It’s July and NCWCA is starting the second half of the year strong. The Speakers Bureau is up and running. Want to apply? Check out the info on the website here and get in touch! We’ve also just finalized plans for a 2019 Art Tag Retreat at Ghost Ranch in New Mexico. And, if that’s not enough, our Exhibition Collective just announced “F213,” a national curatorial exhibition, plans for which are well underway. I’m finding it impossible not to be round-the-clock inspired by all that we have going on. Guess it’s a good thing the days are long right now!
Banner: Lydia Nakashima Degarrod giving a talk about a recent trip to Cuba, photo by Priscilla Otani
CREATING A COLLABORATIVE ART INSTALLATION
by Lydia Nakashima Degarrod, PhD
My curiosity was aroused when I learned about the art tag practices of the Northern California Women Caucus of the Arts. I asked myself: How does artmaking compare to other forms of communication? Fortuitously, I was invited to chair a Visual Arts Symposium in Cuba sponsored by the Canadian Association of Anthropologists. I designed a collaborative art installation to address my question and I invited Judy Shintani and Astrid Kammerling as collaborators. We presented the installation in Santiago de Cuba on May 16-20, 2018 (image 1).
Creating the installation took six months, and entailed three distinct and consecutive stages: creating, designing the installation, and the installation itself. Each of these stages had its own collaboration, communication, dialogue, and ensuing creations. Through this tripartite process our individual and collective creations and dialogues migrated from the individual confines of our studios, to places in the Bay Area, culminating in the installation in Santiago de Cuba.
FIRST STAGE: ARTMAKING AND COMMUNICATION
The first stage lasted three months and was characterized by the exclusive use of artmaking as a form of communication and as artistic inspiration. In this system, the chain of creations started with Judy, who sent artwork to Astrid, who in turn created a piece influenced by Judy’s work and then sent both artworks to me. I in turn responded with drawings. This sequence was repeated until we each had received and created two artworks.
The art object served as the main communicative device; one to which we each reacted with the purpose of finding meanings and images. At the same time, they triggered emotions and sensations from us. For example, when I received Judy’s ceramic pieces, I searched for meanings. I interpreted the pieces as narrating an ancestral story, similarly to when I deciphered Astrid’s cheesecloth as veiling. I also experienced memories and sensations triggered by the artworks. When I contemplated Astrid’s cheesecloth, I recalled the technique I had developed of altering this fabric with acrylics and glue. These experiences, in addition to my own aesthetics and personal context, shaped the creation of the first two drawings. For instance, in one drawing I used earthly colors and created marks evoking old roads to suggest the ancestors’ route, and I incorporated my cheesecloth technique in the oval windows of the drawing (image 2).
SECOND STAGE: SEARCHING FOR SHARED MEANINGS
What meanings were shared in the art tag, and how do we represent them in the installation?
We first dove into the installation and created a mock-up at the California College of the Arts. We found that this method was not satisfactory; it added elements not shared in the art tag. Each of us then created a list of all the elements that we perceived communicated through the art tag. After comparing our results, we learned that the shared elements had primal qualities: human, movement, layers, and earth. Four others were shared by two of the artists: ancestors, veils, connections, and air. These elements were represented in the mock up installation.
Our conversations about the design of the installation led us to aesthetic and political discussions as we contemplated our future audience in Cuba. We had heated discussions about the prevalence of the colors white, blue and red and its possible interpretation by the audience. In the end we chose to use only two of these colors.
THIRD STAGE: PLACE AND INTERCULTURAL COMMUNICATIONS
The installation involved the collaboration of the host institution in Cuba and our engagement with the place itself. A few days before our arrival to Cuba, we learned about the location of the installation: a colonial chapel built in 1712. Because of the historical nature of the building, the host institution required from us: a non-invasive form of installation, and that a crew of their gallery specialists would do the actual installation (image 3).
At the chapel, we made changes from our original plan. First, to maximize the use of the wooden beams in the ceiling of the chapel, we hung the installation on one of the side walls, instead of at the back wall of the chapel. Second, to adjust to the high walls, we doubled the length of my acetate drawings by pasting two together, enlarging them from 7 to 14 feet (image 4).
I gained respect for the team of installers -- led by Alfredo Gonzalez Cobas, who was also the formally trained restorer of 18tth-century paintings at the Center—for their pride in their work as well as for their sustainable approach. The reuse of materials was always on their minds. Alfredo and his helpers did not vacillate in creating a complex system of knotting to save having to cut the rope as he hung perilously eighteen feet above the ground from a metallic construction –the latter also used for displaying artworks (image 5).
HOW DOES ARTMAKING COMPARE TO OTHER FORMS OF COMMUNICATION?
Artmaking creates embodied forms of knowledge and communication. These forms of knowledge became filtered, expanded, transformed and communicated through our conversations, and engagement with the materials and the space, and the host institution. Each of these dialogues formed invisible connecting lines which widened our presence and engagement with the world.
RISE: EMPOWER, CHANGE AND ACTION! ART OPENING AT WHITNEY MODERN
By Karen Gutfreund
Whitney Modern, in collaboration with Gutfreund Cornett Art, and guest juror Joan McLoughlin, http://www.mgart.com/ McLoughlin Gallery, San Francisco presents Rise: Empower, Change, Action!
This juried exhibition features selected works in the gallery by thirty-six artists from locations around the country and additional twenty-five artists on a looping slideshow on a monitor in the gallery. NCWCA artists include Mague Calanche, Blond Jenny, Chandrika Marla, Priscilla Otani, and Sondra Schwetman.
RISE: Empower, Change and Action! brings artists into dialogue and brings forth what is important to self, community, our nation and the world at large through art that reflects on, addresses and seeks solutions for a more positive, empowering future, particularly for self-identified women and girls as well as their families. It is underpinned by the feminist principle that believes in political, economic and social equality for all. RISE emphasizes the commonalities of our human experience.
Join the conversation and see paintings, sculpture, printmaking, photography, collage and installations that speak for equality, independence and human rights while offering insight, healing and transformation.
ARTISTS IN THE GALLERY
Roberta Ahrens, Paula Bullwinkel, Mague Calanche, Marie Cameron, Lindsey Carrell, Irene Carvajal, Indira Cesarine, Nayda Cuevas, Carolyn Doucette, Sally Edelstein, Vanessa Filley, Shelly Floyd, Anitra Frazier, Rinat Goren, Marisa Govin, Maeve Grogan, Karuna Gutowski, Rozanne Hermelyn Di Silvestro, Gina Herrera, Michael Holt, Blond Jenny, Beth Lakamp, Chandrika Marla, Gloria Matuszewski, Kelsey McDonnell, Penny McElroy, Rosemary Meza-DesPlas, Priscilla Otani, Amy Pleasant, Jenny Reinhardt, Brian Rothstein, Sondra Schwetman, Sarupa Sidaarth, Winnievan der Rijn,Kim Wilson
Roberta Ahrens, Florence Alfano McEwin, Chloe Allred, Jenny E. Balisle, Michele Benzamin-Miki, Marie Bergstedt, Ceciley Blanchard, Marie Cameron, Eleanor Epstein, Leslie Getz, Christine Giancola, Gina Herrera, Janet Hiller, Tara Malone, Julie Meridian, Karis Painter, Cherie Redlinger, Jenny Reinhardt, Dana Richardson, Edward L. Rubin, Hilary Saner, Kathy Taylor, Lauren Thomas, Kathy Weaver
VENUE Whitney Modern Gallery, 24 N. Santa Cruz Avenue, 2nd floor (no elevator), Los Gatos
RECEPTION Saturday, Jul 21, 12:30 - 3:30 PM
ARTIST TALK Saturday Jul 21 starting at 2:30 PM
EXHIBITION July 19 to August 31, 2018
MEMBER SHOWS, WORKSHOPS AND PUBLICATIONS
By Mary Shisler
Julia Edith Rigby,
"Printmaking in Point Reyes," Sept 7 -9, accommodations included at Point Reyes National Seashore, $280 for PRNSA members; $300 non members, How to sign up: http://www.ptreyes.org/camps-classes-programs/field-institute/classes/printmaking-point-reyes-new-date
CORRECTION: In the June’s News, Susan M. King was erroneously listed as the Editor of the upcoming publication, Personal Voices/Cultural Visions: Conversations in the Visual Arts Community, Los Angeles, 1994-1996. The Editor is Ann Isolde,SCWCA Equity in the Arts Chair. Susan M. King is the Senior Copy Editor for this upcoming publication. The publication date is summer, 2018. Southern California Women’s Caucus for Art. ISBN-13: 978-1983721274, ISBN-10: 1983721271.
Studio Gallery 1641 Pacific Ave, San Francisco, Jul 5 – 30. Also Nuestros Santos
,Wonderland SF 1266 Valencia St, San Francisco, Jun 29- Aug 1 (image right column)
Hilla Hueber,Die Neuen der GEDOK (New Members of GEDOK)
BBK-Kunstforum, Birkenstrasse 47, 40233 Düsseldorf
Jul 12 - 22 (image right column)
Chandrika Marla, RISE: Empower, Change and Action!
Whitney Modern, 24 N Santa Cruz Ave. 2nd Floor, Los Gatos
July 18 - August 31 (Image left)
Marian Yap, Fruition: Harvesting Imagination
, Gallery 9, 143 Main St., Los Altos, Aug 28 - Sept 30. Also Patterns
,San Francisco Women Artists Gallery, 647 Irving Street, San Francisco, Jul 10 - Aug 4. Also,Summer Days
, Olive Hyde Gallery, 123 Washington Blvd., Fremont, Jun 22 - Jul 21.
(image right column)
Blond Jenny, Empower, Change and Action
Mague Calanche, RISE: Empower, Change and Action!
, Whitney Modern, 24 N Santa Cruz Avenue, 2nd Floor, Los Gatos, Jul 18 - Aug 31. Also
Loss & Lucidity, Santora Space 205, Sanatoria Building 207 N. Broadway, Santa Ana, Aug 4-18. Also POWER Ts 2018 , Pierogi Gallery , 155 Suffolk St. New York, NY, Aug 7- 10. Also Geumgang Nature Art Biennale, 2018 Video Korean Nature Artists’ Association, Yahoo, 32530, 98 Yeonmisangogae-gil, Useong-myeon, Gongju-si, Chungnam, Korea (image right column)
Whitney Modern, 24 N Santa Cruz Ave. 2nd Floor, Los Gatos
July 18 - August 3 (image right)
Sondra Schwetman, RISE: Empower, Change and Action! Whitney Modern, 24 N Santa Cruz Ave. 2nd Floor, Los Gatos, Jul 18 - Aug 3. (Image right column)
Victoria Veedell, Persistence, Museum of Northern California Art
900 Esplanade, Chico, May 31 - Jul 15. Art in the Lobby, China Basin, 158 Berry Street, San Francisco, May 1 - Aug 30.
J. L. King, Selections, Heron Arts, 7 Heron St. San Francisco, Jul 20 - Aug 4; also Diptychs, Arc Gallery, 1246 Folsom St. San Francisco, Jun 23 - Aug 18. (Image right column)
Priscilla Otani, RISE: Empower, Change and Action!
Whitney Modern, 24 N Santa Cruz Ave. 2nd
Floor, Los Gatos July 18 - August 31; Also Diptychs,
Arc Gallery, 1246 Folsom St, San Francisco, Jun 23 - Aug 18. (Image right column)
Karen Gutgreund and Sherri Cornett
(Gurgreund Cornett Art) Curators, Group, Rise: Empower, Change, Action!, Whitney Modern Gallery, 24 N. Santa Cruz Avenue, 2nd floor (no elevator), Los Gatos, CA, Jul 19 to Aug 31
Soad Kader, Diptychs
, Arc Gallery, 1246 Folsom St, San Francisco, Jun 23 - Aug 18. (Image right column)
Rebecca Lambing, Bay Area Masters, Fine Arts Pavilion, San Mateo, Jun 9 - 17. Also Summer Days, Olive Hyde Gallery, 123 Washington Blvd, Fremont, Jun 22 - Jul 21. (Image right column)
Salma Arastu, Celebration of Ancient Art of Calligraphy, Messages of Peace and REassurance. Musical Bridges Around The World Gallery
23705 Interstate 10 Frontage Rd #101, San Antonio, TX 78257, Apr 6-Aug 21. Also Beyond Words - Three Contemporary Artists and the Manuscript Tradition, The Lambert Gallery at St. Louis Lambert International Airport, May 24-Nov 12.(Image right column)
Sawyer Rose, Make Your Mark, Marin Museum of Contemporary Art, 500 Palm Drive, Novato, Jun 16 - Jul 29.
Priscilla Birge, Small Works
, Richmond Art Center, 2540 Barrett Ave, Richmond, Jun 12 - Aug 16.
Mary B. White
Mary K. Shisler, Berkeley Civic Center Art Exhibition
and Vickie Jo Sowell (non NCWCA member) Collaboration - Public Art, Celebrating the Birthplace of Silicon Valley, 391 San Antonio Road, Mountain View, Unveiling permanent installation Aug 15, 3–5pm (Image left)
Patterns, SFWA Gallery, 647 Irving St., San Francisco, Jul 10-Aug 4. (Image right column)
, 2180 Milvia Street, Berkeley, Dec 2017 - Dec 2018.
Members, get your shows and workshops listed in News & Notes, NCWCA Calendar and on the NCWCA website! Send jpg image of your work in the show and information about the show to firstname.lastname@example.org.
|2018 MEMBERS, WELCOME! THANKS FOR JOINING OR RENEWING IN JUNE/JULY
Welcome new members Suzanne Perkins and Diane Williams. Thanks for renewing, Lainey St Marie!
NCWCA MEMBERSHIP LIMITED TIME OFFER
Take advantage of a special $10.00 NCWCA membership rate and enjoy NCWCA benefits and programs for the rest of 2018. The discounted rate is offered only through September 30, 2018 and is limited to chapter programs and benefits through December 31, 2018. It does not cover National WCA benefits. Select the "Chapter Only 2018" option by clicking HERE
Chapter meetings are on the second Tuesday of the month. Look for agenda and activity details on our webpage.
Let's carpool! Email email@example.com if you need a ride or can offer a ride.
Aug 14 San Francisco
Sept 11 San Mateo
Oct 9 San Francisco
Nov 13 Oakland
December Year-End Party Oakland
Judy Shintani, Pallavi Sharma, Lydia Nakashima Degarrod
WOMEN ARTISTS TO KNOW
To join this Facebook group, go to the Women Artists to Know
page and click Join. A moderator will add you to the group. Share your favorite artists! We have over 1000 participants from all over the US and abroad!
July honors Photography
LaToya Ruby Frazier
January - ceramics
February - literary works, art with text, writings
March - painting
April - eco/land art
May - drawing
June - performance/dance/music
July - photography
August - installation
Sept -political focus/community engagement
Oct - print making
Nov - collage
Dec - sculpture, assemblage
Land Art Day in Pescadero
6 - 9:30 PM Chapter Meeting, Arc Gallery 1246 Folsom St
Paper Jewelry Making with Dorothy Yuki
Land Art Day
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