PRS NEWSLETTER, MAY 2019
From the Editor
Longer, warmer days are great for art adventures.
Watch for the opening of registration for the ISC Conference in Portland. It is a great opportunity to meet sculptors from across the USA and around the world. Let's get a large showing of PRS members there! (See www.sculpture.org/portland19)
Now let's change the world for better through our art!
Your PRS Newsletter Staff
AREA COORDINATOR NEWS
Plan to submit works for the October 18-20, 2019 Bioneers Conference at the Marin Center in San Rafael (see www.bioneers.org). Peter Keresztury is working with the organizers and will send out a call for entries.
Lori Goodman invites interested Northern California (way north) and Humboldt County Sculptors to discuss forming a Humboldt County group with potential affiliation to the Pacific Rim Sculptors (PRS), one of four Chapters of the International Sculpture Center (ISC). Charles Stinson, PRS Board President, will give a presentation and discuss the benefits of joining PRS & ISC. Please join us at 5:00 PM on Sunday, May 5 at the Redwood Art Association, 603 F Street (corner of F and 6th Streets), Eureka, CA. Please respond with interest and requests for more information to: firstname.lastname@example.org.
The PRS Events Committee (Leith Thrall, chair; Eileen Fitz-Faulkner, co-chair) schedules studio visits and similar activities, rotating among PRS's several areas. Email email@example.com. for more information or to schedule a visit to your studio!
APRIL SPOTLIGHT: Oleg Lobykin's Solo Exhibition at Peninsula Museum of Art, & at his Studio
The PRS Second Sunday Spotlight for April visited the Peninsula Museum of Art in Burlingame, CA, where Oleg Lobykin spoke about his solo exhibition, From the Stone Age to the Digital Age.
Oleg described the development of these sculptures, which ranged from figurative to abstract and involved process from hand-building and stone carving to metal casting and 3D printing.
Oleg demonstrated how this maquette would translate to monumental scale, showing how how visitors would see their reflections.
After visiting the Peninsula Museum, the group traveled to Oleg's home studio in East Palo Alto, to enjoy delicious refreshments while viewing more of Oleg's art -- sculptures, furniture, painting, and fascinating works in progress.
Oleg continues to use his training in classical hand stone-carving techniques, but he also vigorously explores and makes use of other approaches in his experimentations, including 3D scanning & printing, use of new materials and, more recently, painting.
NEXT SPOTLIGHT: Myrna Tatar
Myrna Tatar will host the next PRS Second Sunday Spotlight 3-5 PM Sunday May 12, 2019 in her San Francisco home. Myrna creates her sculptures from 'rescued objects', stating "Nothing should be wasted. Everything here was once a part of someone's life."
By now, members should have received their emailed invitation; please RSVP if you wish to attend. If you have questions, email Eileen Fitz-Faulkner at firstname.lastname@example.org.
Matter of Form juror Christine Koppes, Curator & Director of Public Programs at the San Jose Institute of Contemporary Art (ICA) selected works by Becca Barolli, Barry Beach, Nancy Brown, Cheryl Coon, Dale Eastman, Annette Goodfriend, Jane Grimm, Maru Hoeber, Kathleen King, Magels Landet, Oleg Lobykin, Elizabeth Medrano, Teddy Milder, Jann Nunn, Minami Oya, Ruth Tabancay, Myrna Tatar, Laura Van Duren, and Wilman Wyss for inclusion in the exhibition at SHOH Gallery in Berkeley, CA (ShohGallery.com).
The exhibition's theme focused on material as subject, exploring the relationship between matter and form in a variety of media and techniques. The April 27 reception and celebration of International Sculpture Day was very well attended -- despite competition from several open studios, ArtMarketSF & stARTup fair -- and resulted in sales.
Becca Barolli created a large container (below) using looped steel wire.
Barry Beach presented pieces constructed of ordinary found materials, which he both assembled and deconstructed (below).
Nancy Brown (below; winner of juror's choice award) created three elegantly spare found material pieces that seemed a fusion of graphics and sculpture.
Cheryl Coon's piece, constructed entirely of 'zip ties' was reminiscent of a ghostly large sea anemone.
Dale Eastman (below) hand-sewed countless silk moth cocoons to create her sprawling, gold-colored piece.
Annette Goodfriend's small "Tongue Ball" (below) is a captivating, amusing, and thought provoking piece.
Jane Grimm presented an elegant white ceramic form (below).
Maru Hoeber's porcelain piece (below) seemed to dance between figuration and abstraction.
Kathleen King's piece (below) was constructed entirely of objects found on the streets: wood and clothing.
Magels Landet's welded metal piece (below) was wall-mounted, rather than placed on a pedestal, which highlighted the interplay of the piece with the shadows it cast.
Oleg Lobykin's carved marble piece presented elegant curves and sensual surfaces that glowed in the afternoon light.
Elizabeth Medrano's piece (below) is constructed of bone, wood, bark and mixed media.
Teddy Milder's "Cotton Boll-Undone" (below) is a 10' x 16' loosely woven piece of cotton cloth, which she deconstructed with long reverse-engineering hours of hand-cutting, pulping and drying the material until it resembled its original character of cotton bolls, hand-picked from prickly cotton plants in the field. The piece was done to commemorate the largely forgotten enslaved African cotton-pickers whose brutal and involuntary toil helped to build the economy of the US and to clothe our nation.
Jann Nunn's piece (below) was a deconstructed and sinuously reconstructed log of cherry wood.
Minami Oya's pieces (below) were intriguing combinations of blown glass and cast metal pieces.
Ruth Tabancay used crotchet techniques to construct her "hyperbolic coral" forms (below).
Myrna Tatar created a profusely colorful and wildly textured piece entirely from found objects (below).
Laura Van Duren creates unusual pieces by deconstructing discarded wooden furniture, plus string, plastics, and glycerine (below).
Wilma Wyss's piece (below) was a surprisingly small and charming mosaic tiled sculpture.
Barry Beach will have works (image below from his "Contested Terrain" series) in Said I Meant, one of a series of sediment–related exhibitions and events taking place in May/June 2019 in Gowanus Brooklyn, where the Gowanus Canal, one of the most toxic bodies of water in the United States, is currently being dredged of century-old commercial runoff. The multi-venue project was conceived by co/curators JoAnne McFarland and Sasha Chavchavadze, lead artists of the Chromium Collective, a group of women art professionals working outside traditional parameters of the art marketplace to include more participants in lively, relevant, inspired artistic exchanges. Barry's piece will be in ArtPoetica Project Space, Brooklyn, NY. Curators: JoAnne McFarland and Sasha Chavchavadze.
Barry will also have pieces in the 34th annual exhibition Made in California, a yearly juried exhibit exploring creative movements throughout California and featuring artists working in a huge array of mediums and styles. This year's selection panel includes guest juror Yevgeniya Mikhail. Barry's piece will be in Brea Gallery, Brea, CA from May-June 2019 (see BreaGallery.com for details)
Catherine Daley's "Quercus illuminosa", or "Oak (tree) of illumination", was selected by jurors Debra Lehane and Satri Pencak to be in the Kinetics: Art in Motion exhibition at the Museum of Sonoma County, Santa Rosa, CA, from May through mid-August 2019. Catherine's piece uses light and photography as critical elements with mirrored elements reflecting the environment. The photo transparencies and cast shadows reference the stained-glass windows in a church, and upon closer scrutiny, include images of destruction. The Tree of Life and the symbology that is long associated with a tree in many cultures is alluded to along with the replacement of nature and the natural by the artificial or fabricated.
Catherine's photograph "Alpine Dreams" was selected by juror Sukey Bryan to be in the Pacific Art League's juried exhibition Into the Wild, Palo Alto, CA, which focuses on landscape in its majesty, beauty and solitude. Artists submitted pieces in any medium depicting landscape, whether representational or abstract.
Catherine also had four photographs juried into the first-ever photography exhibition dedicated to black and white at the Pacific Art League in Palo Alto, CA, titled Noir: Black & White Photography. The entries, selected by juror Daniel Garcia, photographer and creative director of Content Magazine. (See more at this link.)
Mary Tartaro has works in Sanchez Art Center's annual Left Coast exhibition through the middle of May 2019. Juror for the exhibition was Scott Shields, curator of Crocker Art Museum, Sacramento, CA. (See SanchezArtCenter.org)
Eric Saint Georges has a solo exhibition May-June 2019 in the San Mateo Public Library, which holds rotating two-month exhibits of local artists at the San Mateo City Hall followed with two months at the San Mateo library. (see www.cityofsanmateo.org/1247/Art-Gallery-Space )
Eric also participated in stARTup San Francisco in April. Innovatively bypassing the traditional gallery system, stARTup connects art buyers to over 60 up-and-coming artists – selected by art world experts. Participating artists transform hotel rooms into individual exhibition spaces and offer their works for sale to art lovers of all levels. (See www.startupartfair.com/san-francisco/overview .
WELCOME NEW MEMBERS
Eleas Kostis of Mendocino, CA, creates fine furniture and sculptures with wood and metal, sometimes incorporating interactive electronic components. See his website at www.standardesigns.net
Carol Tarzier of Oakland, CA, creates fine figurative and abstract sculptures (including monumental public art), plus drawings and paintings. She teaches at the Academy of Art University and at Studio One Art Center in Oakland. See her website at www.tarzier.com.
Invite your sculptor colleagues to join and get one month free membership for each new member you recruit (cannot previously have been a member). Just ask the new member to mention your name while filling out the "How did you hear about us?" blank in the application form.
YOUR AREA COORDINATORS
Our Area Coordinators help organize local group meetings of PRS members in order to create new shows & events. Connect with your Area Coordinators to suggest and to help plan shows & events in your area, or volunteer to become an Area Coordinator. Find your Area Coordinator on this web page.
PARTICIPATE IN PRS
Donate: PRS is a 501(c)3 non-profit organization; for tax reporting: EIN # 81-0919806.
Newsletter: Send brief articles, reviews of shows, ideas for future newsletters to Editor@PacificRimSculptors.org; include clear photographs, if possible!
Website: Send suggestions to website@PacificRimSculptors.org.
Communicate: Send messages to our group email list (email@example.com ). Before they are posted, messages will be screened by a moderator to prevent spam and ensure appropriate use. The moderator may suggest editing changes or suggest alternate distribution (e.g., newsletter, or message from our Administrator).
Facebook: Sign up for the PRS Facebook page by visiting this link and clicking on the "Join Group" button. A PRS moderator will authorize your request, usually within 1-2 work days. Then start posting!
The online version of Sculpture magazine is now available at SculptureMagazine.Art, which includes archived issues. Also, check out the ISC Website Sculpture.org member resources; add photos of your works annually for review by collectors, gallerists, curators, and corporate buyers. Also check out the Insider section of Sculpture magazine.
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