AlteredStates

Altered StatesBridging the Gap Between Tradition and Innovation

Exhibition: March 27 - April 26, 2014

Altered States investigates the intersections between traditional and emerging technologies. It celebrates artists who embrace diverse working methodologies

and challenge the concept of the conventional multiple.

There has been as evolution in printmaking. No longer are printmakers expected to adhere strictly to traditional boundaries. More and more printmakers are adapting their practice to create prints that are cross-disciplinary in nature, employing collage, cut paper, mixed media and 3D to create one of a kind artworks. The matrix is no longer necessarily the final point before an edition is printed, but is more often con-sidered a starting point for something entirely different.

This exhibition aims to bridge the gap between tradition and innovation, focusing on artists whose work challenges the concept of two- dimensional multiples in print-making.

Jenny Robinson, Curator & Printmaker

Curator’s Statement

Catalog designed by Michael YochumLogo image courtesy of Amanda Knowles

Copyright 2014 by Arc Gallery

Featured Artists

Jeffrey Hantman

Ellen Heck

Jesse Houlding

Amanda Knowles

Eileen Macdonald

Nancy Mintz

Nora Pauwels

Barbara Robertson

Jeffrey Hantman

Kit 5256 mixed media on wood

52” x 52” x 12” 2010

Ellen Heck

The San Francisco Color Wheels: Blue Willow mixed media including intaglio, watercolor, crayon, acrylic, pencil, ink, and collage

63” x 63”2014

Jesse Houlding

Ferrous Wheel Tripod iron filing, iron residue, cherry wood frame, canvas, motor

52” x 52” x 12” 2014

Amanda Knowles

Overwrought I-III screenprint and acrylic on paper

45 3/4” x 39 3/4”2013

Eileen Macdonald

Untitled medium etching and pin pricks on paper

20” x 24” x 1” 2014

Eileen Macdonald

De Ja Vu medium etching and pin pricks on paper

20” x 24” x 1” 2014

Eileen Macdonald

Portal to U medium etching and pin pricks on paper

20” x 24” x 1” 2014

Nancy Mintz

Adder’s Servant linoleum print, brass, wax

9” x 23” x 4” 2014

Nancy Mintz

Microcosm etching on aluminum

54” x 42” x 4.5” 2014

Nora Pauwels

Blueprint of a Garden 98 plexiplates with carborundum inked in cobalt blue (shown here details)

84” x 126” (each plate 12” x 9”)2014

Barbara Robertson

Trace after effects animation (pictured here - video still)

1.40 looped on dvd2014

Artist Statements & CV’s

Jeffrey Hantman

It is not until I chip a molar that I be-come aware of how my teeth rest against each other. It is discomforting and unsettling but I cannot help explore the broken tooth with my tongue. My work has evolved because of a similar curios-ity. I explore the possibilities of working with plywood in an unconventional way because it challenges me despite some-times being unsuccessful.

As I travel I am drawn to structures and places that have been neglected and left to deteriorate under the sun and their own weight. As time passes and memo-ries fade I try to recall places I visited

once, the feeling of scraping a knee on the sidewalk or the pattern on the ceiling of my bedroom. If I could capture these places and objects my paintings would be a small collection of remnants from these journeys.

Solo Exhibitions:2003 Hang Gallery, San Francisco, CA

Group Exhibitions:2013 “Reduce, Reuse, Re-Imagine”, Santa Clara, CA“Unassigned”, Recology, San Francisco, CA2011 “PAINT”, 643 Project Space, Ventura, CA“All That Remains”, Fabric8, SF, CA“Kala Art Institute Group Show”, Mills Building, SF, CA“Kala-fornia: State of the Art, Auction Gala”, Kala Art Institute Gallery, Berkeley, CA2010 “Residency Projects Part II”, Kala Art Institute Gallery, Berkeley, CA“Southern Exposure’s 10th Annual Monster Drawing Rally”, San Francisco, CA,2009 Barra Inc., Berkeley, CA“Re:”, Gensler, San Francisco, CA2008 “RISD Biennial”, Oakland Art Gallery, Oakland, CA“Point of Paradox”, Hang Gallery, San Francisco, CA2007 “Raw Material”, Hang Gallery, San Francisco, CA“Triptych”, Hang Gallery, San Francisco, CA2005 “RISD San Francisco Biennial”, Gallery Lux, San Francisco, CA“Delicate Kinship”, Hanna Gallery, Tokyo, Japan2004 “Eight Rows Deep”, Juice Design, San Francisco, CA“New Paintings by Jeff Hantman”, Hang Gallery, San Francisco, CA2003 Hang Gallery, San Francisco, CA2002 The Canvas, San Francisco, CA2000 The Canvas, San Francisco, CAEmerge, GenArt, San Francisco, CA1999 NextMonet.com, San Francisco, CA1995 Woods Gerry Gallery, Providence, RIBenson Hall Gallery, Providence, RI

Residencies2012 Recology’s Artist in Residence Program, San Francisco, CAAIR Krems, Krems Austria2009 Djerassi Residency Artists Program, Woodside, CA,Kala Institute Resident Artist, Berkeley, CA,

Awards2010 Kala Institute Fellowship, Berkeley, CA2009 Djerassi Alumni Artists’ Fellowship, Woodside, CA1995 G.W. Hodge Ritchie Award, Providence, RI1994 G.W. Hodge Ritchie Award, Providence, RI

Collections2011 Alameda County Arts Commission

Ellen Heck

The Color Wheels project is both a visual journal and systems-based color study. I have used the wheels as a foundation for creating large, sometimes serial, seem-ingly-abstract works, many of which are multiple-panel compositions.

The wheels for each grouping are intaglio printed from the same plate, and serve as both sub-structure and not-so-blank slate. I begin by considering one wheel at a time, often finding a particular theme for a panel and behaving as if it were a stand-alone piece. The wheel structure lends itself to organizing information, and I have used panels to chart the color of the surface of the San Francisco Bay

over time, illustrate a fan deck for salmon dyeing, create palettes for complementary color schemes, and document a series of self-assigned systems that are often a chimerical mix of process and play.

As a predominately figurative artist, I find that this ongoing project works as a palette cleanser with formal goals that allow for problem-solving basic issues of composition. My main intent when arranging the polyptych is harmony, and while the panels begin as individual exercises, I often spend most of my time reworking them to relate within the larger whole. While color choices and composition are important considerations in any artwork, and can be used in figurative pieces to drive narrative, set tone, and hold a viewer, it is nice to also experience a more intuitive relationship with formal aspects of layout.

San Francisco Color Wheels: Blue Willow is named after its lower left panel, which began as the design of the elaborate ceramic pattern that has been popular in England and America since the 18th century and is still in production. The group overall focuses on a limited palette of blues with complementary accents, and uses a variety of media including intaglio, watercolor, crayon, acrylic, pencil, ink, and collage.

Institutions and Awards:2012 Elizabeth Greenshields Foundation Grant Recipient2010 Elizabeth Greenshields Foundation Grant Recipient2009- Artist-In-Residence at Kala Art Institute, Berkeley, CA2008 The School of the Art Institute of Chicago, Chicago, IL B.F.A. Printmaking, Painting2006 Brown University, Providence, RI B.A. Philosophy Honors, Graduation Speaker Year of Study at Paris-Sorbonne IV (2004-2005)

Selected Exhbitions2014 Connections, Wally Workman Gallery, Austin, TX – solo show Girls, Groveland Gallery, Minneapolis, MN – two person show with Duncan Hannah Altered States, ARC Gallery, San Francisco, CA Out of the Woods, Guenzel Gallery, Fish Creek, WI Artists at Work, Cleveland Museum of Art, Gallery One, Cleveland, OH2013 New Prints/New Narratives, IPCNY, New York, NY Summer Shorts, Groveland Gallery, Minneapolis, MN Floating World: The Influence of Japanese Printmaking, Sun Valley Center for the Arts, Ketchum, ID Selections by the Jealous Curator, Fig House, Los Angeles, CA Pacific States Biennial, University of Hawaii, Hilo, HI– purchase award2012 Mary Cassatt and the Feminine Ideal in 19th-Century Paris, Cleveland Museum of Art, Cleveland, OH 9th National Print Exhibition, Turner Print Museum, Chico, CA – juror’s award Variations, Wally Workman Gallery, Austin, TX – solo show New Year, New Artists, Groveland Gallery, Minneapolis, MN On View, Kala Gallery, Berkeley, CA2011 Rivers, Wally Workman Gallery, Austin, TX Contemporary Classics, Groveland Gallery, Minneapolis, MN Selections from Kala, Mills Building, San Francisco, CA2010 Plus A Century, Wally Workman Gallery, Austin, TX – solo show +1 Print Invitational, Groveland Gallery, Minneapolis, MN Introductions, Davidson Galleries, Seattle, WA Regionalism: New Art by North American Printmakers, DIVA Center, Eugene, OR2009 The Evolution of Print, through the Oakland Museum, Oakland, CA Windy City Artists, Kayo Gallery, Salt Lake City, UT The Dimension of Dreams, Academy of Art University Gallery, San Francisco, CA

Special Collections The Cleveland Museum of Art Swope Art Museum The Elizabeth Greenshields Foundation Hawaii State Foundation of Culture and the Arts Dartmouth University Library

Contact Information: www.ellenheck.com, ellenheck@gmail.com, (512) 971-7134

Jesse Houlding

Jesse Houlding’s work consists of installations that use magnetism, light and other natural phenomenon to explore perception and the construction of meaning. He lives in Kailua-Kona on the Big Island of Hawaii and his studio practice now takes place primarily in the Pacific Ocean. He periodically commutes to his “mainland” studio in the Dogpatch neighborhood of San Francisco. A graduate of SFSU with an MFA in Printmaking in 2005, his work has been shown nationally, including solo exhibi-tions in Newark, and San Francisco. He joined the Board of Directors at the Lab in 2009 and currently serves as the Board President. As a recipient of the 2009 American Psychoanalytic Association Academic Fellowship he spent

a year researching psychoanalytic theories of the uncanny, repetition and object rela-tions. Prior to his move to Hawaii, he was the Print Shop Manager at Kala Art Insti-tute in Berkeley, a job he misses but consoles himself in the tropical breezes of his new home.

My work uses natural phenomenon such as magnetism and gravity to explore perception and the construction of meaning. By creating a relationship between the visible and the invisible, I explore the boundary between the known and the unknown. I am interested in the way we use visual systems such as scientific drawings to under-stand and explain invisible forces. My work draws on this need to explain, on the ways we negotiate the mixture of anxiety and wonder we feel as we attempt to make sense of the world around us.

Education:2006 San Francisco State University, San Francisco CA MFA, Printmaking1992 Carelton College, Northfield MN BFA

Residencies and Fellowships2001-05 Kala Art Institute Artist in Residence Berkeley, CA2009 American Psychoanalytic Association Academic Fellowship

Selected Exhbitions2014 Remote Control – Solo Exhibition, Chandra Cerrito Contemporary, Oakland, CA2012 Arpeggio Art Space – Kala Art Institute, Arpeggio Building, Berkeley CA InterFace, Gallery Interface, Oakland CA Fine Art Fair, Fort Mason, San Francisco CA Shifter, Alter Space Gallery, San Francisco2011 Transducer, Roots Division, San Francisco, CA Shadowshop, SFMoma, San Francisco, CA2010 Drawing Time - Solo Exhibition, CIIS, San Francisco, CA2008 Expanding: Bay Area sculpture, Stanford University, Palo Alto CA2007 Telluric Currents - Solo Exhibition, The LAB, San Francisco CA eXact-O!, WORKS San Jose, San Jose CA The One Frame Cinema - Solo Exhibition, Gallery Aferro, Newark NJ Collected, OpenSource Art, Champaign IL Fruit Loops – Video Print Exhibition, Kansas City, MO2006 Anti/Social, Mission 17, San Francisco, CA 1800 Frames , City Without Walls, Newark, NJ Post-Postcard 10, The LAB, San Francisco, CA Fresh Work: Kala Art Institute Residency Exhibition, Berkeley, CA

Curatorial2011 Time, The Lab, San Francisco, CA2009-13 Programming Committee, The Lab, San Francisco, CA

Amanda Knowles

There is great beauty in the way that science strives to order the world. The work is based on a language of appropriation, employing, as well as subverting the visual language of science and capitalizing on its omnipresence in contempo-rary culture. The ideas of my work are balanced between the organizational structure of scientific explanation (not the specifics) and a more ab-stracted reality, where the original context is ob-scured. The work utilizes imagery from engineer-ing, math and physics, diagrams whose primary purpose is to explain or demonstrate.

These references have become obscured, instead creating more abstract allusions to their associa-tions with science. In pulling these images from the scientific bedrock and placing them in this

other space I hope to draw an intuitive or non-linear response instead of leading the viewer to think about the world in terms of reason and logic. The original references have become vague and, in turn, the work has become more abstract.

Education2002 The University of Wisconsin, Madison, WI Master of Fine Arts (Printmaking)2001 The University of Wisconsin, Madison, WI Master of Arts (Printmaking)1993 The University of Pennsylvania, Philadelphia, PA Bachelor of Arts, Cum Laude (Fine Arts Major)Teaching Experience2007- Instructor, Printmaking & Drawing, North Seattle Community College, Seattle, WA

Select Artist Residencies 2008 Anchor Graphics Residency, Chicago, IL2005 Clowes Foundation Fellowship for a Vermont Studio Center Residency, Johnson, VT 2004 Bemis Center for Contemporary Art Residency, Omaha, NE2004 Centrum Creative Residency, Port Townsend, WA

Recent Solo Exhibitions2012 Exposed, Red Rocket Gallery, www.redrocketgallery.com Luck/Chance, Davidson Galleries, Seattle, WA2011 Intertwined, Shoreline Community College Gallery, Shoreline, WA 2010 Underpinnings, Oliver Gallery, Lied Center for the Arts, Whitworth University, Spokane, WA 2009 Grids, Circuits & Vertices, Davidson Galleries, Seattle, WA

Recent Group Exhibitions2014 Altered States, Arc Gallery, San Francisco, CA2013 Unframed: Five Artists, A Project Space, Seattle, WA Digital Art: A New Generation, Bainbridge Arts and Crafts, Bainbridge Island, WA2012 Dot, Museo Gallery, Langley, WA2011 Out of the Blue, Strohl Art Center Gallery, Chautauqua Institution, Chautauqua, NY Segunda Bienal Nacional de Artes Graficas, Sala de Arte Javier Barros Sierra, Universidad Nacional Autonoma de Mexico (UNAM), Centro Cultural Acatlan, Acatlan, Mexico 2010 Small Works, Davidson Galleries, Seattle, WA Segunda Bienal Nacional de Artes Graficas, Museo de Arte Contemporaneo, Colima, Mexico; Universidad Autonoma Metropolitana, Mexico City, Mexico; & Museo de los Pintores , Oaxaca, Mexico2009 Matrix: Contemporary Printmaking, Florida State University Museum of Fine Arts, Tallahassee, FL New Work by Gallery Artists, Davidson Galleries, Seattle, WA

Professional Affiliations2012 Represented by Guthrie Contemporary, New Orleans, LA2007-11 Secretary, Seattle Print Arts 2005- Represented by Davidson Galleries, Seattle, WA2005- Seattle Print Arts, Board Member

Eileen Macdonald

Basic tools, materials and laborious pro-cesses have been at the core of my practice for several years, my primary interest being the physicality of obsessive mark making to manipulate and transform surface. My back-ground in printmaking, specifically mezzotint and etching, led me to experiment with treat-ing paper in the same way that I might treat a copper plate.

My recent work investigates my interest in landscape formation, residue left on land-scape, and the practical use and aesthetics of maps. I’m interested in our need to navigate three-dimensional space in two-dimensions. Excavating paper, and the somewhat unpre-

dictable process of pin prick punctures transforms the paper’s surface emphasiz-ing tension and fragility, and deconstructs what we might once have understood as navigable space.

Education2002 Southern Illinois University, Carbondale, Illinois MFA (Printmaking)1997 Duncan of Jordanstone College of Art, Dundee. Scotland BA- Honors (Fine Art Printmaking)Current Employment2002- Associate Professor, Dept of Art & Art History, California State University, Chico, CA

Select Exhibitions2014 Strata, Fresno City College Gallery. Fresno, CA Altered States, Arc Gallery, San Francisco, CA2013 Unearthed, Auburn University, Montgomery. AL Landscape as Metaphor: from Arcadia to Dystopia, Turner Print Museum. CSU Chico. CA.2012 Artist-In-Residence Exhibition, Nelimarkka Museuo, Alajarvi, Finland.2010 5ª Bienal Internacional de Gravura do Douro, Municipios de Alijo. Alijó, Portugal2009 The Stream of International Prints, Anyang Albaroshija Gallery, Hong-Ik University. S. Korea Control_Shift_Option: Contemporary Drawing, Space 301. Mobile. AL2008 Contemporary Drawing and Works on Paper, Center for Contemporary Art Sacramento. Sacramento, CA. USA

Select Collections Nelimarkka Museuo, Alajarvi, Finland. Printmaking Museum of Douro, Alijó, Portugal Contemporary Arts, Mesa Art Center, Mesa. AZ The Turner Print Museum, California State University, Chico. California. USA California State University, Sacramento Archive and Special Collections, California. USA

Nancy Mintz

In my practice, I am interested in the intersection of personal identity and the natural world. My choice of ma-terials conjures up a strong visual and tactile experience. The materials are selected for their unique ability to sig-nify meaning: steel for its industrialstrength, wood for its solid structural capabilities and warmth, clay for its ability to convey human touch and fragility, fiber for its malleability and

the suggestion of human traits and characteristics. Coupled with these materials, I focus on iconic shapes such as houses, moons, ladders and eggs that open discus-sions about our own physical and metaphysical realities. I am interested specifically in our struggles with identity in a world where change continually erodes defini-tions. The work reflects a humor and humility in the face of the forces that shape our lives and relationships, as they are very much out of our control.

Education1993 Mills College, Oakland CA, MFA (Ceramics & Sculpture)1997 California College of Arts & Crafts, BFA1998 Boston University

Select Exhibitions2014 Altered States: Bridging the Gap Between Tradition and Innovation, Arc Gallery, San Francisco, CA On View, Kala Art Institute, Berkeley, CA2013 Grace & Ritual, iam8bit, Inc., Los Angeles, CA Annual Artist Exhibition, Kala Art Institute, Berkeley, CA2012 Wall Works 4,Traywick Contemporary, Berkeley, CA Annual Artist Exhibition, Kala Art Institute, Berkeley, CA Collectors’ Choice Show, Sylvia White Gallery, Ventura, CA Group Show, Art Works Downtown, San Rafael, CA2011 Never ending Summer, Traywick Contemporary, Berkeley, CA Four Corners and a Center, California Society of Printmakers, Village Theatre Art Gallery, Danville, CA Mother May I, Traywick Contemporary, Berkeley CA Civic Center Art Exhibition 2010-2011, City of Berkeley Public Art Program, Berkeley Civic Center, Berkeley, CA Juried @ BAC, Berkeley Art Center, Berkeley, CA2010 On View, Kala Art Institute, Berkeley, CA Printing from Perception: Observing minute details and grand Gestures, Adobe Art Gallery, CastroValley, CA Collect, Berkeley Art Center, Berkeley, CA2009 On View, Kala Art Institute, Berkeley, CA2002 Oops, Catharine Clark Gallery, San Francisco, CA2001 Art Chicago, with Catharine Clark Gallery,Navy Pier Chicago, IL2001 San Francisco International Art Exhibition, with Catharine Clark Gallery, Fort Mason Center, San Francisco, CA1999 !introductions 1999, Catharine Clark Gallery, San Francisco, CA

Professional Affiliations Traywick Contemporary, Berkeley, CA

Collections Twitter Di Rosa Art Preserve

Nora Pauwels

Blue Print of A Garden

I have been methodically gathering and recording the plants that grow on the property of the building where I live and work. I place a piece of plexiglass on the plant and quickly trace the cutting with gel medium, rendering only the primary components of the cutting. I coat the medium with carborundum, an abrasive compound, making an etching plate. Then I ink up the plate with cobalt blue ink. Each plate is hung on the wall according to its position in the actual garden. Plants that grow low to the ground are placed near the floor, others that grow high are placed closer to the ceiling.

This piece is an exploration of my world and life here, in America, and of my childhood and early adult life, in Belgium. The setting of the garden reflects my own reflections on synthesis, change, cycles and inertia. The moment I choose to capture and record a cutting is immediately left behind by the regular growth of the plants left behind. I look at the plant I made a recording of a month ago, and I hardly recognize it. My system is static, allowing me to contemplate and organize a series of moments randomly chosen from an every changing palette of choices.

Like the Delft tile-making tradition, where four blue corners of a tile, when joined to-gether, make a new motif, I am trying to do something similar with this piece.

Education1993 Restoration Of Fine Arts. Akademie Voor Schone Kunsten. Gent. Belgie1978 Vrije Grafiek. St.Lukaspaviljoen. Antwerpen. Belgie

Recent Exhibitions2014 Altered States: Bridging the Gap Between Tradition and Innovation, Arc Gallery, San Francisco, CA On View, Kala Art Institute, Berkeley, CA2013 Artist’ Annual Exhibition, Kala Institute..Berkeley. Ca 27th Celebration for the Arts. Emeryville. Ca Marion and Rose’s Workshop. Oakland. Ca The Art of the Book, Seager-Gray Gallery Mill Valley. Ca Codex International Bookfair. Richmond .Ca2012 Artist’ Annual Exhibition, Kala Institute..Berkeley. Ca Left to Chance, In Search of the Accidental Book, SF Center for the Book, San Francisco. Ca 26th Celebration for the Arts. Emeryville. Ca2011 Hand Pulled Prints, Milk Gallery, Sacramento. Ca On View, Kala Art Institute, Berkeley, CA Codex International Bookfair. Richmond .Ca 25th Celebration for the Arts. Emeryville. Ca2010 On View, Kala Art Institute, Berkeley, CA The Seduction of Duchamp, Art Museum of Los Gatos, Los Gatos. Ca Unbound Book Art, Bedford Gallery, Walnut Creek. Ca The Seduction of Duchamp, Artzone 461, San Francisco. Ca 24th Celebration for the Arts. Emeryville. Ca2009 The Seduction of Duchamp, Slaughterhousespace, Healdsburg. Ca Tentoonstelling. Rodenbach straat. Antwerpen. Belgie 23rd Celebration for the Arts. Emeryville. Ca2008 22nd Celebration for the arts. Emeryville. Ca Interplay , Kala Institute, Berkeley. Ca

Awards2009 Art in Public Places. Art in the Bus Shelters. City of Emeryville. Ca2006 Artist in Residence with John DeMerritt. Center for the book. San Francisco. Ca1995 Artist in Residence. Centrum voor Grafiek Frans Masereel. Kasterlee. Belgie1986 Fellowship. Kala Institute. Berkeley. Ca

Awards Library of Environmental Design and Urban Planning. UC Berkeley. Ca AchenBach Collection of Grafic Arts. San Francisco. Ca New York Public library Print Collection. New York Frans Masereel Print Collection. Kasterlee. Belgie

Barbara Robertson

We live in a cinematic world; our eyes and brains are keyed to moving images, changing environments, and an ongoing stream of visual input. I create mixed media work that incorporates digitally generated imagery with traditional methods of drawing, painting and printmaking. Inspired by recent scientific inquiry in the fields of physics and astronomy I explore the relationship between form and content.

I spent many years pursuing these relationships as a print art-ist, using color, weight, gravity and implied motion to push the viewer’s perceptions of space. Technology, as a means of artistic

expression, is a language we have developed over the past 20 years. Using digital tools I have been able to in-corporate actual elements of light, scale, and time into the conversation to create and manipulate still images and to animate, alter, and create new hybrids and composite versions. Combining photographic images and drawn or printed images in way that uses the strengths of each, altering the scale of the images to best effect allows me to orchestrate a more compelling encounter for the viewer and to take a conceptual and creative leap in my work.

In keeping with traditional printmaking concepts these pieces are composed using layers of images, each with their individual qualities and possibilities. The layers are created using drawing, painting, relief print-making, and photography. And just as in traditional print art practice, the image layers can be changed at any point in the process. Each digital image file functions exactly as a plate or woodblock might. One great advantage to working with digital “plates” is that you can change the scale or color or texture with the click of a button.

There are many sources of imagery that create the foundation for this work, including topographical maps, photo documented light phenomena and Fibonacci patterns (a dynamic mathematical configuration that appears in nature, such as in the precise patterned construction of the seeds on the head of a sunflower). I add drawings, paintings and photos – as single elements or as sequences to these underlying images to cre-ate environments where visual expansions and permutations can occur as the viewer spends time with the piece.

The work in this exhibition continues my conversation between traditional and digital media. Technology as a means of artistic expression has its own aesthetic qualities. It is a fascinating challenge to integrate it with traditional techniques in a way that strengthens both and serves the art.

Selected Solo Exhibitions

2013 Snap, Davidson Galleries, Seattle, WA, June 20132012 Trykk 17 Art Center, Stavanger, Norway, September 2012 E4c electronic gallery, 4Culture, Seattle, WA, February 2012 Gray Map Installation, Aprojectspace, Seattle, WA, January/March, 20122011 Johnston Architects, Seattle, WA, November/December 20112010 Davidson Galleries, Seattle, WA, June, 2010

Selected Group Exhibitions2014 Altered States: Bridging the Gap Between Tradition and Innovation, Arc Gallery, San Francisco, CA 2013 The Best of the Northwest, Tacoma Art Museum. Tacoma, WA2012 Ontologies, Eleftherias Art Center, Athens, Greece Digital Connections, SAM Gallery, Seattle. WA Competitive Intangibles, University of Washington Lawrence Gallery, Seattle, WA Electron Salon, LACDA, Los Angeles, CA2011 Snap to Grid, LACDA, Los Angeles, CA Collecting for the Future, Tacoma Art Museum, Tacoma WA2010 A Tribute to Merce Cunningham, Cornish College of the Arts, Seattle,WA Fifteen Years of the Neddy Fellowship,” Tacoma Art Museum, Tacoma, WA Shizaburo Takeda Biennial, Oaxaca, Mexico

Selected Public Collections King County 4 Culture Portable Works Kohler Library Book Arts Collection, University of Wisconsin, Madison Mason Gross School of the Arts, Rutgers University, New Brunswick, New Jersey Tacoma Art Museum City of Seattle, Portable Works Collection State of Washington, Percent for Art Public Collections King County, Percent for Art, Airport Project

Grants & Awards2011 E4C Media Exhibition, 4Culture, Seattle, WA2009 4Culture, Individual Artists Award2006 Neddy Artist Fellowship Award, Behnke Foundation 2004 City Artists, City of Seattle, Grant for production of new large scale work2002 Washington State Arts Commission, Professional Development Grant, 2002 Kala Art Institute, Berkeley, CA. Fellowship in Digital and Traditional Print 2000 City of Seattle, “Printworks” Commission

Publications and Presentations Take Three, Short Films by 9 Northwest Artists, NW Film Forum, Seattle, WA The Best of the Northwest, Selected Works from the Tacoma Art Museum

About the curator

Jenny Robinson is an artist originally from London. She studied for her BFA in printmaking in the United Kingdom. She currently resides in San Francisco, where she maintains a studio at the Hunters Point Shipyard artist colony. She is a regular visiting artist at universities around the country as well as a regular Artist in Residence at the Kala Art Institute.

She is represented by the Davidson Gallery in Seattle, Warnock Fine Arts in Palm Springs, Vertical Gallery in Chicago and the Kala Art In-stitute Gallery

in Berkeley. Her work is in many collections, including the Library of Congress Graphic Arts Collection, Washington DC; the Achenbach Fine Print collection, San Francisco; and, the Ashmolean Museum, Oxford UK. She has exhibited extensively, including several recent solo exhibitions on the West Coast. She is a member of the Royal Society of Painter Printmakers (RE), London and the Los Angeles Printmaking Society (LAPS).

Jenny is a passionate proponent of printmaking and its place in the art world.

http://jennyrobinson.com/