road Work: Reconfiguring the American Highway” by Harriet F. Senie, Spring/Summer. ArtWeek, “Art in the Public Realm: A Conversation with Artists Barbara McCarren and Jud Fine” by Christopher

* SELECTED

Miles, March. Public Art Review, “Recent Projects”, Fall/Winter. Pasadena Star-News,” L.A.-area Artists win PlanetTrek Design”, by Usha Sutliff, 08/02/. Palisades Post, “Public Art in Pacific Palisades” by Libby Motica, 06/22/. Modesto Bee, “Quite a View”, 06/13/. “Public Art Review,” Dynamic Exchange: Public Art at this Time” by Patricia C. Phillips, Fll/Winter. Long Beach Press Telegram, “Gateway Greenspace” 11/06/. Botanica: Contemporary Art and the World of Plants, Exhibition Catalogue, Tweed Museum of Art, University of Minnesota. Landscape Architecture, “Security Detail”, March. USC Trojan Family Magazine, “Bringing Art to Public Places” by Edmund Newton. Spring. X-TRA, “Responses to the Irwin Garden at the Getty”, Feb. Discover Los Angeles, Letitia Burns O’Connor, J.Paul Getty Trust Publishing, 1997. Modesto Bee, “Tenth Street Place Beginning To Take Shape”, Oct. 26. Modesto Bee, “Panel recommends Tenth Street Artists”, Oct. 20. Modesto Bee, “Artists Vie For Chance To Add Water Pizazz To Plaza”, July 23. Ricardo Legorreta, ed. by Mutlow, John V., Rizzoli Press, Los Angeles, 1998. Angels Walk: Bunker Hill/Historic Core District, Published by the Metropolitan Transit Authority. L.A. Weekly, A User’s Guide to Public Art in Los Angeles, 01/10/. L.A. Weekly, “Art Picks of the Week” by Peter Frank. Los Angeles Times, Art Reviews by Susan Kandel. Los Angeles Times, “10 ways to spend your weekend” (in Westside Weekly). Los Angeles Times, “Public Art: The Next Wave” by Nancy Kapitanoff. Los Angeles Times, “Center of Attention” by M. Chazanov and M. Moore. Architects Guide to Los Angeles by Michael Webb, Harper Collins, San Francisco, Pg. 6 and cover. L.A. Weekly, “Best of L.A.”, Introduction by Lewis McAdam. Art in America, “1993 in Review: Public Art”, Annual The Outlook, “Art Attack”, by Josh Grossberg. Los Angeles Times Magazine, “Palm Latitudes”. L.A. Architect, “Reshaping Pershing Square”, by Michael Webb. L. A. Architect, Cover. New York Times, “California Dreaming”, by Timothy Egan.

NANCY RIEGELMAN Lives and Works in Los Angeles, CA.

EDUCATION BA University of California Berkeley, Berkeley, CA.

MA.

Urban Planning, University of California Los Angeles, Los Angeles, CA. Art Center College of Design, Pasadena, CA.

* SOLO EXHIBITIONS 2011 New Paintings, Drawings and Sculpture, Western Project, Los Angeles, CA. 2009 Western Project, Culver City, CA. 2007 Breath, Western Project, Culver City, CA. 1999 Los Angeles County Museum of Art, Los Angeles, California Art Center Garden Installation, Pasadena, CA. 1991 Marc Richards Gallery, Santa Monica, CA. 1989 S.N.D.T. University, Bombay, CA. 1988 Installation, 240 S. Broadway, Los Angeles, CA. Saxon-Lee Gallery, Los Angeles, CA. 1987 Works on Metal, LACE, Los Angeles, CA. 1986 Saxon-Lee Gallery, Los Angeles, CA. 1985 Galeria Ocaso, Los Angeles, CA. 1984 Roark Gallery, Los Angeles, CA.

GROUP EXHIBITIONS 2009 2008 2007 2005 2004 2006 2002 2000 1996 1995 1993 1992 1991 1990 1989

The First Six Years, Western Project, Culver City, CA. Downtown Diaspora, Roark, Los Angeles, CA. Los Angeles Printmaking Society 19th National Exhibition, Riverside Art Museum, Riverside, CA. Oceans, Western Project, Culver City, CA. Billy Al Bengston, Eric Freeman, John McLaughlin, Justin Moore, Nancy Picot. Riegelman, Edward Ruscha, Robert Therrien, Western Project, Culver City, CA. Images, Michael’s, Santa Monica, CA. University of North Carolina, Greensboro, North Carolina 123 Watts Gallery, New York, N.Y. Long Beach Museum of Art, Long Beach, CA. Karen Finley/Nancy Riegelman, New Mastodon, Los Angeles, CA. Mahe Mahe Exhibition, - collaboration – Gilbert Brownstone Gallery, Paris, France Sunday Brunch, Random Gallery, Los Angeles, CA. Gallery Group Show, Susan Landau Gallery, Los Angeles, CA. Graphic Arts Council, Los Angeles County Museum of Art, Los Angeles, CA. Works of Peace III, Galerie Bhak, Seoul, Korea. Poetry Garden, proposal in Rennes, Brittany, France. Inscapes, Works Gallery, Orange County, CA. Sensuous Abstraction, Dollar Gallery, San Francisco, CA. Group Show, Samy King Gallery, Paris, France Time, (curator), Marc Richards Gallery, Santa Monica, CA. United States Educational Foundation, Bombay, India.

Some fine Women

1992 University of Southern California: Lecturer in Studio Art, “Interdimensional Art” Fall. 1993 Lecturer in Studio Art, “Intermediate Sculpture”, 1998 Adjunct Professor in Studio Art, “Intermediate Sculpture”, 2000-01 Academic year, “Beginning Sculpture”, 2002-03 Academic year, “Art in Public Spaces” (Public Art Studies Program). 2004 – 10Visiting Artist/Lecturer, California State University Long Beach, Lecture Series. 2003 Visiting Artist, School of Visual Arts, Spring Lecture Series, University of North Texas. Curator “La Langue d’Amor,” an exhibition of mixed media work at the University of North Texas. Creating Powerful Public Spaces: USC Public Art Studies Panel, Course by Jay Willis, artist Mark Rios ASLA, and John Chase, urban planner, City of West Hollywood. Panel participants are Maya Emsden of the MTA and artists Kim Abeles, Buster Simpson, Carl Cheng and Kim Yasuda. 1999 California Science Center: Architecture Around You/Architecture and Art Summer Lecture Series with Katherine Diamond, FAIA of Siegel Diamond Architecture and Doss Mabe, AIA, of Zimmer Gunsul Frasca Partnership, Summer. Los Angeles Forum for Architecture and Urban Design, MAK Center for Art and Architecture at the Schindler House; “TerrAtories of Engagement: In the Public Realm” with Eugenia Butler and Carl Cheng, Spring.

2000 1999 1999 1998 1997 1996 1995 1994


Some fine Women

51 1988 1987 1986 1985 1984 1983 1982 1978

United States Educational Foundation, Calcutta, India. Summer Group Show, Allport Gallery, San Francisco, CA. Monotypes, J.C. School of Art, Bombay, India. After Abstract, Art Center College of Design, Pasadena, CA. - in collaboration with Merdad Yazdani – Los Angeles County Museum of Science and Industry, Los Angeles, CA. Current Abstract Los Angeles Painters, Allport/Caldwell Gallery, San Francisco, CA. From the Back Room, Saxon-Lee Gallery, Los Angeles, CA. Nancy Riegelman & George Legrady, Group Project from New York, LACE, Los Angeles, CA. Religious Imagery, Loyola Law School, Los Angeles, CA. Les Robes Peintures de J.C. de Castelbajac, Ecole des Artes Decoratif, Limoges, France. Monotypes, Paris, France. Etchings, Paris, France. Summer Show, Jan Baum Gallery, Los Angeles, CA. Theatrical Imagery, Jan Baum Gallery, Los Angeles, CA. The Green Collection, Nuage Gallery, Los Angeles, CA.

AWARDS AND GRANTS 2000 1996 1994 1988 1988 1987

Center Toyota Lecture AIA Merit Award Garden Project – The Line. Grant Art Center. Fulbright Award, research studies, Bombay, India. Conducted seminars in Ahmedabad,Bombay, Madras, & New Delhi, India. West Coast Gateway Competition, sponsored by the Mayor’s office LACE Interdisciplinary Grant, Marat/Sade.

COLLECTIONS Hammer Museum, Los Angeles, CA. Long Beach Museum of Art, Long Beach, CA. Los Angeles County Museum of Art, L.A., CA. Frederick R. Weisman Art Foundation, Los Angeles, CA. Yale University Art Gallery, New Haven, CT.

PUBLICATIONS 2004 2002 2000 1993 1991

Colors for Modern Fashion: Drawing Fashion with Colored Markers; 512 pages; Thames & Hudson, Prentice Hall. If-Informed Fashion. 9 Heads: A Guide to Drawing Fashion; 352 pages; Thames & Hudson, Prentice Hall. How to Draw Super Fashion Modelles I (Volume I, by Felipe Sanchez & Nancy Picot Riegelman. Drawing the Super Fashion Modelle II A Box of Aesthetics: Poems by Paul Vangelisti and Nancy Riegelman. Croquis and Form, self-published drawing textbook, by Nancy Riegelman and Martin Fung. The Age of Information, published

* SELECTED

1986 1984

by the Getty Archives. Portfolio of Etchings, published in Paris, France. Seventeen Self-Portraits, self-published with Pierre Picot.

PERFORMANCES 1989 1986 1983 1982 1981 1980 1978

Timeless India, Bombay, India. Perfumed Weight on Importance, Roy Boyd Gallery, Los Angeles, CA. Who is God, An evening with Paul Vangelisti, Nancy Reigelman and Pierre Picot, Saxon-Lee Gallery, Los Angeles, CA. The old dead must make way for the new dead, after Milan Kundera, Jan Baum Gallery, Los Angeles, California and Sushi Gallery, San Diego, CA. Nancy’s Place, Miles Playhouse, Santa Monica, CA. Nancy’s Place, Espace, D.B.D., Los Angeles, CA. He Pulled Her Hair Into Solid Geometry, LACE, Los Angeles, CA. Ruins in their Imperfection Promote…, Downtown Gallery, Los Angeles, CA. Apostles Can be Ravishing Too, Vanguard Gallery, Los Angeles, CA.

* BIOGRAPHY 2007 2005 2000 1995 1993 1992 1991 1990 1989 1988 1986 1985 1984 1982

Beil, Kim, “Review,” Artweek, July/Aug. Buckley, Annie, “Critic’s Pick,” artforum.com, May 17. Frank, Peter, “Art Pick of the Week,” LA Weekly, Dec. Ise, Claudine, Los Angeles Art Review, Time Magazine. Art Fashion, Prism Magazine. Ping Pong, Magazine 2029, Hamburg, Germany International Exchange of Scholars in the Humanities, interview at Art Center, Fulbright Magazine. Art in Los Angeles, published by Pierre Picot. Inscapes Exhibition Delivers a Cool Hand, Orange County Register. Featured in essays, Fulbright Journal. Kandel, Susan, L.A. in Review, Arts Magazine, Summer, p.102. Goldberg, Bess, Artweek, May 16. Frank, Peter, Art Pick of the Week, LA Weekly, Nov. 23 – 29. Banerjee, Ranjan, Sananda. De, Arup, Amrita Bazar Patrika. Shaw, Neerja, Woman’s Supplement, Times of India, March. Frank, Peter, Art Pick of the Week, LA Weekly, Aug. 12 – 18, p. 128. Donahue, Marlena, “Sculpture Taking Its Lyrical Ease Beyond Gender in Raw Grace,” Los Angeles Times, Aug. 13, p. 4. In Brief, California Apparel News, Aug. 15, p. 8. Muchnic, Suzanne, Reviews, Los Angeles Times, Oct. 31. Hugo, Joan, Pick of the Week, LA Weekly, July 26 – Aug. 1. Baltz, Jon Robin, Art: the Mexican Connection, LA Reader. James, David, Politics as

1981 1980

Media Event, Artweek, Aug. 28, p. 6. Nancy Riegelman: He Pulled Her Hair Into Solid Geometry, High Performance Junior Art Center, Los Angeles Times.

JAIME GWEN SCHOLNICK EDUCATION MFA The Claremont Graduate University, Claremont, CA. BA California State University, Sacramento Lives and works in Los Angeles, CA.

SOLO EXHIBITIONS 2012 2011 2006 2005 2004

Artifacts, CB1 Gallery, Los Angeles, CA. Greetings from Earth and Other Places, PØST, Los Angeles, CA. Art Exhibits Program at LAX, Los Angeles, CA. John Wayne Drawings, Angles Gallery, Los Angeles, CA.
 Phallicies Series, Part 1, Tall, Wall Space, The University of La Verne, La Verne, CA. Shoot a Mouth on Hello Kitty, project room, BANK Gallery, L.A. Hello Kitty Gets A Mouth, Kobo Chika Gallery, Tokyo, Japan Hello Kitty Gets A Mouth, POST, Los Angeles, CA. Smear, POST, Los Angeles, CA.
 City, POST, Los Angeles, CA.
 Packaged, Miller Durazo Contemporary Artists Projects, Los Angeles, CA. Shiborareru, Whittier College Gallery, Whittier, CA.

* GROUP EXHIBITIONS 2012 2011 2010 2009 2008 2007 2006 2005 2004

Edge, Da Vinci Gallery, Los Angeles Community College, Los Angeles, CA. CB1 + Colburn, The Colburn School, Los Angeles, CA. Art at The Andaz, The Andaz Hotel, West Hollywood, CA (curated by Merry Norris) Axis Mundi, Nolan, Scholnick, Trujillo, CB1 Gallery, Los Angeles, 12 Gauge; Rapid Fire Study of Art in Los Angeles Today, Torrance Art Museum, Torrance, CA. Sustainability, Woodbury Hollywood Exhibitions, Los Angeles, CA. Black, White and Gray All Over, 643 APROJECTSPACE, Ventura, CA. What’s the Matter with Mommy?, Salon Oblique, Los Angeles, CA. Projecto, MUPI, Valencia, Spain Darkness Will Find You, Jail Gallery, Los Angeles, CA. DowntownArtistGrantRecipient Exhibition,DangerousCurve,L.A.CA. DefamationofCharacter,PS1/ MOMA, Long Island City ,N.Y. See Jane Run, Bedford Art Gallery, Walnut Creek, CA. Quickening, Museum of Contemporary Art, Tuscon, AZ. Group Show, Media Works, Sony Somido Bldg. Ginza, Tokyo, Japan Women In The Directors Chair Film Festival, Chicago, Illinois Kansas City Filmmakers Jubilee,


52

Kansas City, Missouri
Network, de Parel Gallery, Amsterdam, Netherlands Guns and Knives, Fahrenheit Gallery, Kansas City, MO. Scope-NY, Gansevoort Hotel, NYC, N.Y.

HONORS AND AWARDS 2007 Downtown Artists Grant Recipient


LILY SIMONSON Lives and works in Los Angeles, CA.

EDUCATION


MFA Painting, University of California, Los Angeles, CA. BA Art Practice, University of California, Berkeley, CA.

* SOLO EXHIBITIONS

2009 2007 2006 2006

International Underwater Art Festival, Kiev, Ukraine The Black Dragon Society: 10-Year Anniversary Show, Black Dragon Society, Los Angeles, CA. A Semi-Terrestrial: MFA #3, New Wight Gallery, Los Angeles, CA.
 Myth of Difference, Gallery Project, Ann Arbor, MI MFA 2008,New Wight Gallery, Los Angeles, CA.
 The 2nd Annual LA Weekly Biennial: MFA WMDs, Track 16 Gallery, Santa Monica, CA. Chain Letter, High Energy Constructs, Los Angeles, CA.
 The Great American Nude, Harvey Levin Gallery, Culver City, CA.
 Flea Market Biennale, Outpost for Contemporary Art, Los Angeles, CA.

MARY WARNER

* GROUP EXHIBITIONS

1974 MA California State University, Sacramento 1972 BA California State University, Sacramento

2012 2011 2009 2009

Faculty Show, Kellogg University Ar t Gallery, CSU Pomona, Pomona, CA. Mentor Exhibition, SCA Project Gallery, Pomona, CA. Biodiversity Bacchanal, World Conference on Marine Biodiversity Aberdeen, Scotland, U.K. Mentor Exhibition, SCA Project Gallery, Pomona, CA. Embarrassment 2: Theory, Gallery KM, Santa Monica, CA.
 Ideation: Fingal’s Cave, Performance, PØST Gallery, Los Angeles, CA. Embarrassment 1: Vulnerability, Gallery KM, Santa Monica, CA. A Decade of Discovery, Census of Marine Life Symposium, The Royal Society,
 London, England Faculty Show, Kellogg University Art Gallery, CSU Pomona, Pomona, CA.
1 The art that dare not speak its name., Beaucage, Kroll, Lifson, Simonson, CB1 Gallery, Los Angeles, CA. Mannlicher Carcano Plex Mac 01, PØST, Los Angeles, CA. Annual Benefit Exhibition, Los Angeles Contemporary Exhibitions, Los Angeles, CA.
 50th Anniversary Celebration, South Coast Botanic Gardens, Palos Verdes, CA. Devout Sacrilege, Galerie Studio St., Berlin, Germany Out of Bounds/ Orphans and Kitties Go to the Circus, Los Angeles Contemporary Exhibitions & Circus of Books, Los Angeles, CA. Not From Concentrate, Synchronicity Space, Los Angeles, CA. A River Runs Through It: Urban Plein Air, Telic Arts Exchange, Los Angeles, CA.
 Lovable Like Orphaned Kitties & Bastard Children, The Green Gallery, Milwaukee, WI.

* SELECTED

EDUCATION

* SOLO EXHIBITIONS 2012 “Heavy Petals,” Trifecta Gallery, Las Vegas, NV. 2009 “Secret Gardens,” Churchill Arts Center, Fallon, NV. “Angels and Insects,” Donna Beam Gallery, UNLV, Las Vegas 2006 “Flower Power,” Limn Gallery, San Francisco, CA. “Bloom,” Nevada Museum of Art, Reno, NV 2005 “Flower Power,” JAYJAY Gallery, Sacramento, CA. 2004 “Velvet,” Limn Gallery, San Francisco, CA. 2002 “Avante Garden,” JAYJAY Gallery, Sacramento, CA. 1994 “The Nature of Culture,” Marjorie Barrick Museum, Las Vegas, NV 1986 “Mary Warner,” D.W. Gallery, Dallas, TX. 1982-86 Louis Meisel Gallery, New York, N.Y. 1980-2003 Sandy Carson Gallery, Denver, CO. 1972-1979 Jennifer Pauls Gallery, Sacramento, CA.

* GROUP EXHIBITIONS 2012 2011 2007 2002 2000

“Under the Influence,” Jane Callister,Wendy Kveck, Mary Warner, JAYJAY Sacramento, CA. “Kaleidoscope,” Spring Preserve Gallery, Las Vegas, NV. “Winter Garden,” Janet Fish, Robert Kushner, Barbara Rogers, Mary Warner, Sandy Carson Gallery, Denver, CO. “Synthetic Flora”, Limn Gallery, San Francisco, CA. “Artificial Splendor”, Frumkin/ Duval Gallery, Santa Monica, CA. “Ultralounge: Return of Social Space (with cocktails)” curator,

Dave Hickey, Contemporary Art Museum, University of South FL., Tampa, FL. “Ultralounge”, curator, Dave Hickey, Diverse Works, Houston, TX. “Rubber, Icing, Velvet, Meat,” Center For Contemporary Art, Santa Barbara, CA. “Vegas Show”, curator, Jeffrey Valance, Rosamund Felsen Gallery, Los Angeles, CA. “SEXY,” curators Julia Cousens, Hilary Baker, Armory Art Center, Pasadena, CA. “Animals,” Marietta Cobb Museum of Art, Marietta, GA. “Drawn from Life: Interpretive Landscape,” Sewall Gallery, Rice University, Houston, TX. “Dog Show”, Braunstein/Quay, San Francisco, CA. “Animals” California State University, Fullerton, CA. “The Garden Show”, D.W. Gallery, Dallas, TX. “American Seen”, Adams Middleton Gallery, Dallas, TX. “Soho, Noho & Tribeca”, Maier Museum of Art, Lynchburg, VA. Museum of Modern Art (Casa Pesaro), Venice, Italy Sutton Place, Gilford, Surrey, England “Selected Drawings: New Drawing in America” “New Drawing in America”, The Drawing Center, New York, N.Y. “Wind and Dust”, Lawndale Annex, University of Houston, Houston, TX “Animal Show”, L.A.C.E. (Los Angeles Contemporary Exhibitions) Los Angeles, CA. “Biennial Exhibition: Contemporary American Art”, Whitney Museum of Art, New York, N.Y.

FELLOWSHIPS AND AWARDS 2011 Governors Art Award, State of Nevada 2008-09 Nevada State Council on the Arts, Individual Fellowship. 2008 Bemis Residency Fellowship (Sept.-Oct.) 1993 Nevada State Council on the Arts, Individual Fellowship. 1989 Ucross Foundation Residency, March 27-May 2. 1985-86 National Endowment for the Arts Individual Fellowship.

PUBLICATIONS 2012 2011 2006

“Women Under the Influence”, Review By Victoria Dalkey, Sacramento Bee, June19. “Unearthly Blooms”, Mind in Vegas, REVIEW, March. KNPR Interview, “State of Nevada”, 88.9FM, March 7. “Flower Power”, Danielle Kelly, Las Vegas City Life, March 1-7. “Full Bloom”, Las Vegas Seven Magazine, March 3-9, article by Naomi Arin. “In Full Bloom”, Review by Chad Sorg, Reno News and Review, Sept. 28.

Some fine Women

2012 Wet and Wild, CB1 Gallery, Los Angeles, CA.

1998 1997 1996 1995 1988 1987 1985 1983 1982 1981 1979 1975


53

drawing room

Some fine Women

CHINA ADAMS China Adams received her Bachelors of Fine Arts from University of California, Los Angeles and her Masters of Fine Arts from University of Nevada, Las Vegas. ALEXANDRA RAINS BERG Alexandra Rains Berg is from Los Angeles and received her BFA from California Institute of the Arts. She will have finished her Masters program at The Royal College of Art, London in 2015. She works primarily with mechanical pencil on paper. DIANE BUTNER Diane Butner has a BFA with an emphasis in Sculpture from UNLV. She is Director of Event Design at MGM RESORTS Events with a previous background in Window Decorating. A 2013 series of poetry began in a journal kept for jotting down random concepts. These started as scrollwork, turned into small drawings and then a collection of short poems. This summer “KLEPTO” was selected to be performed live while also being published in SpeedPoets Zine out of Brisbane, Australia. JACQUELINE EHLIS Jacqueline Ehlis received her M.F.A. at the University of Nevada Las Vegas, NV; her B.F.A. at Pacific Northwest College of Art, Portland, OR; and her A.A. at Portland Community College, Portland, OR. Ehlis lives in Portland, OR, and teaches at Portland Community College. Her work is easy on the eye, well put together and colorful celebrating different but equal. Her studio is an orderly, large and well-lit space. Ehlis has given several visiting artist lectures and talks including: Portland Art Museum, Artist’s Talk Series, Portland, Oregon,

John F. Kennedy University Visiting Artist Lecture. CATHY FAIRBANKS I produce work in ceramics, sculpture, photography, and video that attends to the contemporary understanding of empathy. I am a dual-career artist; practicing as a nurse provides me with a particular form of scholarly, ethnographic, and qualitative research. I orient myself and my work toward understanding the empathic form with individuals, which include both patients and objects, and the empathic production needed on an institutional and social scale. Starting as a young ceramicist, I now make work by coupling different media together, or creating sets of objects and scenarios which uses the difference between them to produce and deal with the aesthetics of empathy, the knowledge of another’s experience in the world. LAURA BOLES FAW Laura Boles Faw’s work consists of investigations through sculptural objects and installations, curatorial projects, and collaborative ventures. She examines spatial and social constructions and looks to create new meanings and transformative fictions. In conjunction with her solo practice, she collaborates with Cathy Fairbanks on a discursive project called ap-art-ment. She received a BA in Art History from Sewanee and an MFA in Sculpture from the San Francisco Art Institute. Boles Faw is visiting faculty in the sculpture department at SFAI. ANGELLA KALLUS Angela Kallus received her Bachelors of Fine Arts at the University of Texas, Arlington and her

Masters of Fine Arts at the University of Nevada, Las Vegas. She is represented by Peter Mendenhall Gallery in Los Angeles, CA. DANIELLE KELLY Danielle Kelly is an artist and writer based in Las Vegas, Nevada. Kelly’s project-based practice ranges from installation to performance, and has been featured in solo and group exhibitions in Los Angeles, Seattle, Las Vegas, Portland, and most recently at SOMArts in San Francisco. Kelly’s writing has appeared in a variety of publications locally including Las Vegas Weekly , Boulevards Magazine and Desert Companion. ALISHA KERLIN Alisha Kerlin is an artist who uses painting, sculpture, digital photography, writing and installation. Solitaire games, fallen trees, vultures, dismissive cats, tic tac toe, measuring tapes, dangling treats, lizards, birds, potatoes, traffic cones, and the carrot and stick idiom are examples of subject matter used within her artworks. 
Since 2005 her work has been exhibited throughout the United States, including one person shows in New York, Brooklyn, Long Island City, San Francisco, Boston, and Knoxville. Her work has been included in numerous group shows including “Greater New York” at PS1 MoMA, 2010. Interviews and reviews about Kerlin’s work can be found in publications such as Spike, Art Forum, New York Arts Magazine, and Art21.com.
Kerlin received her BFA from the University of Tennessee, Knoxville and MFA from the Milton Avery School of Art, Bard College, New York. She recently moved to Las Vegas from NYC after teaching as the Artist in Residence, University of Nevada, Las Vegas, Spring 2012. Upcoming


54 Las Vegas solo projects are “Marking Territory” at P3 Studio at the Cosmopolitan in December and “Road Runners That Won’t Run Far” at the Government Center Rotunda Gallery in 2014.

CLARE LITTLE I like to make stuff. My current body of work began with an interest in the Baroque and Rococo, as movements where nature found itself metastasized in design. Envisioning poltergeists of nature just below the surface of the wall, gradually breaking the barrier and confronting civilized mental and physical space. Challenging the hierarchy of man verses other and the outermost boundaries of home. I am currently pursuing an MFA at UCSB. BARBARA MCCARREN Barbara McCarren received her Bachelors of Fine Arts from the University of California, Los Angeles and her Masters of Fine Arts from the University of Southern California. CRISTINA NATSUKO PAULOS Cristina Natsuko Paulos is an award-winning artist and animator whose work has appeared in an original animation short for Sesame Street, prestigious galleries such as La Luz De Jesus

JK RUSS After graduating with a BVA from MIT Faculty of Creative Arts in Auckland, New Zealand, JK Russ relocated to Las Vegas in 2010. With an interest in performance, gender and sexuality, Russ creates mixed media collages blending sexual commodity with eco-tourism. and is represented in Las Vegas by Sin City Gallery and in Australia by Small Works Gallery, Brisbane. JAIME SCHOLNICK Jaime Scholnick received her Bachelors from California State University, Sacramento and her Masters of Fine Arts from The Claremont Graduate University, Claremont, CA. She is represented by CB1 Gallery in Los Angeles. SIERRA SLENTZ Sierra Slentz received her BFA in photography and studio arts from Sierra Nevada College in 1997. She attended graduate school at The University of Nevada, Las Vegas and earned her MFA in 2001. Slentz’s work draws from many places including her interests in environmental science and gardening to her childhood memories and fairytales. Her work often uses a variety of materials such as ceramic, fabric, wood, spray foam, plastic flowers, pearls, plastic birds and acrylic paint to create works that hover somewhere between a

habitat & sculpture & painting. Slentz recently started casting & altering ceramic figurines to create installations that reference the human-need to interfere or to recreate perfect environments. These fairytale-like settings give the viewer an open-ended narrative, yet subtly pose the question, is it really just a story? ERIN STELLMON Erin Stellmon works with themes of construction and decay through drawing and mixed media collage. She received her BFA from Parsons School of Design and her MFA from University of Nevada Las Vegas. Her work has been exhibited nationally including New York, California, Oregon and Texas and has been reviewed in numerous publications including Art in America. HEATHER YOUNGER Heather Younger is an interdisciplinary artist, whose art exposes a frustrating uncertainty towards the bigger picture and its relationship to her innate desire for the satisfaction achieved from hard work. Her creations reflect the patterns of a goal-oriented mind; exhibiting the highs and lows of a life based on expectation and purpose. She is very conscious of light, space, and the pressure of time on the individual experience. Younger received her BFA in Photography from Louisiana Tech University in 2008 and her Masters of Fine Art in Studio Practices from the University of Nevada Las Vegas in December 2012. She currently lives in Fayetteville, AR where she is preparing for an upcoming show at Arsagas on Dickson.

Some fine Women

ERI KING Eri King is an interdisciplinary artist based in Las Vegas, NV. She combines elements of performance, photography, drawing, painting, sculpture, and installation in her work as a way to explore the esteem in manual labor through the creative process. In 2011, she received a Bachelor in Fine Arts in Studio Practice from University of Nevada, Las Vegas. She is the co-founder of Fifth Wall Gallery, an artist-run space. In 2013, King exhibited her first solo exhibition Buy Kingdom at the Winchester Gallery, in which she received NAC’s FY2013 Jackpot Grant.

and Giant Robot, as well as the Cirque du Soleil Contemporary Art Collection. She received her BFA from California Institute of the Arts. As an artist, Paulos incorporates a variety of materials and techniques, including ink, paint, dye, handmade paper, canvas, wood and mixed media. “Using the materials of drawing loose graphite, charcoal, sumi inks, dyes, found material and handmade papers, I hope to create work which show the organic foundations of humanness.”


55

Credits Some Fine Women July 27 - August 24th, 2013 An Artist Panel Discussion with.... Some Fine Women

Some fine Women

August 10th, 2013 Angela Kallus Barbara McCarren Cathy Fairbanks Jamie Scholnick Mary Warner Michelle Carla Handel Patricia Burns Rachel Lachowicz Wendy Kveck Moderator: Danielle Kelly Introductions: Kirsten Swenson Artists panel discussion video at vastspaceprojects.com Catalog: Shana Nys Dambott - essay Art Director - Christopher A. Jones Photographer - Checko Salgado Photography Editor - Scott Dickensheets Publisher - Shannon Mc Mackin/SmackSheets, 2013 Printing - Digital Lizard Stamping & Bindery - Desert-Die Cutting Papers - Kelly Papers Editorial Asssistant and Production Coordinator - Amanda Dutt


56

Acknowledgments 3 V A S T spaces 31 artists 84 works of art

Thanks Alexis for the kindness in sending “Five Easy Pieces”. Her kind words of encouragement were felt. She is a mentor of how to maneuver this art stuff with innocent and smart grace. Heartfelt. It kind of all goes back to Burnett Miller. I miss him. Last time I saw Burnett he staged French design masters in a private residence. Again, he was years ahead of the time. I was working at Burnett Miller Gallery when an art announcement from a German gallery arrived. My picture from a Mills College protest was captured in an AP wire. There on the art announcement cover, it caught my innocence in planning a revolution, grassroots organizing and the dedication to an all women’s eduction. I think I was looking over my old MAC computer to a Charlie Ray anatomically correct mannequin when this art announcement arrived.

Thanks to Patricia for being the young spirit in the show. I imagined her too. I imagined a young woman who would do an installation piece from materials we found in the hot, desert heat. She gave me energy. Barbara McCarren and her smart, humorous correspondence made everything more fun. China Adams is someone you want to own. Professionalism and a can-do spirit is what shapes this show. I called Michelle Carla Handel at 1 p.m., introduced myself as a stranger and told her the trucks had made their LA rounds but it wasn’t leaving until the next day. She stuffed her Prius with rubbery sculpture by 9 a.m. the next day. Wendy is the neighbor across the street with the eternal cup of sugar. Dawn-Michelle Baude is the friend you wish for. How the heck do you meet yet another Mills College connection in the middle of Las Vegas? Connecting the dots over dinner at Pierros Supper Club in Vegas is simply classic.

Scott Dickensheets. Scott Dickensheets. He read the first press release. Don’t fault him for any errors with text. Deadlines collide. He is the mascot of what makes Las Vegas a better city and inspires big thinking. It’s a comfort to know he is here. Kristen Peterson is a local writer who should be national for everyone to enjoy. Her words and smarts makes it all fun and worthwhile. Danielle Kelly keeps everything so smart and dreamy. Kirsten Swenson, oh my gosh, made plans in an hour to get here. She is bringing her young daughter. That’s cool. A very sincere thank you to Checko Salgado for his endless efforts and work on the photography. Thousands of images were taken, you made this fun. Chris Jones took an impossible amount of information in a days time and made everything look very pretty. The life size bear with an ear on it’s rear is your Jesse Smigel sculpture gift. Thanks for making “Some Fine Women” look so fine. This started with Mary Warner and Angela Kallus. They give the best girlfriend advice. But all thanks goes to each and every artist. Then there is the essay from Shana. She gives each and every artist a gift of words. Thanks to everyone who has participated. Most sincerely.....

Some fine Women

What are the chances of meeting an alma mater alum on her first summer break from Mills College? In the city of Las Vegas and less than a thousand students, the odds are slim. Thank you Amanda Dutt from Mills College. I knew what I saw for this show in my mind, but knew I couldn’t put it together without someone to bounce ideas, share tea and handle the details. I imagined her and she arrived. A sophisticated sophomore from Mills College while I’m trying to pull together an all women show. Thanks Jackson Tyler for the introduction.

There were many details to this show, and if it hadn’t been for Carl from LA Packing and Cristian from Codgagen Tate, this show would not have happened. You can’t transport lipstick across the desert without professional help. To all the dealers I’ve dealt, thank you. Cliff and Erin at Western, Shoshana for remembering me and being so kind in loaning Rachel’s work, who I knew and admired for so long. Clyde with CB1, thank you for having such a strong group of women artists.


Some Fine Women