Sunday, April 13, 2014

Chatting with Henri Matisse

“Archives are wonderful places; you can look, you can touch (just a little and only with the most immaculate white gloves), but you can never chat, never bavarder, as the French say. Paradoxically, you peruse deeply. You read fast but intensely; you search far and wide but with great focus and … wait for a surprise. That day, at the Getty Research Institute in Los Angeles, where I was working on a book about the culture of the post-World War II era, I had several surprises. Ransacking the past, I came upon an interesting dossier. Not only was the name on the file that of my mother, Gloria, but the name had, like hers, A Basque sound to it: Gloria Herrera. Somehow tired of Clement Greenberg and Michel Tapie, I decided to ask for the file. It was a real treasure trove. Ms. Herrera, a good friend of Marcel Duchamp, Man Ray, Max Ernst, Roberto Matta, and other artists living in California during the war, had collected many drawings and photographs of her friends. They were all there, tightly packed and cosseted. But the file also contained an anomaly of sorts: a black-varnished box secured by red ribbons. This object seemed in perfect condition, as if it and never been opened since its donation to the archives. I, of course, like a serious archaeologist confronted with an Egyptian tomb, decided to open it in a spirit of caution an apprehension. Slowly untangling the ribbon, I opened the box. The contents – a few pieces of colored paper – jumped out at me in an incredible array of tones, shades, and colors like a jazz improvisation. They were pieces of paper that Gloria Herrera had saved while helping Henri Matisse make his cutouts in Paris during the early 1950s.”

This is how it begins, my new copy of Chatting with Henri Matisse. The Lost 1941 Interview. In 1941, Swiss art critic Pierre Courthion interviewed Henri Matisse while the artist was in bed recovering from a serious operation. The extensive interview, initiated by the publisher Albert Skira and conducted during the Nazi occupation of France, was seen at the time as a vital assessment of Matisse’s career. After months of discussion and edits by both parties, however, Matisse abruptly withdrew permission to publish the book. Discovered in the archives of the Getty, the complete ready for publication manuscript was discovered by Serge Guilbaut and published by the The Getty Research Institute. 

I am so excited ...

Thursday, April 10, 2014

Out and About

A few of my works at an exhibition at Fuller Theological Seminary. Thin Space, a group show curated by Olga Lah.

A few works at the Saddleback Gallery, a group show curated by Jason Leith

Several of my works featured in the University of Notre Dame journal for the Center for Philosophy of Religion.

Wednesday, April 9, 2014

I'll Stop If You Stop - a collaboration event

This was the first exhibition event to come out of a 2 year collaboration project. My fellow collaborators are poet and musician, Chris Davidson, and performance artist, sculpture, and puppeteer, J.R. Urtesky.

We are producing a body of work that is visual, auditory, and text-based and which explores the
potentials and limitations of working across different modes of expression. Specifically, a poet, sculptor, and painter are attempting to make work that, in conversation, explores the potentials and limitations of meaning making.

The project involves a monthly exchange of produced artifacts including but not limited to poems, text, painted/drawn objects, sculptures, videos, audio works, prompts, props but NO words of explanation. The only form of communication is the artifact, we each then have 30 days to respond.

Up until this event we had not seen the objects together or conversed about the implications of the making. We were very excited about what occurred and have decided to continue the exchange.

Friday, October 18, 2013

Working in the studio

 works in progress
 complete, oil on canvas, 30"x30"
  complete, oil on canvas, 30"x30"
 in progress, oil on canvas, 36"x48"
 complete, oil on canvas, 14"x14"
 in progress, oil on paper, 26"x32"

Monday, October 14, 2013

OC3. Exhibition at the Great Park, Irive

Orange County Curator Challenge (OC3) is a collaborative exhibition intended to provide support for emerging and established curators, reinforce interest in curatorial practices, and encourage new projects in the field of contemporary art. 

OC3 2013 Curators include: Carl Berg, Brian Cook, Torrey Cook, David De Boer, Desiree Glenn, Amy Grimm, Lauren Haisch, David Michael Lee, Matthew Leslie, Joanne Mace, Kim McKinnis, Allison Town, Emily Tyler, and Suzanne Walsh.

Each curator selected one artist to work with, I was selected by David De Boer.

 untitled (pink gesture), oil on canvas, 48"x48"
 off spring, acrylic on panel w/mixed media, approx. 6"x6"
  off spring, acrylic on panel w/mixed media, approx. 6"x6"
 off spring, acrylic on panel w/mixed media, approx. 6"x6"

 wall arrangement
 curio cabinet: David came to the studio and selected numerous objects that had a relationship to the ideas in the work. Those objects where then arranged and put into this kind of archeological or data display relationship to the wall works.

No Region Would. West LA College Exhibition

A group show curated by Kio Griffith.
Works of mine included in the show
 untitled (yellow stars), oil on canvas, 48"x48"
 and then she wept, oil on panel, 18"x18" w/fabric piece, 14"x8"
Reviewed by Doug Harvey

Linnea Spransy: AMASS. An exhibition at Biola University

AMASS, an exhibition of works by artist Linnea Spransy was the first show in Biola University's newly remodeled gallery.

AMASS: The Art of Linnea Gabriella Spransy

Even empty space has a kind of structure and what we think of as a single point in space is actually a tightly wrapped origami of extra dimensions over and above the three we are familiar with.”

         Lord Martin Rees, cosmologist and astrophysicist

 Much like Rees’ origami, Linnea Gabriella Spransy’s luminous, abstract paintings gesture toward some familiar yet unknown organic multi-dimensional world unfolding in an expansive whirl of color, pattern, and line. Spransy’s densely layered paintings embody an obsession with a repetitive touch that has long motivated artists from Piet Mondrian, Agnes Martin, to Sean Scully. However, Spransy’s works also may remind viewers of the literary styling’s of Jorge Luis Borges or Italo Calvino, the theories of physicists S. James Gates or Martin Rees, and the visual traditions of West African Adinkra symbols. Spransy draws from an intensive intradisciplinary investigation of what she calls “the robust bodies of knowledge” of science and religion. In her work she explores topics ranging from freewill and determinism, symmetry and chaos, systems and fractals, and macro / micro ecologies.
Raised in a Christian commune, her father a touring rock musician, Linnea spent part of her childhood on the road with family, band, and tutor.  “By the time I was eleven,” she recalls, “I was living a whole-hearted lifestyle around art.” She received her MFA at Yale University School of Art. Her work is represented by Byron Cohen Gallery and has been exhibited from New York to China.  She lives and works in Los Angeles.