After 2 months in residence at Project Grow, part of Port City and Albertina Kerr, in Portland Oregon, we will exhibit the work that has been made. We have worked through an improvisational manner to construct, carve and paint multiple sculptures in true collaborative form. The work will be on view after March 10 with a public reception Friday March 10 1-3pm at Port City, Portland.
Pleased to be a part of this upcoming exhibition in Portland OR, curated by Yaelle Amir.
For more information see the website: http://newspacephoto.org/gallery/upcoming-exhibitions/
A Man To Jump Through, Still from video, 2016
March 4-18, 2017
Opening Reception: Saturday, March 4th, 2:00 - 4:00pm
Corner of Haight St and Octavia Blvd, San Francisco
At the corner of Haight St and Octavia Blvd, join us for the opening of “Uneasy Structures”!
This pop-up group exhibition features work by six West Coast artists, Ian Dolton-Thornton, Cara Levine, Bailey Hikawa, Rachel Higgins, Lisa Rybovich Crallé and Emma Spertus. This event will also feature performances throughout the reception.
"Uneasy Structures" is an emergent installation combining a range of large-scale sculpture practices at an outdoor, public space. Through a variety of materials and scale, each of the six artists explore concepts of borders, fences, corporations, networks, and divisions in relationship to public space. Installed within a fenced-in area, this concept becomes even more heightened. With materials ranging from bread to styrofoam to plywood, there is an inherent need to create in our current unstable moment. This emergent and adaptive way of bringing six artists together is a necessary way of utilizing creative thinking moving forward.
“Uneasy Structures” will be on view through Sunday, March 18th.
This exhibition was organized by Emma Spertus and Samantha Reynolds, Art Program Coordinators for Project O.
Project O identifies public spaces in San Francisco to provide emerging and experimental artists with exhibition and residency spaces. By organizing artists and partnering with local art organizations, Project O creates accessible art spaces for the local community and greater Bay Area to enjoy. Bay Area artists experimenting and developing new ideas are at the center of Project O's focus and support.
Happy to announce, a new work made in collaboration with Michael Namkung will be in a show at Shift Space Gallery at Kansas State University.
Michael and I have been making collaborative video work over the last 6 months. This work has dealt primarily with ideas of connection, perceptivity and closeness - but always at a distance. In conceiving this piece, we became interested in locating where the exact middle point between our two locations existed. Lo and behold, it was under 100 miles from the gallery hosting this exhibition. Together, Michael and I conceived of this piece, The View from The Middle which enacts meeting exactly in the middle, only through the bodies of two surrogates from the Kansas State Gallery. The completed work will be on display Feb 24 - Mar 11 2017
Curated by Jesse Allen, Conan Y. Fugit, and A. P. Vague
In conjunction with Alastria Press, Shift Space Gallery is accepting submissions for artwork in any media that can be created at a distance. This exhibition draws from the traditions of mail art, telephone art, and telepresence, and seeks innovative approaches to gallery display. Artists are invited to propose works that utilize long-distance methods of communication such as written instructions, digital/web-based files, teleconferencing performance, or any other method of production from disparate locations. All work will be executed and/or installed by a small team of volunteers based on artist instruction, without the artists present. For this reason, process-based works that focus heavily on endurance and labor are not practical for this project. Alastria Press will produce an exhibition catalog in print that will include artist information and web links in order for viewers to further connect with artists from various parts of the world. All work will be professionally documented and shared online in a permanent web page. Photos and video of the exhibition will be shared with all participating artists.
The Swan is the Self is the Swan is the Self, Still from video, 2016
Read ‘The Edda’ at the Stairs Seyðisfjörður
Posted: February 4th, 2017 ˑ Filled under: Research ˑ Comments Closed
The Edda is the title of two collected Medieval Icelandic folktales, prose and poem written by Snorri Sturluson. I have a large book with the collected stories of these Viking gods illustrated with fine art inspired by these tales. Being here in Iceland, during this dark month, at the close of 2016, I feel compelled to look at how artists have interpreted these myths about creation, day, night, stars, moon, love and war. I want to go deep into the stories and also live in my time. At this end of 2016, can we look back to look forward?
I happened upon these fjord-facing steps a few days ago, then, still covered by ice and snow, and felt compelled to reactivate this once used space. Someone, likely a fisherman, lived in the house that surrounded this site. Seyðisfjörður was one of the first areas to be settled in Iceland – dating back as far as the 10th century. It was inhabited by Norwegian fisherman in the 1850s. Wikipedia tells me the first telegraph sent from Seyðisfjörður to Europe was in 1906. It was also a port for British and American air forces during WWII.
Today, December 28, is my birthday. I stake my claim in this story of time as a person illuminated by what has come before and in preparation for what is to come. I sit against the wind, facing North, toward Greenland and the Arctic Circle, looking ahead. At my desk, this collection of tales and artwork sit before me as one of many history lessons with which I can encircle myself for the year to come.
My two friends came with me to this site, Sean and Leonora. The air was cold and bittered by the wind, but we felt joyous, optimistic, and playful even.
Reception Oct 7th 6-9 pm! Come!!!
TONS OF NEW WORK!!
Resident/performance days: Sept 30-Oct 2, Oct 7-8
Talk, Oct 8.
There is no such thing as being stuck between a rock and a hard place. Life has a way of responding and, inevitably, something always moves. It is just like water finding its way – as if that hard place is secretly a soft one, and at a certain threshold, will surrender, and even, miraculously, make space for something new to emerge. Life wants, unceasingly, to flourish.
This is creativity in action, in trauma, in life, and in art. Artist’s drive themselves into a corner, begin to think they are stuck and somehow, miraculously, maybe in a flash of inspiration, discover a portal through the wall or a way to bend they didn’t know was possible. In so doing, they create more room to take their creative process further. This creative stream flows like river over a stone – casually and constantly reforming the shape of the stone with every pass. In my own work, I am always in search of finding the way to slide into this creative stream.
The work on view here at Krowswork is a meditation on the power of the creative practice to emulate water on stone in healing, softening and accepting capacity. This work is not only a reflection of my own personal story but, hopefully, also serves to draw an understanding of and empathy towards one’s own relationship to pain, burden, power and even death through action, humor, and curious unprejudiced exploration.
Over the past few years, I have developed a process for myself to interact with both objects and landscape intuitively. This practice has manifest through video, performance, sculpture and photography. It is an integration of meditation, movement and art-making, and comes on the heels of the realization that I need to prioritize the unknown. I have found that the more authentically I relate to what I do not know, the more profoundly the work is able to relate to the viewer. I am eager to share in this discovery that artwork can bring forward.
All the work in the gallery was made in July 2016 in Sedona Arizona while on residence at the inaugural Sedona Arts Colony, co-run by The Sedona Art Center and Verde Valley School. I am deeply grateful to have had the opportunity to participate.
I will be performing a new work to inaugurate a new artist project, Camp Colten, as initiated as a C3Initiative endeavor in Portland OR. I am very excited for the opportunity to explore new work on this beautiful site this Sunday Sept 25th 2016.
Documentation will follow.
I am excited to be showing, Hand Gun, a work from 2013 that I made with my dear friend, the experimental film maker, Rob Fatal, in his Solo Exhibition of Collaborations: The Buddy System.
Building Imagination Center at Art Space , Turlock, California
August 22–September 24, 2016
Popocatépetl and Iztaccíhuatl Move To The Valley
THE BUDDY SYSTEM is Bay Area artist Rob Fatal's first major solo exhibition. This retrospective features collaborative video and performance pieces that Fatal has made with other artists over the last 10 years as well as some collaborative work made just for this show.
Opening Reception Aug 20 6-9pm Washington Reid Gallery, Culver City, CA.
Between a Rock and a Soft Place
There is no such thing as being stuck between a rock and a hard place. Life has a way of responding and inevitably, something always gives. It is as if that hard place is secretly a soft one, and at a certain threshold, will give way. And will then make space for something entirely new to emerge. Life wants, unceasingly, to flourish.
This process exists not only in trauma but also in creativity. Artist’s push themselves into a corner, begin to think they are stuck and somehow, miraculously, maybe in a flash of inspiration, discover a portal through the wall or a way to bend they didn’t know was possible. In so doing, they create more room to take their creative process further.
This creative stream flows like a river over a stone – casually and constantly reforming the shape of the stone with every pass. I have worked in the disabled artist’s community for the last 5 years and have witnessed this process again and again. With every evolution, I am inspired. In my own work, I am always in search of finding the way to slide into this creative stream.
Like the work in the gallery, the pieces in the Project Space are about relationship. Over the past few years I have developed a process in which I set up a stage for myself to interact with a series of objects. Some of the objects contain intrinsic personal value while others are found and yet others, constructed. I shoot in both video and photographs a sequence of images in relation to one another as the still-lives evolve. I enter a mind-space of curiosity without judgement. In this space, I am able to explore the objects in relation to one another, often removed from their own story and context. What results are new relationships and new story.
I wanted to include these works alongside those made in the client-artist collaboration as a way to reflect back my own interest in communication, language and the body.
SATURDAY AUGUST 20, 6-9 pm!
A Tale of Two Cities
Last winter, Veronica De Jesus, the Artistic Director at United Cerebral Palsy Los Angeles, UCPLA, invited me to curate a project here. The following spring, together with the art staff, Veronica De Jesus and Aragna Ker, we used the opportunity to create dialogue between artists from disparate art centers in California. For this first iteration, 12 artists from Creative Growth Art Center in Oakland CA, where I had recently left after two years as the ceramics instructor, and nearly the complete group of artists at UCPLA, engaged in 4, 3-hour work sessions. During these sessions they collaborated on drawings depicting their respective cities and interests. The drawings were faxed back and forth and worked on by both groups simultaneously. We used Google Chat as a medium for live collaboration and communication.
The artists were able to make deep connections with one another through both their art practices and live dialogue. They had friends in common, similar (and dissimilar) interests and were all excited to dive deeper with each coming interaction. The spontaneity and fluidity of this collaboration contrasted with ways in which many of them ordinarily work, side by side but on their own respective projects. Overall, I think the artists would agree, the project was a success and they cannot wait to reunite with their new colleague, be it through digital or analog form!
I am honored to be one of the first artists in residence at the Sedona Art Colony this summer.
The Verde Valley School and Sedona Arts Center have partnered to launch a new residency program for artists and cultural managers in Sedona, Arizona. The inaugural Sedona Summer Colony will begin on June 19, when over 125 creative people begin arriving to will inhabit the campus and become part of our high elevation desert community.
"They are musicians, ceramic artists, choreographers, poets, film-makers, organization directors, and documentarians," said Eric Holowacz, Executive Director of Sedona Arts Center who co-founded the program with the Head of Verde Valley School, Paul Amadio. "Our summer guests come representing significant 21st century cultural production—from as far away as Hobart, Tasmania; Helsinki, Finland;Auckland, New Zealand; and Manitoba, Canada. While here, Sedona will be their host and summertime home."
The idea for Sedona Summer Colony was inspired by the original artist retreats, like Yaddo, MacDowell,Hambidge Center, Villa Montalvo in California, and the American Academy in Rome. Those organizations—emerging from the early 20th century—were built upon a strong belief in the power of interdisciplinary associations of artists. They built communities based on the regular gathering of cultural visionaries, the provision of creative resources, and the sharing of meals, excursions, spontaneous interaction, and daily life.
"Our goal is to do something similar in Sedona, and build a 21st century model for the most interesting creative people we can find—without imposing or demanding much from them," said Amadio.
While in residence this summer, visiting artists will be provided with opportunities to explore the unique red rock landscapes, connect with Southwest heritage, engage with our active creative community, and become immersed in Sedona's modern-day sense of place.
"At the very heart of the idea is a guest-host relationship providing time and space—and ready support for the creative process—here in our village-like desert environment," said Amadio. "Sedona Summer Colony residents will also have the simple opportunity to get away from their familiar home routines, and find quiet contemplation and solitude in one of the most beautiful places on Earth."
When asked why build a major new residency program for artists and cultural managers in Sedona, Amadio and Holowacz answer in unison: Because artists and producers are active ingredients in 21st century American culture—they reveal who and what we are, in endlessly magical and challenging ways. What they do, in essence, is advance our humanity. And because Sedona deserves an entity and legacy like the MacDowell Colony in New Hampshire, Aspen Institute, Yaddo in Upstate New York, Hambidge Center in Georgia, and Chautauqua. Those legacies can be cultivated here
The seed for the Sedona Summer Colony was first planted in November 2015 with the first meeting between Holowacz and Amadio. Both had arrived in Sedona a few months before, taking over well-established, but staid organizations. Both came with a vision for change and community-building—and both had boards and trustees that were ready for big ideas.
Holowacz, with a background in festival production, arts facilities, and cultural engineering, proposed the idea of using the vacant summer campus to invite and house creative people from all over the world.Amadio, who also had experience with summer residency programs and an earlier career as a stage performer, saw a ready partnership that would enhance local identity and build new relationships.
"By playing generous host, we saw the opportunity to offer our Sedona Summer Colony residents a life-long relationship with our community and its unique environment," said Holowacz. "If we get it right, they'll go home with new discoveries, unimagined inspiration, and a deeper knowledge of the Verde Valley's undeniable sense of place. That is the underlying spiritual goal and the basis for this partnership."
In early 2016, the two local organizations continued working on the model for the inaugural program, adding volunteers, like local performing arts impresario Winnie Muench and arts management interns, Claire Pearson, Amber Engelmann, and Talya Reynolds. Project manager Carol Holyoake was recruited to join the leadership team in late May, and will oversee campus and residency logistics this summer. Creative people and potential residents were researched, invited and selected from all corners of North America and a few from abroad. And finally, resources and grant funding were put in place this spring to support start-up operations, excursions, and program needs.
"This is a major step for both our organizations, and for the way that the world looks at Sedona," said Holowacz. "We invite our local creative community to join us, contribute in some way, and help Sedona Summer Colony become the next great American artist residency program."
The Sedona Summer Colony Launch Party will begin inviting artists, creative producers, and cultural managers to the 2017 summer program from September 2016. To learn more about this Sedona Arts Center and Verde Valley School partnership, and this new American creative community, contact Eric Holowacz at (928) 487-0887.
OPEN ENGAGEMENT @ OMCA
Commanding Presence: Disabled Artists / Curators on Infiltrating the Social
Gathering together some of the most provocative voices of the Bay Area, our panelists speculate on the role of arts practitioners to record and amplify the experience and concerns of disabled people 25 years after the Americans with Disabilities Act. We will discuss current projects that present creative challenges to mental illness and police violence, race and disability poetics, medical/echnological interventions, and political activism. We are united in the belief that authoring contributions to the cultural and historic record is crucial to empowering people with disabilities. Discussants are documentary filmmaker Regan Brashear, filmmaker/ artist Lisa Ganser, artist/ curator Cara E. Levine, poet/ performance artist Leroy Moore, photographer/ disability rights activist Anthony Tusler, and community activist/ oral historian Alice Wong. Moderated by artist Jennifer Justice. Lecture Hall, Level 1, OMCA
October 30, 2015 - 6:30pm
BARBRO OSHER SCULPTURE GARDEN
In this two part series, artists Cara Levine and Carissa Potter invite you to interact with the museum's exhibitions from a state of re-centered mind-body aptitude and oneness.
Tour will begin at Jame's Turrell's Three Gems located in the Osher Sculpture Garden
Cara Levine is an artist exploring the intersections of the physical, metaphysical, traumatic, and illusionary through sculpture, video, and photography. She is an adjunct professor in Sculpture at UC Berkeley and CCA and has taught at Creative Growth Art Center. She has shown work in various places including the Wattis Center for Contemporary Art in San Francisco, The Orange County Center for Contemporary Art, and The Center for Contemporary Art, Tel Aviv. Levine has been in the healing arts for many years as a yogi and uses hypnotherapy to move her migraines as a chronic migraineur.
Carissa Potter's prints and small-scale objects reflect her hopeless romanticism through their investigations into public and private intimacy. Speaking both humorously and poignantly to the human condition, Carissa's work explores situations we've all experienced at some point in our lives and conveys messages we long to hear. Carissa is a founding member of Colpa Press and founder of People I’ve Loved. Carissa received her MFA in Printmaking from the San Francisco Art Institute in 2010
I am honored to be curating and exhibiting in Indigo Mind.
Indigo Mind is an ambitious group exhibition celebrating the work of neurologist Dr. Oliver Sacks. Opening September 26, 2015 at StoreFrontLab, the project features artists who explore a range of brain and body phenomena examined in Sacks’ research. These works present the influence Sacks has had on our understanding of the human condition in its limitless variation and form.
The title, Indigo Mind, references Sacks’ essay, “Altered States,” in which he describes the mental state of indigo, rare moments of perceiving the truest form of the color. Sacks witnessed indigo only twice in his life, once in 1964 at his home in Los Angeles, and the other, a year later during a Monteverdi concert at the Metropolitan Museum of Art. He describes indigo as “luminous” and “numinous,” filling him with a sense of “rapture.” Indigo Mind relates this elevated state of mind to that of the artist’s process—clarity, inspiration, and pure creative bliss.
Indigo Mind regards the idiosyncrasies of the body and mind as a pathway to creativity. The Unknown and the Other, to which Sacks has dedicated his life’s work, are deeply valued for their neuro- and physiological diversity; the unique qualities of being human that enables us to discover new ground.
Adrienne Adar, Sherrie Aradanas, Miguel Arzabe, AXIS Dance, Alexandra Bell, Michelle Blade, Rebeca Bollinger, Alice Bonczkowski, Terri Bowden, Lisa Bufano, Casey Byrnes, Amy Cranch, James Davis, Gina Demerell, Arianne Gelardin, Sonsheree Giles, Emilie Gossiaux, Casey Gray, Lauren Hartman, Kathleen Henderson, Desiree Holman, Jennifer Justice, Lynn Kirby, Petra Kuppers and Olimpias, Cara Levine, Neil Marcus, Paulino Martin, Anna Mayer, Jacob Palmer, David Parsons, Carlos Perez, James Pitt, Carissa Potter, Rowland Ricketts, Ali Nashke-Messing, Tamra Seal, Katherine Sherwood, Cassie Thornton, Valerie Tribble, William Tyler, Monica Valentine, Merrit Wallace
Alice Wong, Disability Visibility Project (a community partnership with StoryCorps); Amy Cranch, Anna Halprin's Advanced Performance Lab; Case for Making; Creative Growth Art Center; Disability Unity Festival at San Francisco City Hall; Susan Schwartzenberg, Senior Artist and Curator, Exploratorium
Cara Levine is an artist in the Bay Area. She explores the intersections of the physical, metaphysical, traumatic and illusionary through video, photography and sculpture. She has worked for years through ideas around chronic pain and the body—though it has been in the last year—while coming into her adult body as a chronic migraineur, that her understanding of pain, perceptual experience and creativity has formally merged.
Arianne Gelardin is a San Francisco-based artist and curator. She works to dress the mundane with colorful moments and thoughtful interruptions, breaking us free from habitual attitudes and auto-responses. Arianne is Curator at StoreFrontLab, a space for ideas and dialogue that prompts participants to push beyond the bounds of their practice in order to develop an expanded and unexpected view of reality—one that informs our work as creators and shapers of society.
I will be an artist in residence at SIM in Reykjavik Iceland for the month of May 2015