PRS NEWSLETTER, JUNE 2019
From the Editor
Summer's long days roll out invitingly; time to work, or to relax?
Now let's change the world for better through our art!
Your PRS Newsletter Staff
AREA COORDINATOR NEWS
Peter Keresztury has organized a great opportunity for Pacific Rim Sculptors to exhibit their work at the October 18-20, 2019 Bioneers 30th annual conference at the Marin Center in San Rafael (see www.bioneers.org).
Included artworks will be seen by over 3000 social, environmental, and scientific innovators, who will convene to present and hear about breakthrough solutions inspired by nature and powered by human ingenuity.
The sculptures will be installed by the artists on Thursday, October 17, 8:00 AM - 5:00 PM, and de-installed on Sunday, October 20, after 6:00 PM. The event will have 24 hour security, but artists will need to insure their own works, if desired. Large sculptures are preferred. Artworks will be displayed outdoors in one area of the fairgrounds. Artists need to supply their own pedestals, if needed.
Each exhibiting sculptor receives 2 free tickets to the conference, plus a payment (to be determined) for inclusion of their work. (continued, right)
Peter will work with the Bioneers to allow PRS a table and chairs to provide information and to handle all sales, of which the artists will receive 100%. Two PRS participants need to be available at the table on Friday, Saturday, and Sunday; some payment may be possible.
Peter will bring two of his large kinetic wind sculptures. Contact him for more information. If you'd like to participate, send Peter photographs of your sculptures as soon as possible before June 20, including titles, dates, prices, and brief descriptions. Peter's email is PeterKer@Pacbell.net.
Lori Goodman reports that Charles Stinson visited Humboldt County in May and gave a wonderful presentation to interested Humboldt Sculptors about becoming members of the PRS and ISC. There was lots of enthusiasm and some new members joined PRS. We discussed a future sculpture exhibition in collaboration with the Humboldt Botanical Gardens. Watch for calls for entry in the future. For more information, contact Lori at 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!
Myrna lives in San Francisco's old Box Factory, which many years ago was converted to artist studios and condominiums. Previously a raw, open industrial space, Myrna designed the intriguing layout, which is cheery, bright, and filled with colorful art.
Attending PRS members were enchanted by Myrna's descriptions of her sculpture practice, and enjoyed browsing through colorful, partially completed parts of a work in progress.
For the June Second Sunday Spotlight, instead of visiting one person’s studio we will visit several East Bay Open Studios (see www.eastbayopenstudios.com). Participating Pacific Rim members we will visit include Kim Thoman (www.kimthoman.com), Lutz Hornischer (www.lutzartdesign.com), and Carol Tarzier (www.tarzier.com). If you are an East Bay member participating in Open Studios, contact us by Thursday, June 6 so we can add your name to the list we will distribute. We will also plan to visit some non-members studios, such as long time Bay Area sculptor, Peter Dreyfuss (www.peterdreyfuss.com).
If you want to tour with us, meet at Berkeley Downtown BART at 11:00 AM Sunday June 9, 2019. We can car pool to each studio location, then return by 3:00 PM. Let us know if you want to attend and we can make arrangements from there. Otherwise, you are welcome to do your own self-guided tour.
Contact Eileen Fitz-Faulkner at firstname.lastname@example.org.
I traveled to this year’s Venice Biennale; its theme is May you live in interesting times. It is topical and confrontational. The anger and outrage at political, environmental, and gender injustices expressed in the works of this Biennale are temperature readings of the societies from which they came. While this art may not of itself change the world, it makes clear what needs to change. This year continues the progress towards inclusion of artists from African, Asian, Caribbean, Central and South America nations. Not only does this increase the relevance of the Biennale, we are exposed to the compelling issues of more artists.
This is also the first year that 50% of the artists are women, with the Golden Lion prize for best national pavilion going to the artists from Lithuania for their powerful opera “Sun and Sea”, in which performers on a mock beach confront their fears of impending environmental devastation.
My first stop was the US Pavilion to see Martin Puryear’s masterfully crafted, deeply political and philosophical sculptures. Puryear's theme for this work is "Liberty." The US Pavilion is modeled on Thomas Jefferson’s Monticello. A huge wooden screen referencing a cupola blocked the front entrance, forcing one to question one's right to access.
Behind, attached to the oculus at the top of the screen was an enormous, black, serpent-shaped object that seemed ready to suck up and swallow one into obscurity.
Inside the building is Puryear's “A Column for Sally Hemings”. Especially made for this Biennale and placed directly below the Pavilion’s cupola, is a rusted, cast-iron shackle plunged into a fluted column of wood that looks like a skirt -- a tribute to one of the unwilling and unacknowledged First Ladies of the US, an enslaved woman of mixed race, owned by Thomas Jefferson (see more information here).
Another example of calamitous history under a calm exterior is “New Voortrekker” using the Dutch word for “pioneer" to comment on the history of the White migration to South Africa, which led to Apartheid.
Prominent throughout the Biennale were large scale video artworks, which powerfully project issues like failure of political discourse (Australia), power to a marginalized and largely non-binary group of young people (Brazil),
ecological destruction (France), the future of the human species (Thailand), and endless conflict around the world (US-Christian Marclay).
At the other end of the media spectrum, Shakuntala Kulkarni responds to increasing violence against women in India by weaving natural cane into protective armor for women to wear in public spaces. Ironically, this 'armor' traps women, restricting their freedom of movement as well as ostensibly 'protecting' them.
Outside the Biennale, the contemporary porcelain artist Edmund de Waal created two exquisite installations of minimalist beauty. “Psalms”, at the Jewish Museum, celebrates the noise of learning, debate, poetry, and music at a site that was a crossroads of multiple languages. His “Library of Exile” (at the Ateneo Veneto) houses books by those who have been exiles both inside and outside their native countries.
It was an out-of-this-world and also extremely painful experience to be in a place of such astounding physical beauty as Venice, while also being immersed in art that posits the imminent disruption of such peace and beauty.
The powerful message of this work is that we have no choice but to act to save our planet, to achieve social justice, and to treat each person equally and with dignity.
Pamela Merory Dernham
Benjamin Funke of Eureka, CA, was selected as the 2019 Artist in Residence for the US Bureau of Land Management - King Range National Conservation Area. This opportunity will place him atop the King Range for 31 days, where he plans to reflect on the natural landscape and build a new body of artwork. The residency began May 20th and runs through late June. Additionally, Benjamin will lead two workshops for the general public on 3D imaging, design, scanning, & printing. The work created during this residency will be showcased in his solo exhibition at College of the Redwoods in early 2020.
You can see Benjamin's website at this address: www.benjaminfunke.com). For information about the residency program, see: https://www.blm.gov/get-involved/artist-in-residence
Corinne Whitaker just published her 29th book of digital images and poetry, titled The Empty Bed. The book (cover illustration below) is available on Amazon at this link.
Corinne's newest 3D printed digital sculpture is titled “Angel’s Flight” (image below).
Flavia Krasilchik’s (fkdesign.webs.com) sculpture "Aritana" (image below) is included in Expressions, a National Open Fine Arts Juried Exhibition sponsored by the Marin Society of Artists in San Rafael. The show runs from June 13, 2019 through July 6, 2019. (For details, see www.marinsocietyofartists.org .) Reception is 5-8 PM June 14 at 1515 3rd St, San Rafael, CA.
Natasha Dikareva’s solo exhibition, Evolution of Shell Dweller (image below), opens June 1, 2019 at the Abrams Claghorn Gallery in Albany, CA.
Natasha’s "Shell Dweller" series expresses the desire for security in an insecure world. Her hybrid figures are both static and animated, withdrawing into their shells yet visually narrating their stories. Engravings and paintings on their surfaces identify their unique experiences and tell us why they might be seeking safety at the moment. As they slowly evolve out from their shells, they see a bright future where the need for hiding is no longer a necessity, when all stories are shared and intertwined through common understanding. The opening reception for Natasha’s show will be June 8, 2019. The show continues until June 30, 2019. (For details, see abramsclaghorn.com/exhibitions.)
Gene Erikson’s sculpture "Disruption" (image right) was selected for inclusion in Content Matters, a Summer National Juried Exhibition at Marin MOCA in Novato, CA. Juried by Jack Fisher, the works emphasize 'content' conveyed by a piece of artwork — a message portrayed through images, symbols, marks or stylistic treatment. The exhibition opens with a reception on June 15, 2019 and continues through August 4, 2019. (See Gene's website at this address: www.generickarts.homestead.com .)
Jane Grimm will have works (images below) in the exhibition, Clay from ACGA. The group show of ACGA members will be presented at the Epperson Gallery, a Crockett, CA gallery specializing in ceramics. The exhibition, juried by Tony Natsoulos, opens June 10, 2019 with a reception on June 11. The show closes July 7, 2019. (See www.eppersongallery.com for details)
Jane will also have work (images below) in the “Bay Area Masters” show at the San Mateo County Fair. The Best of Show awards will include solo exhibitions at the Peninsula Museum of Art.
The show, juried by George Rivera, retired Director of the Triton Museum, is sponsored by the Peninsula Museum of Art. The show begins June 8 and closes June 16, 2019. (See www.peninsulamuseum.org for details.)
Pamela Merory Dernham has one of her wire wall sculptures (image below) in the European Cultural Center's exhibition, Personal Structures: Identities, in the Palazzo Mora, Venice, Italy. The initial mission of the European Cultural Center 60 years ago was to heal post-war Europe through creative practice and engagement, emphasizing the importance of culture to a society's well being. Today the Center embraces global cultural engagement. The current exhibit is a meeting place for artists and viewers to forge deeper world-wide ties. Pamela traveled to Venice to install her wall sculpture. The exhibition continues to November 24, 2019. (You can find more details at this address: ecc-italy.eu/exhibitions/2019art .)
As one of three artists selected for a Spotlight Award at the 2018 Richmond Art Center Show, Ruth Tabancay will show a selection of her works (images below) in the exhibition Parts Unseen at the Richmond Art Center. Reception is 5 to 7 PM Saturday June 8. The exhibition continues through August 16, 2019.
IN MEMORIAM: Larry Stefl (1953 - 2019)
Lawrence (Larry) Edward Stefl, a former chairman of the Pacific Rim Sculptors, unexpectedly passed away of natural causes at his live / work studio in Oakland, California, on April 12, 2019 at 65 years of age.
Attracted to the San Francisco Bay Area art scene, Larry moved to Berkeley, CA in the late 1970s, where he completed his Master of Fine Arts Degree at UC Berkeley. His early visual arts ranged from abstract steel, paper and clay sculpture, to collage monotype prints, and his works were included in over 130 exhibitions, including the Triton Museum, O'Hanlon Center for the Arts, Montalvo Center for the Arts and the Craft and Cultural Center of the Arts in Oakland, where he exhibited with his sister, Pam, and brother-in-law, John Toki.
He was an extraordinary art workshop leader and taught: "Monotype and Beyond" at venues including Kala Institute, Sebastopol Art Center, O'Hanlon Center for the Arts, Mendocino Art Center, and Hui No'eau Visual Arts Center, Hawaii.
Larry was a board member at the Berkeley Art Center, and a beloved art teacher at Berkeley Unified School District for 25 years, retiring in June of 2018. His unsurpassed artistic enthusiasm also included the performing arts: His band, the Larry Stefl Group, played jazz standards, Brazilian music and originals for more than 20 years in the San Francisco Bay Area.
Larry surrounded himself with a lovingly cultivated, remarkable community of friends, artists, musicians, healers, and men from The Noah Project and The Sons of Orpheus.
A Celebration of a Life Well-Lived will be scheduled for November 2019. He is preceded in death by his parents and sister, Victoria Lynn Stefl. Surviving is his beloved sister, Pamela Stefl Toki.
(The above was abstracted from the obituary published in the San Francisco Chronicle April 28, 2019.)