Submission Guidelines

Submission Guidelines for 2010 River City Biennale

Contact: Ann Resnick or Elizabeth Stevenson

Telephone: (316) 265-7137

E-mail: rivercitybiennale@cox.net

Website: http://www.rivercitybiennale.com

Blog: http://www.biennale2008.wordpress.com

River City Biennale is an art exhibit and cultural event with the goal of bringing serious attention to artists in Wichita, Kansas. We hope to bring the best and most critically viable contemporary art being created in Wichita to a national audience of critics, curators, gallery and museum professionals and collectors.

Opening in the spring of 2010, RCB hopes that the Biennale will increase the opportunities for Wichita artists to be included in major regional, national, and international exhibitions. RCB will host exhibits in several venues and will include panel discussions and distinguished speakers on topics related to contemporary art. This is a concerted effort to connect what’s going on here with what’s going on elsewhere and to continue the dialogue begun in 2008 with regional curators and critics.

River City  Biennale invites all professional artists, working or residing in the City of Wichita (no students, please), to submit images to be considered for the 2010 exhibit. To ensure the best possible and most professional presentation, RCB is a curated exhibition. This year’s curator, Hesse McGraw, curator at the Bemis Center for Contemporary Arts in Omaha, NE will initially review artists’ works via cd (images may be posted on RCB blog, too), then make studio visits in Wichita for a final selection. He will work with the selected artists to consider the sites available and the possibility of creating work that responds specifically to the exhibition spaces.

Submission guidelines and deadlines for the 2010 River City Biennale:

Please send or deliver to Project by August 15, 2009

• CD–up to 10 images of current work. Images should be approximately 600 x 900 pixels with a resolution of 300 pixels/inch

• Include image index with title of work, media, size and date completed in pdf format

• Include current resume/CV. Collaborative teams must submit individual   resumes/CV in pdf format

• Brief artist’s statement (no more than 250 words) in pdf format

• DVD (limit 10 minutes of material)

• For Web-based projects, please include URL address

Please label CD/DVD with your name, Emil address, other contact info (cell phone #, website address, etc.) Submitted materials will not be returned.

Project

1712 E. Douglas Ave.

Wichita, KS  67214

Artists selected for studio visits will be notified via e-mail in late-September. Please check the River City Blog  http://biennale2008.wordpress.com/ for updates and current information.

A note from the organizers of the 2010 River City Biennale

In the Spring of 2010, the latest version of the River City Biennale will take place in several venues in Wichita. We’re excited to make this exhibit happen and we’d like the entire city of Wichita to be as excited as we are! We thought we might reach out to all of you with a little note that explains who we are, what our mission is and lay to rest any fears you might have of unfairness or political favoritism.

First of all, we, Elizabeth Stevenson and Ann Resnick, are the organizers. We will not be participating at any other level although our spaces, Fisch Haus and Project will certainly be two of  several hosts for the exhibit. Most of you know who we are through our long association with the art community of Wichita. For those of you who don’t, suffice it to say, we are the same as you–artists who want to live in a vibrant community with all kinds of art represented in our city. We happen to feel that there are very few venues in our region devoted to contemporary art.  RCB is an effort to redress that shortcoming.

RCB  is an artist-run initiative and so, necessarily, run on a shoestring with not much more than optimism as its fuel. We hope that these efforts will be looked upon favorably, with an understanding that our intentions are to do something that benefits all artists in Wichita. We may disagree on strategies because we are a diverse group of people with wide-ranging points of view. We have in common, however, an abiding passion for art and a major interest in seeing our community thrive.

In the past, a Salon des Refuse was organized in response to the RCB exhibit–we welcome this kind of dialogue. We understand that RCB is not going to be everyone’s cup of tea, but like most singular events, cooperation and collaboration are key elements to success. We sincerely hope that you will join our effort in some way, if not as participating artists, than as enthusiastic viewers, and even volunteers.

We will post updates about RCB and links to other projects in other places that will hopefully, fuel your own optimism about what can happen when artistic communities come together to make things happen.

Check the RCB blog often!  http://www.biennale2008.wordpress.com

Please pass this note and other RCB info on to artists whom you think will be interested and are not covered in our list. Thanks!

Curator chosen for 2010 River City Biennale!

We are pleased to announce the curator for Wichita’s 2010 River City Biennale is Hesse McGraw.

Hesse McGraw is a curator, writer and artist working as curator at the Bemis Center for Contemporary Arts in Omaha, Nebraska. He was the founding director and curator of Paragraph, a contemporary art gallery operating under the non-profit Urban Culture Project in downtown Kansas City, Missouri. He is the former assistant director of Max Protetch gallery in New York, City and former senior editor of Review, a Kansas City-based visual culture magazine. He has served as a lecturer in the Interdisciplinary department of the Kansas City Art Institute and frequently serves as a guest lecturer, critic and juror for fine art and architecture schools and organizations throughout the US.

Alongside producing two dozens exhibits and projects over three years at Paragraph, he has curated exhibitions for FLEX Self Storage (Topeka, Kansas), The New Genres Festival (Tulsa), The Stray Show (Chicago), Guild and Greyshkul (NYC), -scopeMiami, RARE (NYC), Rocket gallery (London) and White Flag Projects (St. Louis). He regularly contributes to publications including Art Papers, Dots & Quotes, Empty magazine, The Kansas City Star, RES, Review, Tank, and Ten by Ten. He has written exhibition essays for artists including Ryoji Ikeda, Tobias Wong, Steve Mumford, Eric von Robertson and many others.

Organized by gallery directors Ann Resnick (Project) and Elizabeth Stevenson (Fisch Haus), the 2nd River City Biennale is scheduled to open in the spring of 2010. The River City Biennale seeks to shift perceptions; locally, regionally and nationally, about art and artists in Wichita. Hesse McGraw has been asked to curate an exhibit that challenges notions of complacency in our region and to place the art of Wichita in a broader context–one that connects what’s going on here with what’s going on nationally, and even internationally, in the contemporary art world.

More information on RCB deadlines and how to submit images and proposals will be addressed in subsequent press releases.

Installation shots from RCB/Project

Marcelyn McNeil
Iron Oxide, 2007
Oil on Panel
59″ x 60″

Marcelyn McNeil
The Righting, 2008
Oil on Two Panels, Cloud Images
46″ x 60″

Levente Sulyok
Under Construction, 2008
Pen and Watercolor on paper
22″ x 22″

Levente Sulyok
Detour, 2008
Acrylic on Canvas
84″ x 72″ diptych

Elizabeth Stevenson
Construction Drawings, 2008
Digital plots on Vellum
34″ x 44″ each

Elizabeth Stevenson
Mapmaking Device, 2008
Mixed Media
20″ x 20″ x 46″

Elizabeth Stevenson
Maps, 2008
Raku Clay, Steel, Construction Fencing
14 1/2″ x 17 1/2″ each

Elizabeth Stevenson
Activator Dispenser, 2007
Mixed Media
18″ x 18″ x 60″

Installation shots from RCB/Heterotopia

The Bridge Club
Front Window, 2008
installation
dimensions variable

Levente Sulyok

Under Pressure, 2008
Pen and Watercolor on Paper
30″ x 22″

Undisclosed Location, 2008
Acrylic on Canvas
60″ x 48″

The Tension of the bow, the duty of the arrow, and the goal to aim at, 2008
acrylic on canvas
35″ x 39″

Kevin Mullins
Bones, 2007
Filigree #2, 2008
Filigree #1, 2007
Mixed Media/Screenprint on Sintra
23″ x 96″

Installation shots from RCB/Fisch Haus

Ted Adler
Poesis, 2008
Ceramic, MDF, Latex
7′ dia.

Ann Resnick
left, Commemoration, right, Adieu

Adieu, 2008
365 Screenprinted and Cut Paper Zinnias, blacklight, electric fans
Dimensions variable (this image, 12′ x 12′)

The Bridge Club
Front Window, 2008
Stills from Video

Ted Adler
No Title (Vessel), 2007
Ceramic
12″ x 9″ x 8″

No Title (Vase), 2007
Ceramic
14″ x 9″ x 9″

No Title (Vase), 2007
Ceramic
10″ x 8″ x 8″

foreground: Marcelyn McNeil, background: Ann Resnick

Marcelyn McNeil
Planning for the Minotaur’s Escape, 2008
Oil on Wood, Vinyl, Cloud Formations
96″ x 120″

Ann Resnick
Prayer for a Happy Death, 2008
Burnt Paper
72″ x 36″

Marcelyn McNeil
Jewel, The Unraveling of Embellishment, 2008
Oil on Panel
48″ x 61″

Ted Adler
Threshold, 2008
Ceramic, Glazed and Painted
Dimensions variable

FAQ

River City Biennale FAQ

What’s the difference between a biennial, a bi-annual and a biennale?

A biennial is something that happens every two years, a bi-annual happens twice a year, and a biennale is something that also happens every two years, but “biennale” is most often used to describe a biennial art exhibition.

Where does the concept of a biennale come from?

For an in-depth description, please refer to the Wikipedia definition, at http://en.wikipedia.org/wiki/Biennale

How did the 2008 River City Biennale get started?

In September of 2006, a group of Wichita artists, frustrated with the art world’s perceived indifference to middle America, met informally, and came up with the idea based on their desire to elevate Wichita to the national stage. They felt that the notion of a solely bi-coastal contemporary American art scene was becoming more and more obsolete, and that Wichita’s art community was worthy of national recognition. Furthermore, artists of note generally leave Wichita in order to pursue careers on the coasts, and this cultural loss could potentially weaken our community. The City of Wichita is currently spending a great deal of time, energy and tax dollars on revitalizing our downtown, becoming a tourist destination, and providing incentives for large companies to move here, and “brain drain” is one of the primary factors in any failure to attain these goals. There was, at that time, little institutional support for Wichita artists, and the organizers felt that they could fill this void with a large-scale event such as a biennale. Initially, the organizers had intended to begin this process by forming a granting foundation that would, in a similar manner to the Charlotte Street Foundation in Kansas City (http://www.charlottestreet.org/), offer Wichita artists unrestricted merit-based grants, as a means of both keeping our artists here, luring them back after an extended absence, and drawing new artists to our community. The winners of the Charlotte Street Foundation grants are awarded, along with their grant money, a large exhibition in a prestigious Kansas City institution, and the River City Biennale organizers wondered if it might be possible to do the same thing in Wichita. Museums were contacted, directors expressed interest, and the idea slowly evolved. However, these things can take a long time, and be fraught with bureaucratic peril, so the RCB finally decided to begin the process themselves. Thus, the River City Biennale was conceived, as an initial event to build enthusiasm and support for art in Wichita, as well as to fundraise for the S.U.R. (Studios Under Review) Prize Foundation.

What’s the difference between a curated and juried exhibition?

A juried art exhibition is one where the artwork is evaluated solely on the basis of merit, while work in a curated exhibition is chosen, by a curator, to reflect his/her vision—merit is a factor, but works of similar merit may not be chosen for exhibition, if the curator does not believe that they work well together. The curator for ‘Center to Edge: 2008’ is Stacy Switzer, the artistic director of Grand Arts in Kansas City.

How and why was the curator chosen?

It was the intention of the RCB organizers that this event bring regional and national acclaim to our community, and offer local artists a means to develop their careers outside of our community, so the curator had to be someone with both a positive regional and national reputation, as well as valuable connections. Several curators were considered; one other was actually invited, but declined the invitation because of prior commitments. Ms. Switzer was invited after the exhibition planners reached a consensus. Grand Arts, in particular, has exhibited a wide range of work, not often found in Wichita’s galleries and museums, and the organizers felt that Ms. Switzer would bring a new, and hopefully stimulating, perspective to Wichita.

What was the process to choose the RCB artists?

The sole criteria for participation was that the artist had to be from Wichita, as this event was conceived as a way of specifically bringing recognition to the Wichita art community. Initially, there was a call for nominations, in March of 2007; emailed to Wichita art professionals (museum directors, artists, gallery owners, etc.), and then a wider call was posted in the newspaper and via various art lists. The nominees were notified of their nomination by email in May, given an identifying administrative number and invited to post up to 5 images on a blog, maintaining anonymity by using only their number. A google group was set up as well, to offer assistance or advice to those artists that were not comfortable with computers, or had trouble with the upload feature on the blog. Nominees were also encouraged to contact the site administrators, to whom they could email their images and request that the administrators post them instead. There was a set deadline of July 15th, for image uploading. Once the deadline had passed, the curator went through the images and chose artists, solely by identifying number, for further correspondence and a possible eventual studio visit. These artists were consequently notified by email and studio visits were arranged. Ms. Switzer then contacted these artists individually and initiated a dialogue. Some of the artists were not currently living in Wichita (traveling or working temporarily elsewhere), so those studio visits were conducted via the internet. Eventually, the original 56 artists were distilled down to 9, and then the final 7.

Why were four of the artists also the owners of the spaces in which the biennale was exhibited?

This was purely coincidental, as the initial selection process was anonymous. The event organizers and art space owners had no input in the curator’s evaluation criteria, or her final decision. Ms. Switzer is a professional, and much respected in her field.

If any of the work does get sold, where does the commission go?

The artists will get 60% of the sale, and the other 40% will go to the S.U.R. Prize Foundation. The curator and guest critics were given stipends to cover their costs, as were the live musicians and catering staff, but other than that, all other organizing work was done on a volunteer basis.

How was the money raised for the 2008 River City Biennale? How will the money be raised for the S.U.R. Prize?

The event organizers fundraised themselves, writing grants and soliciting corporations and local foundations, as well as individuals and companies that have a history of supporting the arts in Wichita. This was a solely artist-organized, artist-funded initiative. It is anticipated that the S.U.R. Prize Foundation will be funded in the same manner, but naming rights are available, should a local art-friendly business want to donate the funds. Initially, three $1000 grants are scheduled, with yearly increases as the foundation becomes self-sustainable.

What is a ‘Salon des Refuses’, and who organized that?

Wikipedia also has a good definition for this, at http://en.wikipedia.org/wiki/Salon_des_refuses. The Salon was organized by a separate group of Wichita artists.

Critics Throw Down, Saturday, May 17, 2008 Fisch Haus

River City Biennale Opening Night, May 15, 2008 Fisch Haus

Stacy Switzer giving Curator’s talk on opening night:

RCB Artists’ First Meeting!

Artists selected!

These artists have been selected to participate in the RCB 2008 exhibit:

Ted Adler (144), Marcelyn McNeil (103), Kevin Mullins (129), Ann Resnick (118), Elizabeth Stevenson (107), Annie Strader (125), Levente Sulyok (101)

147

“Vacation Analog”

2006, Slide projectors and Image Gathering Device, Dimensions variable

“Vacation Analog”

2006, Slide projectors and Image Gathering Device, Dimensions variable

 

“Vacation Analog”

2006, Slide projectors and Image Gathering Device, Dimensions variable

“Vacation Analog” requires direct viewer interaction.  You step into the space of the projections and hold the Image Gathering Device between you and the slide projector.  At a predetermined distance from the projector, the images come into focus.  You are free to move through the imagery and investigate.  If you feel adventurous, you can take two Image Gathering Devices.

126

Articulating Dexterity 2006

Wood and fabric 17″ x 14″ x 8″

Time Compression-Stomach 2007

Wood, fabric, examination lights, and clock 5′6″ x 3′ x 3′

Time Compression-Kidney 2007

Wood, fabric, workbench, clamps, examination lights, and clock 4′6″ x 3′ x 2′6″

Living in Compartments and Chambers

Wood, fabric, dollhouse furniture, and digital projection 6′ x 5′ x 3′

Living in Compartments and Chambers (detail)

121

“Ghetto Wall: Austin, TX” , 2006 C-print, 20 x 20 inches

“Birds Downtown : Winter” , 2005 C-print, 20 x 20 inches

“Bloody Piano Keys” , 2006 C-print, 20 x 20 inches

“Abandoned Stairs : Broadway” , 2006 C-print, 20 x 20 inches

“Pookie Bear” , 2006 C-print, 20 x 20 inches

113

 

This work is essentially a giant 12 tipped syringe that is kinetic.   A hydraulic looking device is pulling a lever at on end of the device as if it is going to inject all twelve tips into the body.  The device appears to be frustrated in its attempt to complete its function as the hydraulic arm never completes its cycle.

“Bottle Neck”

Steel, Brass, Acrylic, and Electronics

48″ x 60″x 144″

This piece has 80 syringes attached to the belly of the machine.  Each syringe is printed with its own unique label that describes different aspects of a relationship that is vital for its existence yet is quite often not talked about or given credit.

“80 LBS.”

Steel, Brass, Found Objects, and Electronics

68″ x 42″ x 18″

This work is based on a love / hate relationship with a morphine drip.  Being connected to a device that dispenses pleasure yet to receive the pleasure you have to be connected to the machine.

“Drip”

Steel, Brass, Found Objects, Acrylic, and Electronics

12″ x 14″ x 36″

This work is almost a historical document of when my wife was connected to the machine.

“Shackle”

Steel, Brass, and Copper

60″ x 18″ x 48″

This work is also a figurative documentation of a moment in time where the machine became a partner in the relationship I had with my wife.   This piece is also kinetic at a small glass syringe strokes in and out at 13 strokes per minute.

“Passenger Seat”

Steel, Brass, Copper, Found Objects and Electronics

52″ x 86″ x 60″

112

top left: “Build Up” 24″ x 60″ x 60″
approx. 63,000 individually stacked squares of toilet tissue. 2005.

middle top: “Build Up” installation in progress

middle left: “Build Up” detail.

top right: Drawing from the “Rendering Indifference” Series.
20″x 26″. ink on paper. 2005. Drawing completed when pen ran out of ink.

bottom: Video still. Swarm. 2005. 00:26:31
Filmed in real time-recording the two large shadows moving across the screen at the rate of the suns movement; while also capturing movement and sounds in the periphery. This piece is designed to place the viewer in a sort of trance, moving so slowly and quietly it requires the viewer to watch everything at once in order to see anything.

108

Deccember 1971, 2006, Archival Ink Jet Print, 36″ X 36″

Bedroom, 2006, Archival Ink Jet Print, 36″ X 36″

Mattress, 2006, Archival Ink Jet Print, 36″ X 36″

Backyard, 2006, Archival Ink Jet Print, 36″ X 36″

Livingroom, 2006, Archival Ink Jet Print, 36″ X 36″
“Thirty-Five Years” This new body of work examines a return to the integrity of the photograph as a device to document life. The conceptual impetus for this work is the photograph itself, the photographs are actual snapshots of home from the 1970’s, combined with current re-interpretations of home and domesticity in fabric photographs. These works originate from the first days of picking up a Kodak instamatic. I am interested in the act of re-animating the early photographs, bringing attention to the dichotomy, and how specifically the past has and still remains to inform my work.

102

Untitled #1, 2007, Oil and wax on canvas, 48” x 48”

Untitled #2, 2007, Encaustic on panel, 36” x 22”

Sacrosanct, 2006, Oil on panel, 48” x 36”

Segment, 2006, Oil on plaster on panel, 24” x 19.5”

Fragmentation, 2006, Encaustic on plaster, 19” x 19”

145

Test Pattern Living Room

14′ x 17′

Mixed Media Installation

2007

Test Pattern Living Room (detail)

14′ x 17′

Mixed Media Installation

2007

HD TV Room

8′ x 12′ x 8′

 Mixed Media

2006

HD TV Room (detail)

8′ x 12′ x 8′

Mixed Media

2006

TV Painting #8

17″ x 10″ x 9

 TV, Acrylic Paint and Transparency

2007

144

“Trope”, ceramic,latex paint, enamel paint, 2007, 8′x3′x3″

“Tropism Field”, ceramic,latex paint, enamel paint, 2006, 8′x8′x3″

“Tropism”wood-fired stoneware w/ glaze, 2007, 15″x14″x5

“No Title (Vessel)”, wood-fired stoneware, 2006, 11″x10″x9

“Vase Form”, wood-fired stoneware w/ glaze, 2007, 12″x6″x6″

151

You have to keep enough of the organism for it to reform each dawn; and you have to keep small supplies of significance and subjectification, if only to turn them against their own system when the circumstances demand it, when things, persons, even situations, force you to; and you have to keep small rations of subjectivity in sufficient quantity to enable you to respond to the dominant reality.
Gilles Deleuze, A Thousand Plateaus p. 160

Top to Bottom

HE LOVES ME, HE LOVES ME NOT. (icescapes series and detail)
2007. popcycles, light, plastic and wood.
Wall Installation with pop-cycle paintings.

(large image)
LITTLE BITS (icescapes series)
2007. popcycles, light, plastic and wood.
Wall Installation with pop-cycle paintings.

(small center image)
These new “Paintings” use various paint on acrylic surfaces and are part of a series of new works that unlike my installations are highly cathartic, immediate and engaged in stream of consciousness based images.

36,000 Feet ABOVE ICE STORM: VALENTINES DAY 2007
(separation anxiety series).
2007. paint on plastic.

LONG HOT SUMMERS, LONG COLD WINTERS.
2006. bags of kool-aid and light surfaces.
Pulse Biennale. 1708 Gallery, Richmond, VA.

120

Exploring the unintended landcsape-places wrought by the 20th century…

Flood/Margin, Part/Whole, 4 video projections, 20 steel paintings, site earth, blocks, 2005

Geo Logic, videos, site earth, steel map paintings, 2005

Rural Dystopia, video projection, 3 videos on monitors, paintings from projections, 2007

Detail, An Incomplete Project, 2007

An Incomplete Project, Wichita, Ks., inkjet prints on masonite, blue pencil on wall, video, 2007

127

Earth Belly

May, 2006;  Cast Portland Cement, pigment, cotton cloth, copper wire, and steel

6″ diameter ea.

Velvet Circles

September 2005;  Cast Portland Cement and velvet

4″ diameter ea. installed on a 60′ long wall

Catalpa Circles

September, 2005;  Cast Portland Cement, bean pods from the Catalpa tree

6″ diameter ea.

128

I Glow in the Dark, 2007, phosphorescent paint on board, 46×27″

Automatic 63, 2005, screen print ink on canvas, 46×46

Geometric 3, 2005, acrylic on board, 25×24″

Automatic 68, 2006, screen print ink on canvas, 46×46″

Sequence I, #13-16, 2005, latex on board, 18×96″

101

Interrogations #1: 25 sq feet of studio floor, digital print, 16″x20″, 2005.

Interrogations #2: Studio with a view, digital print, 16″x20″, 2006.

Interrogations #5: Hill drawing III, digital print, 16″x20″, 2006.

Interrogations #8: Navel gaze, digital print, 16″x20″, 2006.

Trappings, plastic, metal and ink, 40″x49″x82″, 2007.

146

Sugar Sweet 2006 Wood Ceramic 6ft x 36″ x18″

Solitaire 2006 Steel Salt Glass Water 80″ x 15″ x 15″

Starving 2006 Ceramic Mirror 50″ x 70″ x 1″

Skeletons And Muses 2006 Steel Ceramic 24″ x 12″ x 18″

109

Tan Vase 2006 Ceramic 20″x12″

Tall Jar 2006 Ceramic 24″x18″

Stripe Vase 2006 Ceramic 20″x18″

Pewter Bowl 2006 Ceramic 9″x14″

Blue Vase 2006 Ceramic 18″x10″

155

Things On Earth #3,   18″ x 48″  Photograph,  2007

Things On Earth #2,  18″ x 36″  Photograph,  2007

Mediterranean Phantom, 18″ x 48″  Photograph,  2007

Things On Earth #1,  18″ x 48″  Photograph,  2007

Old Ship Bones,          24″ x 36″  Photograph,  2007

111

Woman in Panda Costume Squatting
(approximate dimensions)
48″ x 34″ x 44″
polychromed wood
2007

Woman in Panda Costume Squatting detail
(approximate dimensions)
48″ x 34″ x 44″
polychromed wood
2007

Two Headed Man With Doll and Bowl
(approximate dimensions)
16″ x 21″ x 67″
polychromed wood
2007

Woman With Panda Costume and Mushroom
(approximate dimensions)
25″ x 35″ x 62″
polychromed wood
2007

Man With Mask and Tail
(approximate dimensions)
32″ x 23″ x 72″
polychromed wood
2007

139

Celebration of Life; 2007; acrylic on linen; 40×30

Church on Pecos River; 2007; acrylic on canvas; 20×24

Did I Hear W-A-L-K?; 2007; acrylic on canvas; 20×24

Saved from the Scrapyard; 2007; acrylic on linen; 28×22

The Princess and Her Escort; 2007; acrylic on linen; 20×24

125

1.Unraveling Penelopes heart, video still, (from the Desperate Longings Series), 2007
2.Unraveling Penelopes heart, installation, rope unraveled rope and chair, dimensions variable, 2007
3. Bound to Love, (from the Desperate Longings Series), Harlequin Romance novels and staples, dimensions variable, 2007
4. Fix, (from the Desperate Longings Series), Medicine cabinet, sugar and spoons, dimensions variable, 2007
5. Fix, detail

136

Bell Bottom Bacchante, July 2007, Acrylic on Canvas, 24″X48″

Dorowati III – Cabaret Exit, July 2007, Acrylic on Canvas, 24″X48″

Dorowati II – Cast Party, July 2007, Acrylic on Canvas, 24″X48″

Dorowati I – Garden Party, July 2007, Acrylic on Canvas, 24″X48″

Clutch Perch, July 2007, Acrylic on Canvas, 24″X48″

119

Transmigration, Oil on Canvas, 48″ X 24″, 2006

Atmospheric Leviathan Fishing for Stillness, Oil on Canvas, 24″ X 48″, 2006

Reflections of a Self-Aware Cupid, Oil on Canvas, 30″ X 60″, 2006

Transgender Buddha Faces Mara, Oil on Canvas, 24″ X 36″, 2007

Orchid, Oil on Canvas, 10″ X 8″, 2007

105

Conure, 2007 oil on canvas 20″ x 16″

Ode to the Carolina Parakeet #7, 2007 acrylic on paper 22″ x 15″

The Robin, 2007 oil on panel 16″ x 12″

Ode to the Carolina Parakeet #3, 2007 oil on linen 36″ x 30″

Amazon on Display, 2006 oil on canvas 20″ x 16″

140

Reflections in Pink  

Pink 2, 2006, Oil on Canvas, fabric, beads, glitter. 22″x30″

Pink 7, 2006, Oil on Canvas, fabric and beads. 18″x24″

Pink 9, 2006, Oil on Canvas, fabric, beads, glitter. 24″x36″

Pink 3, 2006, Oil on Canvas, fabric, beads, glitter. 16″x22″

Pink 3, Detail

104

   A Certain Sense of Order
2007  Acrylic on wood panel with collage, found objects  11 1/2″ x 22 5/8″ x 1 1/2″

  Vigil
2006  Acrylic on wood panel with seed beads, tiles, twigs   10 5/8″ x 14 7/8″ x 1″

  Dreamer
2005   Acrylic on wood with collage and found objects   7 1/2″ x 13 3/4″ x 1″

  Vortex
2006  Acrylic on wood panel with seed beads and rocks  14″ x 16″ x 3/4″

  Vision
2005   Acrylic on wood panel with seed beads, tiles and collage   15 1/2″ x 22″ x 1″ 

154

Hits the Fan Series: Our Lady of Guadelupe. 2007
mixed media on folding fan
20″ x 58″

Hits the Fan Series: Moon Over Washington. 2007
mixed media on folding fan
20″ x 58″

Hits the Fan Series: Remembering Frida Kahlo. 2007
mixed media on folding fan
20″ x 58″

Hits the Fan Series: Child of the Universe. 2007
mixed media on folding fan
20″ x 58″

Hits the Fan Series: Bushwacked. 2007
mixed media on folding fan
20″ x 58″

103

Slow Tech., aka rabbit ears, oil on panel, 46×48″, 2006
Slow Tech., upgrade, oil on panel, 46×48″, 2006
Blue File, oil on panel, 46×48″ 2006
With or Without, oil on two panels, 35×72″, 2007
Cross Over, oil on two panels, 85×73″, 2007

130

Straight Arrow 2005 acrylic, collage, crayon and objects on masonite 34″x17″

SOS 2005 acrylic, collage, crayon and objects on masonite 30″x24″

Not Included 2007 acrylic, collage, crayon and objects on plywood 32″x12″

Night Heron 2006 acrylic, collage and objects on masonite 14″x11″

Center of Gravity 2006 linoleum block print 7″x5″

129

PJ’s #3, 2007
12 x 9″
mixed media/screenprint on canvas

Silver White Light, 2006
12 x 9″
mixed media/screenprint on canvas

Stem Work #3, 2007
12 x 9″
mixed media/screenprint on canvas

PJ’s #6, 2007
12 x 9″
mixed media/screenprint on canvas

PJ’s #4, 2007
12 x 9″
mixed media/screenprint on canvas

156

Mostly Memory, 2006
acrylic on panel
20 x 20″

Stumped, 2007
acrylic on paper
14 x 11″

Back Forty, 2007
acrylic on paper
14 x 11″

Lucky Dogs, 2007
acrylic on paper
14 x 11″

Phantom Finger, 2007
acrylic on paper
11 x 14″

150

Maha with Floatation Device: (or) She Floats in…She Floats Out
Mixed Media on Sheetrock, 35″ x 35″, 2006

Amy with Butter Knife: (or) Dreaming of Open Washers and Empty Dryers
Mixed Media on Sheetrock, 36″ x 32″, 2006

Elmo ‘Buck’ Davis with Hour (Wine) Glass: (or) Pretty Good So Far
Mixed Media on Sheetrock, 28″ x 21″, 2006

Juste Pour Rire Characters: Fool with Glowing Green Nose, Idiot with Folded Newspaper Hat, Villain with Illuminated Plastic Horns
Mixed Media on Sheetrock, 28″ x 21″, 52″ x 21″, 28″ x 21″, 2005

Heroine (or) Rocket Ship
Mixed Media on Sheetrock, 91″ x 49″, 2005

107

The Microscope
Mixed Media, 18″ x 8″ x 6″, 2006

The Device, User’s Manual Diagrams
Graphite on Card, 9 of 15 images, 6″ x 4″, 2005

A Vertical Space
Copper tubing, wood, glass and steel, 8″ x 8″ x 18″, 2005

The Device
Mixed Media, 24″ x 12″ x 4″, 2005

The Stow-Away
Mixed Media on Board, 14″ x 35″, 2005

134

Planets, 2007, oil on board, 11 X 14

Firebush, 2007, oil on board, 11 X 14

Eminent Domain, 2005, oil on canvas, 30 X 34

Cottonwoods, 2005, oil on board, 11 X 14

Dude, 2006, oil on board, 11 X 14

“I’m changing all my titles to ‘Allegory’.”

122

Chinatown Tourist: 2006; Handsewn papers with embellishments, 45″ x 60″

Marriage Dress: 2005; Handsewn used coffee filters with stitching and beads, life sized

Fish market jacket: 2007; Handsewn printed papers with stitching and beads, 54″ x 38″

Green tea apron: 2007; Handsewn papers with used green tea bags, 25″ x 70″

Onsen (Japenese bath) Apron: 2007, Handsewn papers with stitched figures, 24″ x 90″

123

Untitled ( ser. no. 07-004) 2007. Aluminum alloy. D.3′x3′x3′ v.
Untitled (ser. no. 07-005) 2007. Bronze. D.5′x4′x4′ v.
Untitled ( ser.no. 07-001) 2007. Brass. D. 3′x3′x2′ v.
Untitled (ser. no. 06-013) 2006. Aluminum alloy. D. 4′x3′x2′ v.
Untitled (ser. no. 06-B4) 2006. Aluminum alloy. D. 4′x3′x3′ v.

118

Burnt Offering, 2007
60 x 54″
burned paper

Burnt Offering (DM), 2007
60″ x 54″
spray enamel, pencil, burned paper

Burnt Offering (DM), detail

Burnt Offering (BC), 2007
60″ x 54″
chalk, spray enamel on paper

Burnt Offering IV, 2007
52 x 44″
burned paper, chalk, powdered pigment, pencil, spray enamel