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Charles Ross

Charles Ross Artist Portrait

Charles Ross (b. 1937, Philadelphia, PA) graduated from the University of California, Berkeley with a B.A. in Mathematics in 1960 and received an M.A. in Fine Arts there in 1962. He has dedicated his life and career to making art that responds conceptually to the effects of light, time, mathematical structures, and the formal and visual potential of phenomena. In 1971 Ross began working on a monumental earthwork titled Star Axis. Located in New Mexico, Star Axis is an architectonic earth/star sculpture constructed with the geometry of the stars. Ross is a 2011 Guggenheim Fellow and recipient of the Andy Warhol Foundation Grant (1999). His works reside in the permanent collections of numerous institutions internationally including the Centre Georges Pompidou, Paris, France; the Walker Art Center, Minneapolis, Minnesota; and the Whitney Museum of American Art, New York, NY. Most recently, Ross’ work has been shown at the Museum of Contemporary Art, Los Angeles, CA; Reina Sofia Museum, Madrid, Spain; Ludwig Museum Koblenz, Germany; Palazzo Fortuny, Venice, Italy; and Los Angeles County Museum of Art, Los Angeles, CA, as part of the Los Angeles to New York: The Dwan Gallery, 1959 - 1971 exhibition. An installation by Ross will be included in Lumen: The Art and Science of Light at the Getty Center, Los Angeles from September 10–December 8, 2024. Charles Ross is represented by Franklin Parrasch Gallery in New York, NY and Parrasch Heijnen in Los Angeles, CA.

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2024
Straus, Michael. “Charles Ross and Michael Straus.” Brooklyn Rail. September, 2024.

2021
Beachy-Quick, Dan. “Cosmic Dancer.” Artforum. October 28, 2021.

2020
Rizzo, Angie. “Holy Architecture for Earthy Devotion,” Hyperallergic, 28 January 2020.
Beachy-Quick, Dan. “ Charles Ross.” Artforum, December Issue, Print.
Hass, Nancy. “A Land Art Pioneer Adventures in Time and Space.” T: The New York Times Style Magazine, July 21, 2020.

2018
Rawlins, Jarrod. "Interview With Charles Ross.” MoNA (museum of old and new art) blog, May 31, 2018
Hass, Nancy. “What Happens When a Single Art Project Becomes a Decades-Long Obsession.” T: The New York Times Style Magazine, September 18, 2018.

2013
Davidson, Justin. “Artists Race Mortality with Eternal Monuments in Desert,” Bloomberg, 11 September 2013.

2012
Kaiser, Phillipp, and Kwon Miwon. “Ends of the Earth: Art of the Land to 1974” (Prestel: New York and London) for MOCA, Los Angeles. 2012.

2011
Reifenscheld, Beate, ed. “Die Letzte Freiheit / The Last Freedom: From the Pioneers of Land Art in the 1960s to Nature in Cyberspace.” (silvana editoriale: milano) for Ludwig Museum, Deutscherrenhaus, Koblenz. 2011.
Smith, Terry.  Contemporary Art: World Currents (London: Laurence King (lkp), and Pearson Prentice-Hall) 2011.

2010
Didi-Huberman, Georges.  Atlas. Madrid: Museo Nacional Centro De Arte Reina Sofía, 2010.

2009
König, Kasper, Barbara Engelbach, Friederike Wappler, Hans Winkler, Looking for Mushrooms: Beat Poets, Hippies, Funk, Minimal Art, San Francisco 1955-1968, (catalogue.) (Walther König: Köln) 2009. 154.
Harmon, Katherine. The Map as Art: Contemporary Artists Explore Cartography. New York: Princeton Arch. press, 2009.

2008
Lambert-Beatty, Carrie. “Being Watched, Yvonne Rainer and the 1960's.” Boston: MIT Press, 2008. 62,63,84.

2007
Lailach, Michael. Land Art, (taschen) 2007.
Tufnell, Ben. Land Art, (London: Tate Publishing) 2007.
Dempsey, Amy. Destination Art.  Berkeley, Los Angeles: UC Press; London: Thames and Hudson, 2006. 92-95.

2006
Rainer, Yvonne. “Feelings Are Facts: A Life.” Cambridge, London: MIT Press, 2006. 225, 244.
Weintraub, Linda with Skip Schuckmann. “Cycle-Logical Art: Recycling Matters for Eco-Art.” Artnow Publications:  Rhinebeck, NY, 2006. 87-93.
Roman, Mathilde. A Propos de Charles Ross – Entretein Avec Loïc Malle. lacritique.org, March 25, 2006
Ross, Charles. “Conversation with Anna Halprin,” October, 2006. video.
Malle. Loïc. “Conversation with Charles Ross,” July, 2006. video.

2005
Photo Essay, “Starry Starry Night.” Architectural Record, October, 2005. 102-109.
Carver, Jon, “Timeline 2005: Charles Ross’ Star Axis.” Art Papers, July / August 2005. 28-33.

2004
Khan, Yasmin, “Graced by Rainbows.” Santa Fe New Mexican, September 17, 2004, b-1, b-4
Boettger, Suzaan. “Behind the Earth Movers.” Art in America, April, 2004. 54-63.
Kostelanetz, Richard. “Soho, the Rise and Fall of an American Artist's Colony, London, New York: Routledge, 2003.171-174.

2002
Christen, Markus.  “Star Axis – Ein Monument der Kosmischen Geometrie.” Kunst+Stein, December 6, 2002. 11-15.
Karlin, Susan. “A Sculptor Works Up an Exposé of the Stars’ Secrets.” The New York Times, Arts & Leisure, Sunday November 3, 2002; 21,28.
Kelly, James. The Sculptural Idea. 4th Edition. Waveland Press: lon grove, il 2002. Star Axis on cover.

2000
Martin, Jean-Hubert. Le Chateau d’Oiron et Son Cabinet de Curiosités.  Paris: éditions du Patrimoine, 2000, 170-173.
Malle, Loïc.  Transparence et Transcendance, in Architectures de Lumiére, eds. Anne-Marie Charbonneaux and Norbert Hillaire. Marvel, 2000. 180-183.
Warr, Tracey.  Roden Crater. Contemporary Visual Arts, issue 30, 2000. Star Axis, pg.45.
Fehrenkamp, Ariane. Saitama Prefectural U. Sculpture, April 2000, vol. 19, no. 3, pg. 17.
Ware, Tricia.  Edward Ranney: Photo-Eye Gallery, Santa Fe, Santa Fean, Nov-Dec 2000, pg. 55, 88.
Edward Ranney Photographs from the Star Axis Project, The, November 2000, pg. 34 photo.

1999
Linton, Harold. Color in Architecture. Mcgraw-Hill, 1999, 169-173.
Tanaka, Yukito.  Introducing Artwork Into the University, Kenchiku Bunka, Vol. 54, No. 633, July, 1999.
Doherty, Brenda. “Star Axis,” New Mexico Magazine (Feb 1999) 40-41. color photos.

1997
Bensley, Lis.  “The 48,” The Santa Fe New Mexican, Pasatiempo, June 27- July 3, 1997.
Light Sanctuary, Art in America, April 1997, color photos , 31.

1996
Adlmann, Jan. Contemporary New Mexico Artists: Sketches & Schemas. Craftsman House: Australia, 1996.
Sieglaub, Seth, ed. Charles Ross,  Artpress Spécial: 69/96, Avant-Gardes et Fin de Siecle; 75 Artists Reconent Leur Parcours, Hors-Série Numéro 17, 1996.
Rivera, Ray. Let There Be Light, Santa Fe New Mexican, Sunday, June 2, 1996.

1995
Vine, Richard. Charles Ross at Humphrey, Art in America, September 1995.
Oakes, Baile.  Sculpting With the Environment, International Thomson Pub., inc., London, 1995.
Tiberghien, Giles. Princeton Architectural Press, Princeton, 1995.


1994
Nanjo, Fumino. Art in the Workplace, SD Monthly Journal of Art and Architecture, June 1994.
Sayre, Henry M. A World of Art, Prentice Hall inc., Englewood, NJ, 1994.

1993
Tiberghien, Giles. Land Art, C. Editions Carre, Paris, 1993
Werkner, Patrick. Star Axis, Diadelos, June 1993; 40-45.

1992
Bizot, Jean Francoise. Le Reenchantement de L'Amerique, actuel, April 1992.
Toikka, Koonnut Antero.  Aavikkotaidetta, Taide, April 1992.
Werkner, Patrick. Land Art USA, C. Prestel-Verlag Munich 1992; 123-130.
Conwell, Douglas.  Celestial Artwork, New Mexico Magazine, March 1992.

1991
Plevin, Nancy. Earthwork' Aspires to Connect Man to Heavens, (A.P. Wire). Los Angeles Times, Nov.10, 1991.
Munro, Eleanor. Light Revealed, Metropolis, April 1991; 38-41, 54.
Ellis, Simone. Star Axis, Pasatiempo (The New Mexican), Feb.1, 1991.

1988
Serra 15,  Point Source Star Space, August/September, 1990. (Italy).
Squibline (cover), Fall, 1988.
Saad-Cook, Janet.  with Charles Ross, Nancy Holt, and James Turell: Touching the Sky: Artworks Using Natural Phenomena, Earth, Sky, and Connections to Astronomy, Leonardo, Vol. 21-2, spring 1988, photo.

1987
Gerster, George. Gestures and Creations: Productions and Positions of American Earth Art, Wochenende Neue Zurther Zeigtung, May 9-10, 1987.
Wilson, Malin. Walking Through Rainbows: A New Trip at the San Francisco Airport." San Francisco Examiner, 5-10-87.

1986
Munro, Eleanor. “Art in the Desert.” The New York Times, Sunday, December 7, 1986.
Harper, Hilliard. “New Wells Fargo Sculpture Connects Light and Stars.” Los Angeles Times, May 2, 1986.
Brenson, Michael.  “The Lure of the Landscape.” The New York Times, March 9, 1986.

1985
Ross, Charles. “Star Axis.” Whole Earth Review, Winter 1985.
Linton, Harold.  “Color Model Environments.” Van Nostrand Reinhold Co., NY, 1985.
Ranney, Edward.  Western Spaces: Excavation the Present. Aperture, Spring 1985.
Reid, Dixie. “Stairway to the Stars.” Albuquerque Journal Magazine, Impact, February 5, 1985.
Capasso, Nicholas. “Environmental Art: Strategies for Reorientation in Nature.” arts, january 1985.

1983
Lippard, Lucy. “Overlay: Contemporary Art and the Art of Prehistory.” Pantheon, NY, 1983.
Mcdevitt, Lorelei Heller. “Bringing Light Into Focus.” Designers West, October 1983.
Sky Art Conference '83, (catalogue), Massachusetts Institute of Technology, Cambridge, MA, Sept., 1983.9, 29, 90.

1982
Sakane, Itsuo. “World of Expanding Images - Sanctuary Where the Earth Meets the Sky.” Asahi Shimbun, 9-9-82.

1981
Wilson, Malin. “Santa Fe: Charles Ross at Heydt/Bair.” Artlines, July 1982.
For Spacious Skies, (catalogue), M.I.T., Cambridge, Massachusetts,1981.
Chafee, Katherine Smith. Charles Ross, Artspace, Fall 1981, pp..24-27.
Mid-August 1981; 60-61. Color Photos. (cover).
Sakane, Itsuo. Cosmic Art, Asahi Shimbun, Tokyo, March 27,1981.

1980
Sofaer, Anna. “Sunlight Convergence/Solar Burn.” Archaeoastronomy, Winter, 1980.
Clurman, Irene. “Catch a Rainbow at Spectrum.” Rocky Mountain News, Denver, CO, October 26, 1980; 17.

1979
Keefe, Jeffrey.  Artforum, May 1979.
Thalacker, Donald. “The Place of Art in the World of Architecture.” Chelsea House/r.r. Bowker, 1979.

1978
Kuspit, Donald W. “Charles Ross: Light's Measure.” Art in America, March/April 1978.

1977
”A Major Move for Earthwork Art.” San Francisco Examiner, October 28, 1977.
Forgey, Benjamin. “Hirshhorn Gives Us a Glimpse of Faraway Earth Art.” Washington Star, Oct. 30, 1977.
Lewis, Joanne. The Landscape of Art for the '70's.” Washington Post, October 30,1977.
Larson, Kay. “New Landscapes in Art.” New York Times Magazine, May 13,1979.
Horvitz, Robert and Charles Ross. “co-evolution quarterly, winter, 1977-1978; 104-107. photo & illus.
Probing the Earth: Contemporary Land Projects. (catalogue) Hirshhorn Museum, 1977, intro. john beardsley, star axis.
Shapiro, David and Lindsay Stamm. “Charles Ross.” Arts Magazine, June 1977.

1976
Ross, Charles. “Sunlight Convergence/Solar Burn.” University of Utah Press, Salt Lake City, Utah, 1976.
The Substance of Light: Sunlight Dispersion, The Solar Burns, Point Source/Star Space, (catalogue), La Jolla Museum of Contemporary Art, La Jolla, CA, 1976. Introduction by Susan Tower, essay by Steve Katz.

1973
Ross, Charles. “Solar Burns/Sunlight Convergence.” Arts Magazine, December/January 1973; 48-50, cover.

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Ellen Siebers

 

Ellen Siebers (b. 1986, Madison, WI) is a painter based in Hudson, NY. She received her BFA from the University of Wisconsin-Madison in 2008 and her MFA from the University of Iowa in 2012. Siebers was awarded the Elizabeth Greenshields Grant (2023), Vermont Studio Center Grant (2014), the University of Iowa Quarter-time Teaching Assistantship (2009-12), the Iowa Quarter-time Fellowship (2009), and the Mildred Pelzer Lynch Fellowship (2011-12). Her recent solo and group exhibitions include: parrasch heijnen (Los Angeles, CA); The Approach (London, UK); Dans les yeux D’Elsa (Paris, FR); Harper’s Gallery (East Hampton, NY); MARCH (New York, NY), among others. parrasch heijnen held the gallery’s first solo exhibition of Siebers’ work entitled dream song, in 2023. Ellen Siebers is represented by parrasch heijnen.

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Sylvia Snowden

Sylvia Snowden Artist Portrait

Sylvia Snowden (b. 1942, Raleigh, N.C.) holds both Bachelor of Arts and Master of Arts degrees from Howard University (Washington, D.C.). She received a scholarship to Skowhegan School of Painting and Sculpture (Skowhegan, ME), and has a certificate from Académie de la Grande Chaumière (Paris, France). Snowden has taught at Cornell University (Ithaca, NY), Howard University (Washington, D.C.), and Yale University (New Haven, CT), and has served as an artist-in-residence, a panelist, visiting artist, lecturer/instructor, and curator in universities, galleries, and art schools in the United States and internationally. In 2018, Snowden’s work was notably featured in the landmark exhibition Magnetic Fields: Expanding American Abstraction, 1960-Today at the National Museum for Women in the Arts (Washington, D.C.) alongside fellow Howard University alumnae Mildred Thompson, Alma Thomas, and Mary Louise Lovelace. Snowden has also exhibited at the National Gallery of Art, Washington, D.C.; the Corcoran Gallery of Art, Washington, D.C.; Montclair Art Museum, Montclair, NJ; Baltimore Museum of Art, Baltimore, MD; Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; The Phillips Collection, Washington, D.C.; Heckscher Museum of Art, Huntington, NY; and the National Archives for Black Women's History (NABWH) of the Mary McLeod Bethune Council House National Historic Site (MAMC), Washington, D.C.. Her works have been shown globally in Chile, the Netherlands, Ethiopia, Australia, the Bahamas, France, Mexico, Italy and Japan.

Her first solo exhibition with the gallery, Sylvia Snowden: Select Works, 1966 -2020, took place in 2021.

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2023
Bradley, Joe. “Sylvia Snowden by Joe Bradley.” BOMB, October 2023.
Fullerton, Elizabeth. “Expressionist painter Sylvia Snowden: ‘White people will show some Black art ... then it wears off’.” The Guardian, September 2023.
Smith, Laura. “Sylvia Snowden: M Street on White.” Edel Assanti, September 2023.
Jensen, Charlotte. “Retelling the Story of Abstract Expressionism Through Women Artists.” The New York Times, March 2023.

2022
Sutton, Benjamin. “Rubell Museum DC opens in former school, with a mission to champion ‘the unique role of artists as teachers’.” The Art Newspaper, October 28, 2022.
Hudson, Suzanne. “Sylvia Snowden.” Artforum, March 2022.
Drucker, Johanna. “Alive with Potent Energy: The Work of Sylvia Snowden.” Los Angeles Review of Books, February 27, 2022.
Belmont, Sarah. “From the Pompidou to Frieze, Curator Camille Morineau Is Bringing Forgotten Female Artists to Light.” ARTnews, October, 2022.

2006
“Venus of M Street,” Art News, September 2006, Volume 105/Number 8, page 75.
“Venus of M Street,” Art in America, September 2006, page 74.

2005
Cohen, Jean Lawlor. “Sylvia Snowden,” Art News, Volume 104/Number 11, December 2005.

2000
O’Sullivan, Michael. “Life and Death and Malik,” The Washington Post, Weekend, September 1, 2000.
Shaw-Eagles, Joannna. “Images of Shattered Youth,” The Washington Times, August 26, 2000.
Barrows, Davis Barrrows, “A Moving Tribute to a Son,” The Intowner, September 2000.
“Sylvia Snowden: Malik, Farewell Til We Meet Again,” The New York Times, Datebook, September 1, 2000.
Lyden, Jacki Lyden, “Weekend – All Things Considered,” National Public Radio, September 16, 2000.
“Sylvia Snowden, Works at the Corcoran Gallery of Art,” WETA, Around Town 1601, October 12, 2000.

1997
Black Art and Culture in the 20th Century, Richard J. Powell, Thames and Hudson, Inc., New York, NY, 1997.
D.C. Area Artists ’97, The Lab School of Washington, Washington, D.C.

1996
Barrows, David. “Art and Artists: Sylvia Snowden,” The Intowner, Volume 28/Number 4, Washington, DC 1996.

1995
The Washington Post, Lee Fleming, “Sylvia Snowden at Addison/Ripley Gallery,” March 18, 1995.
City Paper, Mike Givliano, “Blacks and Abstract,” February 22, 1995.
Leslie King-Hammond, et al, Gumbo Ya-Ya: Anthology of Contemporary African-American Women Artist (New York; Mid-March Arts Press, 1995) pp 269-270.

1994
The Washington Post, Elizabeth Kastor, “Finding Her Muse In Malik,” April 17, 1994, 117th year, No. 133.

1993
The Washington Post, Dorothy Gilliam, “Finding Ways to Stem This Violent Tide,” July 10, 1993, 116th year.
Washington Review, Michael Clark, “Sylvia Snowden, National Museum of Women in the Arts; Sylvia Snowden: Abstract Paintings, Zenith Gallery,” June/July 1993, Volume XIX, Number 1.

1992
The Washington Post, Mary McCoy, “Art: Painter Sylvia Snowden’s Visceral Expressionism,” December 26, 1992, 115th year.
Panelist, “The Memory of the Legacy”—James A. Partner, Art and Art Historian, Howard University Gallery of Art, Washington, D.C., Tritobia H. Benjamin, November 13, 1992.
“Visions of 1993,” Contributing Artist, Video, Colgate, Palmolive, Stromberg Center, New York, April 1992.
George Howell, “Sylvia Snowden,” Eye Wash, December 1992.
The Washington Post, Mary McCoy, “High-Energy Expressionism,” May 30, 1992, 115th year, Number 117.
Washington City Paper, Rex Weil, “True Colors: Sylvia Snowden, New Abstractions,” May 22-28, 1992, Volume 12/Number 21.

1991
American Art, National Museum of American Art, Smithsonian Institution, Judith Wilson, “Optical Illusion: Images of Miscegenation in Nineteenth and Twentieth-Century American Art,” Oxford University Press, Summer 1991, Volume S, Number 3.
College Art Association, Judith Wilson, “Sex, Race, and Gender” – Paper, Washington, DC, 1991.

1990
The Washington Post, Michael Welzenbach, “Debut With A Difference,” September 22, 1990.
City Paper, Alice Thorson, “Art and Conscience,” September, 1990, Volume 10/Number 39.
Colorado Daily, David Alan, “Artist Sylvia Snowden,” November, 1990, Volume 98/Number 47.

1989
Limburrqs Dagblad, T.S. Vallinga, “Sylvia Snowden bij Ipomal”, Zaterdag, November 4, 1989.
Smithsonian Institution – Traveling Exhibition, “African American Artists 1880-1887 – Selections from Evan Tibbs Collection,” University of Washington Press – Seattle and London, 1989.

1988
New Art Examiner, Alice Thorson, “Sylvia Snowden Engaging Expressionism”, October 1988, Volume 16/Number 2.
Washington Review, Sheila Rotner, “Sylvia Snowden: Painting on Paper,” June/July 1988, Volume XIV/Number 1.

1987
The Washington Post, Henry Allen, “Acrylic Avalanche,” November 14, 1987.
The Washington Times, Alice Thorson, “Two Approaches to the Group Show,” July 30, 1987.
The Washington Times, Alice Thorson, “Separate but More Than Equal,” January 29, 1987.
Thorson, Alice. “Snowden, an artist city should be proud of.” The Washington Post: Arts and Entertainment, November 1987.

1986
The Washington Post, Elizabeth Lazarus, “The Experience Exhibited”, August 1986.
New Art Examiner, J.W. Mahoney, “Sylvia Snowden,” January 1986.

1985
Washington Review, Mary McCoy, ‘Sylvia Snowden: Painting and Works on Paper,” December 1985.
V.A.C. “Sylvia Snowden.” The Nation, 1985.

1979
The Washington Afro-American, Charles Farrow, “Curtain Call”, March 3, 1979.
The Washington Post, Jo Ann Lewis, “Arts As A Statement,” March 3, 1979.
The Washington Star, Benjamin Forgey, “Galleries: High Voltage Intensity in Paintings from the Inner City,” Sunday, May 4, 1979.
Voice of America, Arlene Stern, Washington, DC

1974
Sylvia Snowden, A Black American Female Painter, University of Sydney Australia Press.

1971
Resource Guide to the Visual Arts of Afro-Americans, South Indiana, 1971.

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Joan Snyder

Joan Snyder Artist Portrait

Joan Snyder’s (b. 1940, Highland Park, NJ) esteemed career spans more than fifty years, through which she has continuously invented and expanded upon her singular technical and material vocabulary within painting. This approach has resulted in a unique, recognizable voice that is visually expressed, and that evokes a personal emotive impact. Beginning in the late 1960s and early 1970s with the artist’s Stroke paintings – widely regarded as an essential counterpoint to the male-dominated Minimalist genre of the time – Snyder has rooted her practice in a deeply feminist area. Snyder unabashedly mines personal and collective experiences, and regularly employs varied techniques and nonconventional materials, which has culminated in a career most often recognized for its fiercely individual, intimate approach.

In her essential essay on Snyder’s early work titled “The Anatomy of a Stroke,” the late scholar Marcia Tucker writes: “Snyder’s dictum of ‘more, not less,’ the welter of visual contradiction in her work, her continued concern with making impossibilities exist in the same frame of reference, all amount to a pictorial reality which shares, in its richness, the reality of our own experience, and cannot be fully comprehended outside that context.”

Snyder has exhibited widely with early works included in the 1973 and 1981 Whitney Biennials and the 1975 Corcoran Biennial. In 2006, her work was the subject of a major solo and traveling exhibition Joan Snyder: A Painting Survey, 1969-2005 originating at The Jewish Museum, New York. She has participated in numerous group exhibitions, most notably included in WACK! Art and the Feminist Revolution, MOCA, Los Angeles (2006-2008); Painting 2.0: Expression in the Information Age, curated by Achim Hochdörfer, Brandhorst Museum, Munich, and mumok, Vienna (2016); Art After Stonewall: 1969-1989, Leslie Lohman Museum of Art, New York (2019-2020); Out of Place: A Feminist Look at the Collection, Brooklyn Museum (2020); and Epic Abstraction: Pollock to Herrera, The Metropolitan Museum of Art (2018-2020).

Snyder is the recipient of an American Academy of Arts and Letters Award in Art (2016), a MacArthur Foundation Fellowship (2007), a John Simon Guggenheim Memorial Fellowship (1983), and a National Endowment of the Arts Fellowship (1974). Her paintings reside in the following permanent collections: Art Institute of Chicago, IL; Brooklyn Museum, NY; Dallas Museum of Art, TX; The Jewish Museum, NY; The Metropolitan Museum of Art, NY; Museum of Fine Arts, Boston, MA; The Museum of Modern Art, NY; National Gallery of Art, Washington, D.C.; National Museum of Women in the Arts, Washington, D.C.; San Francisco Museum of Modern Art, CA; and Tate Modern, London, UK; among others.

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Joan Snyder Exhibition The Summer Becomes A Room in New York, New York

The Summer Becomes A Room, Canada, New York, NY
September 2 - October 10, 2020

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2023
Avgikos, Jan. “Painting in New York 1971-83.” Artforum, January, 2023.

2022
Kuspit, Donald. “Joan Snyder.” Artforum, print. October 2022.
Soboleva, Ksenia. “Painting in New York 1971-83.” The Brooklyn Rail, October, 2022.
Kleetblatt, Norman. “Joan Snyder: To Become a Painting.” The Brooklyn Rail, Jul-Aug., 2022.
“Pioneering Woman Artists at Frieze New York 2022.” Frieze, April, 2022.

2020
Andrew, Jason. “Joan Snyder: Painting from the inside out.” Two Coats of Paint, September 18, 2020.
Syej, Nadja. “Out of place: the exhibition shining a light on under-seen female artists.” The Guardian, January 21, 2020.

2019
Budick, Ariella. “Art After Stonewall - Exhilarating New York Exhibition Charts the Fight for Gay Rights.” Financial Times, May 8, 2019.
Sherwin, Skye. “Joan Snyder’s Proserpina: a Cycle of Death and Renewal” The Guardian, April 5th, 2019.
Wilkin, Karen. “‘Epic Abstraction’ Review: High Expectations and Trepidations.” The Wall Street Journal, January 12, 2019.

2018
Smith, Roberta, “At the Met Museum, an Abstract Show That Falls Short of Epic.” The New York Times, December 20, 2018.
Cohen, David. “Featured Item from THE LIST: Joan Snyder at Anders Wahlstedt.” Artcritical, December 18th, 2018.
Snyder-Fink, Molly. “My Mother’s Altar: Joan Snyder Paints to Face Herself.” Woman’s Art Journal, Fall/Winter 2018.
”Joan Snyder: The Female Presence.” Two Coats of Paint. May 16, 2018.
Black, Ezrha Jean. “Artillery Best in Show 2017.” Artillery, January 2nd, 2018.

2016
Griffin, Jonathan. “Joan Snyder, Womansong.” ArtReview, Summer Issue, 2016, pg. 141.
Wagley, Catherine. “5 Art Shows to See in L.A. This Week.” LA Weekly, June 1, 2016.
Pagel, David. “Review: Discoveries at Every Turn in Joan Snyder Paintings at Parrasch Heijnen.” Los Angeles Times, May 11, 2016.
“Q&A: Joan Snyder.” Flaunt. May 2016.
“Must See Los Angeles.” Artforum, May 11, 2016.
Scher, Robin. “The American Academy of Arts and Letters Announce Winners of Awards in Art.” Artforum, 23 March 2016.

2014
Manes, Cara. “Speaking with Joan Snyder About Sweet Cathy’s Song.” MoMA Inside Out, May 8, 2014.

2011
Esplund, Lance. “Lady of the Wild Things.” The Wall Street Journal, April 27, 2011.
Schwendener, Martha. “The Consciousness of a Feminist Expressionist.” The New York Times, May 14, 2011.
Cotter, Holland. "The Jewel Thief" at the Tang Museum, The New York Times, January 2011.
McQuaid, Cate. “Life reflected in rage, grief, gratitude.” The Boston Globe, 25 October 2011.

2010
Frederick, Jeff. “Joan Snyder at Betty Cunningham.” Art in America, November 10, 2010, pp. 176- 177.
Smith, Roberta. “A Year in the Painting Life.” The New York Times, Art in Review, October 1, 2010, p. C28.
Rosenberg, Karen. “A Raucous Reflection on Identity: Jewish and Feminine” The New York Times, September 10, 2010, p. C26.

1989
Muchnic, Suzanne. “ART REVIEW: Two Views of the ‘Revival’ of the Abstract.” Los Angeles Times, 24 January 1989.

1986
Henry, Gerrit. “Joan Snyder: True Grit.” Art in America 74, no. 2, February 1986, pp. 96-101.

1979
Joan Snyder, San Francisco Art Institute, San Francisco, CA. Catalogue

1971
Tucker, Marcia. “Anatomy of a Stroke: Recent Paintings by Joan Snyder.” Artforum, May 1971.

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Emma Soucek

Emma Soucek Artist Portrait
 

Emma Soucek (b. 1996, Long Beach, CA) lives and works in New York. The textural interplay of her painting comes in the form of pinched, spread, and pleated pigmented paper pulp. Soucek received her B.F.A. from the Rhode Island School of Design in 2018. She has taught workshops to New York schoolchildren through the New York-based non-profit Wide Rainbow. Soucek’s work was featured in a solo presentation at NADA Miami 2019 (Safe Gallery, Brooklyn, NY) and has been included in two-person and group exhibitions at: Safe Gallery, Brooklyn, NY; Loyal Gallery, Stockholm, SW; Marinaro, New York, NY; At Peace Gallery, Brooklyn, NY; Jenkins Johnson Gallery, Brooklyn, NY; and CANADA, New York, NY.

Soucek is represented by Parrasch Heijnen.

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Emma Soucek Exhibition The Thick Stream in New York, New York

The Thick Stream, Canada Gallery, New York, NY
July 9 - August 6, 2021

Celestial Songs. Venus Over Manhattan. June 20 – July 26, 2024

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Maya Stovall

MayaStovall_Portrait
 

Maya Stovall (b. 1982, Detroit, MI) lives and works in Los Angeles. Stovall is Assistant Professor in Liberal Studies at California State Polytechnic University, Pomona.  She received a Ph.D. in Anthropology from Wayne State University, Detroit, MI, an MBA from The University of Chicago Booth School of Business, and a BBA from Howard University, Washington, D.C.

Stovall’s work has been exhibited in solo and group exhibitions including: The Whitney Biennial 2017, Whitney Museum of American Art (New York, NY); Atlanta Contemporary Art Center (Atlanta, GA); Museum of Contemporary Art Canada (Toronto, CA); The Studio Museum in Harlem (New York, NY); Newbridge Projects (Newcastle upon Tyne, UK); Contemporary Art Museum (St. Louis, MO); Cranbrook Art Museum (Detroit, MI); Maryland Institute College of Art (Baltimore, MD); AKA Artist Run (Saskatoon, CA); Jessica Silverman Gallery (San Francisco, CA); Reyes | Finn Gallery (Detroit, MI); Library Street Collective (Detroit, MI); and POP Montréal (Montreal, CA). She was an artist in residence in Aarhus, Denmark, and Saskatoon, Saskatchewan, Canada.

Stovall’s work resides in permanent collections including: Cranbrook Art Museum, (Detroit, MI); Kalamazoo Art Institute (Kalamazoo, MI); Los Angeles County Museum of Art (Los Angeles, CA); The Studio Museum in Harlem (Harlem, NY) and Whitney Museum of American Art (New York, NY). Her book, Liquor Store Theatre (Duke University Press, 2020) takes readers behind the scenes of the six-year-running video project of the same name in her hometown of Detroit. Stovall is represented by parrasch heijnen, Los Angeles.

Stovall’s first exhibition with the gallery, A something = x.

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Maya Stovall Exhibition Machine in Detroit, Michigan

Maya Stovall: Machine, Reyes | Finn, Detroit, MI
September 13 - October 26, 2019

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2022
Boshier, Rosa. “Redefining Anthropology as a Site of Creativity.” Hyperallergic, March, 2022.
“Maya Stovall: Razón / Reason.” The Blaffer Art Museum, February, 2022.

2021   
Huzenis, Ella. “Dances for the Death of Anthropology: Maya Stovall’s “Liquor Store Theatre”.” Interview Magazine. January 12, 2021.
“2021 AHAN: Studio Forum Acquisitions.” Unframed, August, 2021.
Loos, Ted. “An Art Fair Meets a Pent-Up Demand.” The New York Times, November, 2021.

2020   
Stovall, Maya. “A Retelling of American History–in Neon.” The New York Times Style Magazine. July 20, 2020.
Bucknell, Alice. “Interview: Artist-Anthropologist Maya Stovall on Detroit Urbanis, and Liquor Store Theatre.” Pin-Up. 2020.
Kaptownwala, Nafisa. “Artist Maya Stovall Talks Exploring Detroit and Other Cities Through Her Work.” Vice. 2020.
Harrison, Will. “Maya Stovall Illuminates Black American Regional Histories.” Frieze, 1 December 2020.

2019
Mitter, Siddartha. “Detroit’s Artistic Renaissance: Meet the Creatives Leading the Way.” W Magazine, November, 2019.

2018
“Artist engages passers-by and customers outside Detroit liquor stores.” Michigan Radio | NPR. February 15, 2018.
Hodges, Michael H. “Liquor stores create frame for Detroit artist.” The Detroit News, February, 2018.

2017   
Cotter, Holland. “From the Personal to the Political, 19 Artists to Watch Next Year.” The New York Times, Art Review. December 27, 2017.
Piper, Matthew. “73 Maya Stovall.” Essay’d. July 11, 2017.
Swartz, Anne. “The Multifarious Feminism of the Whitney Biennial.” Hyperallergic. May 12, 2017.
Young, Allison. “The Whitney Biennial In Counterpoint.” Apollo. April 12, 2017.
Smith, Roberta. “Why the Whitney’s Humanist, Pro-Diversity Biennial Is a Revelation.” The New York Times, May, 2017.
Rogers, Lisa. “Maya Stovall.” Artforum, September, 2017.

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Teresa Tolliver

Teresa Tolliver (b. 1945, Los Angeles, CA) has worked in diverse mediums, including ceramics and painting, throughout her more than four-decade-long career, exhibiting with Brockman Gallery, Los Angeles early in her practice. Through the technique of assemblage, Tolliver draws on histories of the Black diaspora in Los Angeles, especially South Central Los Angeles, where the artist was born and where she still resides.

Utilizing found objects that emerge from her everyday life, as well as craft materials, mass-produced items, and elements she picks up at swap meets, Tolliver creates figurative sculptures that range in size from hand-held, doll-like figures to wall works to life-size freestanding figures. The artist’s works evidence her ability to transform the familiar into something fantastical as well as the expansive visual possibilities of working serially. Tolliver’s sculptures are a testament to the creative and formal freedom contained within the act of making, and to the act of making as a value in and of itself, and as a wellspring of life.

Tolliver received her BFA from California State University, Northridge (Los Angeles, CA) in 1971. She apprenticed with ceramicist Michael Frimkess from 1983-1984. Tolliver has been an arts educator for more than thirty-five years at institutions throughout Los Angeles including the California African American Museum and the Los Angeles County Museum of Art. She was the 2023 Paula and Edwin Sidman Fellow in the Arts at the University of Michigan.

Tolliver’s work has been exhibited at the Hammer Museum (Los Angeles, CA) where she was most recently featured in the museum’s biennial Made in L.A. 2023: Acts of Living; the Institute for the Humanities Gallery at the University of Michigan (Ann Arbor, MI); the California African American Museum (Los Angeles, CA); Watts Towers Art Center (Los Angeles, CA); and the Skirball Cultural Center (Los Angeles, CA), among other institutions and galleries. She is a recipient of awards and grants from the California Arts Council (1988, 1991, 1993), the National Endowment for the Arts (1988), and the cities of Los Angeles (2017, 2006, 2005, 2002, 2001, 1992, 1989) and Pasadena (1997). Teresa Tolliver is represented by parrasch heijnen, Los Angeles.

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Harbingers of Dreams, Paula and Edwin Sidman Fellow in the Arts, Ann Harbor, MI
September 13 – October 13, 2023

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Linda Vallejo

 

Linda Vallejo (b. 1951, Los Angeles) creates imagery drawn from her beliefs about the cosmos, creation and the interlacing relationship between women and the earth. Her work is an amalgamation of aesthetics reflecting cultural memory, knowledge and her own life experiences of Latino, Chicano, and American indigenous culture and communities resulting in a Chicana feminist decolonial practice. Exploring relationships to nature and the spiritual legacy of her Mexican heritage, Vallejo creates works diverse in technique and style using a variety of media.  Vallejo received her MFA in Printmaking from California State University, Long Beach in 1978. In 1975, Vallejo was one of the early art teachers at Self-Help Graphics Barrio Mobile Art Studio, an arts non-profit primarily serving the Latino community of East Los Angeles with arts education, printmaking and support, and an incubator of the Chicano art movement. Recent solo shows include Linda Vallejo: Brown Baroque, CSU San Bernardino Fullerton Museum, Santa Barbara, CA (2023); Linda Vallejo: Brown Belongings, La Plaza de Cultura y Artes, Los Angeles, CA (2019-2020); Keepin’ it Brown, Getty Foundation Initiative PST: LA/LA, CA (2017); and Make ‘Em All Mexican, Texas A&M University Reynolds Gallery, Collegetown, TX (2016). Permanent collections include the Los Angeles County Natural History Museum, Los Angeles, CA; Museum of Latin American Art (MOLAA), Long Beach, CA; the Museum of Sonoma County, Santa Rosa, CA; Museo del Barrio, New York, NY; East Los Angeles College Vincent Price Museum, Los Angeles CA; National Museum of Mexican Art, Chicago, IL; Carnegie Art Museum, Oxnard, CA; UC Santa Barbara, California Ethnic and Multicultural Archives (CEMA), Santa Barbara, CA; and the UCLA Chicano Study Research Center (CSRC), Los Angeles, CA. Linda Vallejo is represented by parrasch heijnen, Los Angeles.

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Common Ground, Brockman Gallery, Los Angeles, CA
June 13, 1986 – July 19, 1986

Barrio Mobile Art Studio 1977 (Linda Vallejo bottom right), courtesy of Self Help Graphics & Art.

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2024
Griffin, Jonathan, “At Los Angeles Galleries, Savoring the Waning Days of Summer.” The New York Times, August, 2024.
Moreno, William. “Linda Vallejo: A New Exhibition at parrasch heijnen Showcases Five Decades of the Artist’s Work.” artillery, November 2024.

2022
McGrath, Marianne, “WCA 50th Anniversary Interviews: Linda Vallejo.” Art Insights, January 2022.
Stromberg, Matt, “L.A. Memo Paints a Dynamic Picture of Chicana/o Art.” Hyperallergic, June, 2022.
Miranda, Carolina, “Newsletter: A show of Chicano art tells a story behind the story at La Plaza de Cultura y Artes.” Los Angeles Times, August 2022.
Chernick, Karen, “Canon in Drag: Female Artists Reimagine Famous Works by Men.” Artnews, December 2022.

2019
Cowan, Jill, “Visualizing Latino Populations Through Art.” The New York Times, November 2019.
Rubin, David, “Rethinking Brownness: Brown Belongings by Linda Vallejo.” Art and Cake LA, August 2019.
Stromberg, Matt, “Linda Vallejo and a decade of art that unapologetically embraces brownness.” Los Angeles Times, June 2019.
James, Falling, “Art Pick: Linda Vallejo Reimagines the Palette of Pop Culture at La Plaza.” LA Weekly, August 2019.

2017
Gipe, Lawrence, “Linda Vallejo ‘Keepin’ it Brown’.” Art and Cake, September 2017.
Osberg, Annabel, “Linda Vallejo.” Artillery, October 2017.
Recinos, Eva, “15 Female Artists Who’ve Shaped the L.A. Art Scene.” LA Weekly, April 2017.

2016
Dambrot, Shana Nys, “Linda Vallejo: Charge of the Soul.” Huffington Post, November 2016.
Miranda, Carolina, “In her series ‘Make ‘Em All Mexican,’ artist Linda Vallejo imagines #OscarsSoBrown.” Los Angeles Times, February 2016.
Durón, Maximilíano, “‘You Want to Be a Mexican, Here You Go’: Linda Vallejo on Her ‘Brown Oscars’.” ARTnews, February 2016.
Vargas, Andrew, “Linda Vallejo Brownwashed Past Oscars Winners in ‘Make ‘Em All Mexican’ Collection.” Remezcla, February 2016.

2015
Gonzalez, Mayra Perez, “Linda Vallejo Bends Race and Represents Mexicans in an Anglo-Saxon Context.” La Gente, March 2015.

2014
Kinney, Tulsa, “Linda Vallejo Paints a New Color Scheme.” Artillery, November 2014.

2013
Recinos, Eva, “Linda Vallejo’s Art Show Makes Pop Culture Icons Look Mexican.” LA Weekly, February 2013.

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La Monte Westmoreland

La Monte Westmoreland’s (b. 1941, Racine, WI) work is both a personal and observational reflection of a post-Vietnam War era African American experience. His work encompasses social, political, and humorous considerations of the artist’s own experiences resettling in Los Angeles after having served as a sergeant in the United States Marines Corps. Following one and a half tours of duty at the height of the Vietnam War, Westmoreland earned his BA and MFA at California State University, Los Angeles on the GI Bill where he shifted his focus from painting to printmaking, and eventually to collage and assemblage.

Solo exhibitions include La Monte Westmoreland: A Survey Exhibition 1974 - 2018, California State University, Los Angeles, CA (2018); Sankofa, Watts Tower Art Center, Watts, CA (2017); Looking Back, Peppers Art Gallery, Redlands, CA (1994); and Target Series Phase #1, Brockman Gallery, Los Angeles, CA (1985). Group exhibitions include Brockman Gallery, Los Angeles, CA (1974); Tanner Gallery, Los Angeles, CA (1980); LA Object & David Hammons Body Prints, Tilton Gallery, NY (2011); Legacies, Fine Arts Gallery, California State University, Los Angeles, CA (2017); BAILA, Watts Towers Art Center, Watts, CA (2013); and Two Centuries of Black American Art, Los Angeles County Museum of Art, Los Angeles, CA (1976); and La Monte Westmoreland and Greg Pitts, Brockman Art Gallery, Los Angeles, CA (1972). In 1996 Westmoreland was honored by his alma mater, Washington Park High School in Racine where he was inducted into their Hall of Fame, and an art scholarship was offered in his name. Westmoreland is represented by parrasch heijnen, Los Angeles.

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La Monte Westmoreland: Hinge Series, The Gallery, Los Angeles, CA
May 28 – June 19, 1976

Sankofa, Watts Towers Art Center, Los Angeles, CA
October 1, 2017 – March 4, 2018

Los Angeles 1972: A Panorama of Black Artists, Los Angeles County Museum of Art, Los Angeles, CA
February 8 – March 19, 1972

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Tala Worrell

 

Tala Worrell (b. 1991, New York, NY) received a bachelor of the arts from Brown University (Providence, RI) in 2014. In 2014-15, she was a Fellow at the ten-month-long Ashkal Alwan Home Workspace Program (Beirut, Lebanon) where she worked with resident professors Kader Attia, Walid Raad, and Joana Hadjithomas and Khalil Joreige, among others; in 2015-16, she was the recipient of a nine-month-long Emerging Artists Fellowship at the Salama bint Hamdan Foundation (Abu Dhabi, UAE) established in partnership with the Rhode Island School of Design; and an Artist-in-Residence at the Abu Dhabi Cultural Foundation in 2020. Worrell worked as a researcher and painting assistant for painter and filmmaker Sarah Morris from 2014-19. Worrell returned to Providence, RI in 2020 and earned an M.F.A. in Painting from Rhode Island School of Design in 2022. Worrell’s works have been exhibited at Beirut Art Center (Lebanon), Warehouse 421 (Abu Dhabi, UAE), and Franklin Parrasch Gallery (New York, NY). Worrell lives and works in Rhode Island, and teaches at Brown University. Tala Worrell is represented by Franklin Parrasch Gallery, New York.

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Tala Worrell, Franklin Parrasch Gallery, Installation View

Tala Worrell, Franklin Parrasch Gallery, New York, NY
September 22 - October 28, 2022

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Yui Yaegashi

Yui Yaegashi Artist Portrait

Yui Yaegashi (b. 1985, Chiba, Japan) lives and works in Tokyo. Yaegashi received a B.A. from the Tokyo Zokei University’s Department of Painting (2009) and her M.F.A. from Tokyo Zokei University’s Graduate School of Art and Design (2011). Her work has been included in SCHMALTZ at Guimarães, Vienna, Austria; Particularities curated by Chris Sharp at X Museum, Shanghai, China; and in solo exhibitions at Misako & Rosen, Tokyo, Japan; Shane Campbell Gallery, Chicago, IL; Queer Thoughts, New York, NY; and i8 Gallery, Reykjavik, Iceland. In Spring 2020, Yaegashi completed a self-directed residency in New York City supported by the Japanese Government’s Department of Art and Culture. Yui Yaegashi is represented by Parrasch Heijnen in Los Angeles and Misako & Rosen in Tokyo.

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