Yay me! I made it in the news! Yay!
Showing posts with label Sightlines. Show all posts
Showing posts with label Sightlines. Show all posts
July 6, 2012
May 30, 2012
Sightlines at the Morris Museum, Morristown, New Jersey
Opening Reception, May 30, 2012
SAQA President, Sandra Sider, led a tour of the artworks.
images courtesy Rita Hannafin
March 27, 2012
Sightlines at the Alexandria Museum of Art
My piece, Tension, is at the far right on this first photo:
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images courtesy of Alexandria Museum of Art
November 7, 2011
July 29, 2011
Sightlines Exhibit Schedule for 2012 and 2013
Sightlines will be exhibited at the following venues in 2012 and 2013:
Alexandria Museum of Art
January 21 - March 31, 2012
Alexandria, Louisiana
Morris Museum
April 26 - August 5, 2012
April 26 - August 5, 2012
Morristown, New Jersey
Everhart Museum
September 28 - December 31, 2012
September 28 - December 31, 2012
Scranton, Pennsylvania
Grant's Pass Museum
June 4 - July 26, 2013
June 4 - July 26, 2013
Grants Pass, Oregon
William and Florence Schmidt Art Center
August 22 - October 15, 2013
Belleville, Illinois
January 1, 2011
YC Magazine December 2010
Read an article about my work "Sightlines: Tension" published in
YC Magazine’s December 2010 issue right here:
Thank you, Bill Henson!
October 29, 2010
Sightlines Unveiled
Read all about it! Read all about it!
The catalog for the "Sightlines" show is out just in time for the inaugural event
in Houston, TX this week during the International Quilt Festival.
About a year ago, out of several hundred candidates, fourteen artists
were chosen to create an installation of artworks featuring a sightline
linking all the work in the exhibit. Each artist chose her own theme
and created a central piece plus an additional four linking pieces,
covering a total of ten feet in width each.
Photographer Gregory Case took this photo of my piece for the show's catalog.
Click on it to enlarge. I am so very pleased with this representation of my
work - thank you, Gregory. The detail photo is mine.
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Tension
If you see it in person, let me know what you think.
February 8, 2010
Sightlines Curator's Statement
"It was my joyful task to invite the fourteen artists who created the large and unique installations comprising Sightlines.
My vision for Sightlines was of a collection of artwork that was so strong and meaningful that the required continuous sightline would be subverted and assume secondary importance.
I wanted artists for Sightlines who were making art about Something. Not necessarily something momentous or earthshaking, but definitely artwork about something that motivated the artist to create artwork of the highest standards both in its materiality and its meaning. We have all seen art that is gorgeous and technically brilliant, but so mindless and without depth that we do no more than glance at it and then glance away, disappointed.
As I studied artists’ images and websites, I had this quote posted near my computer (from Barbara Kingsolver, writing in Small Wonders about her definition of a good short story):
"It will tell something remarkable, it will be beautifully executed, and it will be nested in truth. If it can tell me something I didn’t already know, or maybe suspected, but never framed quite that way, or never before had socked me so divinely in the solar plexus, that was a story worth the read.
The invited artists were already creating artwork that promised a personal, dynamic, and coherent installation for Sightlines. Their artwork not only told an intriguing story, but also enlarged our definition of what an art quilt might be.
It may be argued that the overriding theme of the artwork created for Sightlines is the interaction of time, personal history, and memory. Perhaps the requirement of a continuous line throughout the exhibit ultimately could not be subverted and provoked this thematic trajectory in conscious and unconscious ways.
Britta Ankenbauer’s and Annie Helmericks-Louder’s artworks speak to our hyper-consumerism and our shortsightedness as a sentient species. They ask us to slow down and to become more mindful of our place in a larger world.
Shelley Brenner Baird contemplates the role of randomness in our lives, the predictability of unpredictability. Yael David-Cohen explores windows as a metaphor for what we reveal and what we conceal from the world.
Regina Benson’s wildfires, Sue Dennis’s dry lands, Wendy Lugg’s “new land,” and Pat Owoc’s sweeping prairies all distill for us basic stories about history, emotion, and memory tied to very specific landscapes.
In each of their artworks, Linda Colsh, Kathy Nida, and Jayne Willoughby Scott discuss the convoluted triumphs and tragedies of our short lives as humans. These stories are found in a playful interaction with a red umbrella, in the craziness of a daily life full of vigor, or in a poem written for a funeral.
Fulvia Luciano and Mirjam Pet-Jacobs both explore the difficulties of making connections, of building bridges of understanding. Their artworks speak to us about longing and missed opportunities. In contrast, Leni Levenson Wiener’s artwork shows us that relationships are at the core of our existence, even though we all begin and end our life’s journey alone.
Each of the artists has brought to her Sightlines artwork knowledge, wit, passion, maturity, confidence, and a point of view. These fourteen artists are indeed telling stories about Something.
I thank Studio Art Quilt Associates for the opportunity to serve as curator for this exhibit and Peg Keeney for serving as a patient resource."
— Virginia Spiegel
My vision for Sightlines was of a collection of artwork that was so strong and meaningful that the required continuous sightline would be subverted and assume secondary importance.
I wanted artists for Sightlines who were making art about Something. Not necessarily something momentous or earthshaking, but definitely artwork about something that motivated the artist to create artwork of the highest standards both in its materiality and its meaning. We have all seen art that is gorgeous and technically brilliant, but so mindless and without depth that we do no more than glance at it and then glance away, disappointed.
As I studied artists’ images and websites, I had this quote posted near my computer (from Barbara Kingsolver, writing in Small Wonders about her definition of a good short story):
"It will tell something remarkable, it will be beautifully executed, and it will be nested in truth. If it can tell me something I didn’t already know, or maybe suspected, but never framed quite that way, or never before had socked me so divinely in the solar plexus, that was a story worth the read.
The invited artists were already creating artwork that promised a personal, dynamic, and coherent installation for Sightlines. Their artwork not only told an intriguing story, but also enlarged our definition of what an art quilt might be.
It may be argued that the overriding theme of the artwork created for Sightlines is the interaction of time, personal history, and memory. Perhaps the requirement of a continuous line throughout the exhibit ultimately could not be subverted and provoked this thematic trajectory in conscious and unconscious ways.
Britta Ankenbauer’s and Annie Helmericks-Louder’s artworks speak to our hyper-consumerism and our shortsightedness as a sentient species. They ask us to slow down and to become more mindful of our place in a larger world.
Shelley Brenner Baird contemplates the role of randomness in our lives, the predictability of unpredictability. Yael David-Cohen explores windows as a metaphor for what we reveal and what we conceal from the world.
Regina Benson’s wildfires, Sue Dennis’s dry lands, Wendy Lugg’s “new land,” and Pat Owoc’s sweeping prairies all distill for us basic stories about history, emotion, and memory tied to very specific landscapes.
In each of their artworks, Linda Colsh, Kathy Nida, and Jayne Willoughby Scott discuss the convoluted triumphs and tragedies of our short lives as humans. These stories are found in a playful interaction with a red umbrella, in the craziness of a daily life full of vigor, or in a poem written for a funeral.
Fulvia Luciano and Mirjam Pet-Jacobs both explore the difficulties of making connections, of building bridges of understanding. Their artworks speak to us about longing and missed opportunities. In contrast, Leni Levenson Wiener’s artwork shows us that relationships are at the core of our existence, even though we all begin and end our life’s journey alone.
Each of the artists has brought to her Sightlines artwork knowledge, wit, passion, maturity, confidence, and a point of view. These fourteen artists are indeed telling stories about Something.
I thank Studio Art Quilt Associates for the opportunity to serve as curator for this exhibit and Peg Keeney for serving as a patient resource."
— Virginia Spiegel