October 19, 2015
The Ukrainian Diaspora: Women Artists 1908–2015
October 18, 2015 – February 14, 2016
New York, NY
October 12, 2015
Essay by Adrienne Kochman, Guest Curator
The Ukrainian Diaspora: Women Artists, 1908-2015 is the first major exhibition to examine the relationship between Ukrainian identity and women artists beyond the borders of geographic Ukraine. It features over 100 works by 43 artists, primarily from North America, where the largest artist population resides, but also from Europe. A majority of the artists belong to the third wave of immigration, after World War II, when the loss of childhood home and country had to be negotiated in a new host land, and where cultural identity, community, and gender roles were redefined and transformed. These artists were either born in Ukraine before the war or born abroad into the 1960s. Also included are artists predating the third immigration wave whose work had matured or was already emerging by the time of World War II, as well as several artists of the post-Soviet-era fourth immigration wave.
Among the artists represented, adherence to their Ukrainian cultural identity is paradoxically simple and complex. While they would arguably agree that they are tied to it, the depth of that connection and its relevance to their personal lives, work, and relationships manifests itself in profoundly different ways, and is influenced as much by life circumstances as it is by the audience for whom they are creating their art. It may also change over time. The Ukrainian Diaspora: Women Artists, 1908-2015 thus endeavors to present a broad range of works, illustrating multiple pathways with which artists have chosen to articulate, transform, hybridize, or seemingly disengage from this sensibility.
Some works directly assert a connection to Ukrainian themes, representational forms, and historical events. These include Yaroslava Surmach Mills’ reverse glass paintings of Ukrainian folk life and ritual traditions, and Christina Kudryk’s painting The Promised Land (2011), from her Heritage series, addressing one’s past immigration experience, as well as her Maidan (2014), expressing shock and anguish at the protests and massacre in Kyiv’s Maidan Square during the winter of 2013-2014, just as Yulia Pinkusevich re-created its chaos in Silencing the Cacophony (2015). Sonia Delaunay’s memories of the beautiful colors of nature in her childhood home in Ukraine are a personal reference contributing to the development of her color theories and fashion design practice, as seen in the two untitled etching and color aquatints.
Many more works resist such clear relationships, occupying a realm of visual engagement rich with multiple cultural associations, including (but not exclusively) Ukrainian. Those familiar with Ukrainian embroidery and its history would likely recognize a link between the hunter green, black, orange, and red color palette commonly used in regions of Western Ukraine and a similar color range in Lialia Kuchma’s small tapestry, Extract(2010), although clear references between the Ukrainian association and its final manifestation are not explicitly put forth within the artwork itself. Nor would viewers be aware that Extract previously existed in the shape of an oblong ritual cloth – similar to a Ukrainian rushnyk – and was later changed to meet new aesthetic interests. Midsummer by contemporary artist Inka Essenhigh is escapist and fantasy-like, composed of a narrow range of color, and emphasizes the environment rather than the central figure. Essenhigh’s surrealistic style is a decisive departure from clearly defined narratives, an exploration into an internal world where ambiguity prevails.
The purpose of the exhibition is to expand notions of “Ukrainianness” in art beyond its typical associations with traditional folk art as a woman’s practice. The majority of the artists in the exhibition are over the age of 50 and experienced a number of the issues that many women artists faced during the women’s liberation movement. These issues included mediating a masculinized art mainstream that diminished or excluded ethnics just as it did women, and making a conscious decision to pursue the contemporary aesthetic agendas traditionally associated with male art practice, such as welded sculpture and formalist painting. In addition, many artists had to reconcile personally the diaspora’s emphasis on traditional art as the most effective way of preserving Ukrainian identity.
Multiple types of artwork are included in the exhibition, illustrating the range of media and subjects, styles, and aesthetic ideas with which these artists have worked. These include icon painting; the traditional academic genres of still life, portraiture, and landscape; figurative sculpture; abstract painting; tapestry; and mixed-media works. In an effort to communicate aesthetic flexibility and the individualized nature of identity, artworks illustrating an engagement with dual identities – Ukrainian and western modernist – are also represented. Their diversity is intended to widen the narrative of what it means to be a woman artist of the Ukrainian diaspora, and not simply a woman artist who happens to be a Ukrainian diasporan.
Roxolana Luczakowsky Armstrong, Liliana Berezowsky, Lydia Bodnar-Balahutrak, Christina Debarry, Sonia Delaunay, Maria Dolnytska, Inka Essenhigh, Anya Farion, Slava Gerulak, Adrianna Tytla Henkels, Motria Jackewych Holowinsky, Natalka Husar, Nina Klymovska, Alexandra Diachenko Kochman, Alexandra Kowerko, Kateryna Krychevska-Rosandich, Jaroslava Lialia Kuchma, Christina Kudryk, Sophia Lada, Marta Huley Legeckis, Halyna Mazepa, Yaroslava Surmach Mills, Olia Mishchenko, Liudmyla Morozova, Chrystya Olenska, Arcadia Olenska-Petryshyn, Irma Osadsa, Aka Pereyma, Christina Pereyma, Vaka Pereyma, Lidia Piaseckyj, Yulia Pinkusevich, Natalia Pohrebinska, Romana Rainey, Christina Saj, Tamara Skrypka, Ilona Sochynsky, Halyna Tytla, VALYA, Marta Hirniak Voyevidka, Patricia Zalisko, Sophia Zarytska, Iryna Homotiuk Zielyk.
The exhibition The Ukrainian Diaspora: Women Artists, 1908-2015 is made possible with major support from The Ukrainian National Women’s League of America and numerous private donors.
Adrienne Kochman, PhD is an art historian, curator, and writer. She has published and lectured nationally and internationally, and taught art history for twenty years. She is currently lecturer at the School of the Art Institute of Chicago, and most recently curated Artists Respond to Genocide (2013) for the Ukrainian Institute of Modern Art, Chicago.
A softcover, color illustrated catalogue titled The Ukrainian Diaspora: Women Artists, 1908-2015 accompanies the exhibition. The essay written by guest curator Adrienne Kochman and the checklist are bi-lingual (English and Ukrainian).
About the Museum
The Ukrainian Museum acquires, preserves, and exhibits articles of artistic or historic significance to the rich cultural heritage of Ukrainian Americans; its collections include thousands of items of folk art, fine art, and archival material. At its founding in 1976 by the Ukrainian National Women’s League of America, the Museum was hailed as one of the finest achievements of Americans of Ukrainian descent. Since then, and particularly since its move in 2005 to a new, state-of-the-art building in Manhattan’s vibrant East Village, it has become known as one of the most interesting and dynamic smaller museums in New York City. Each year, the Museum organizes several exhibitions, publishes bilingual (English/Ukrainian) catalogues, and presents a wide range of public and educational programs, including concerts, films, lectures, courses, workshops, and special events.
* * *
The Ukrainian Museum
222 East 6th Street (between Second and Third Avenues)
New York, NY 10003
Wednesday–Sunday, 11:30 a.m.–5:00 p.m.
Gift Shop * guided tours * school and family programs * reduced admission for students and seniors
October 07, 2015
SIMA sculptural seating now in the public collection of Stanford University, McMurtry Art and Art History Department
September 19, 2015
June 09, 2015
AUTODESK PIER 9
I’m honored to be a part of the Fall 2015 cohort at Autodesk’s, Pier 9 Artist in Residence. I’m going to be learning a lot while working in this state of the art shop. If you wish to learn more about this program here is a short video about it below.
May 26, 2015
The point of departure for Fasnacht’s installation, created for this show, deals with the demise and demolition of Las Vegas’ Frontier Casino, host of Elvis Presley’s first Vegas appearance (1956) and The Supremes last (1970). The structure, built in 1942, was thought to be secretly owned by Anthony Joseph Zerilli and Michael Polizzi, and later by Howard Hughes (1967) before closing on July 16, 2007 and demolished by implosion on November 13, 2007 as filmed for the National Geographic Channel, Blowdown: Vegas Casino. Here is a 2 minute video showing the bizarre spectacle of the implosion of the building.
Fasnacht has been the subject of over twenty-five solo exhibitions since her first at P.S. 1 in New York (1979). She has been the recipient of numerous awards and residencies, notably the John Simon Guggenheim Fellowship, the Pollock-Krasner Foundation Fellowship, and several awards from the National Endowment for the Arts. Simultaneously to the presentation here, Fasnacht has created a monumental outdoor project for Socrates Sculpture Park opening on May 17 and continuing through the Summer.
Born and raised in the USSR and relocating to New York City at age 9, Pinkusevich’s world view has been rooted in change. Her ability to adapt and observe has served as a central tool for harnessing a unique and fluid vision. With some authors claiming that Malevich’s Suprematism is rooted in traditional Ukrainian culture, Pinkusevich follows the footsteps of Malevich defining his “additional element” as the quality of any new visual environment bringing about a change in perception with a series of aerial views rendering the familiar landscape into an abstraction.Presenting an immersive visual environment that stays true to an architectural design methodology is an ongoing pursuit for Pinkusevich. It is ever present in her installations using salvaged everyday materials and it is how she guides her examination of the intersection of urban and rural economies. With Global Utopia of Futures Past originally executed for an exhibition at Stanford University, along with Silencing the Cacophony specifically created for this show, the juxtaposition of these ephemeral materials forces us to see time as a construct, ultimately reminding us of the fragile, intimate relationship we hold with the Earth.Pinkusevich holds a BFA from Rutgers University and an MFA from Stanford University. Following her time as a lecturer at Stanford, she has recently joined the faculty of Mills College. Yulia Pinkusevich currently lives and works in Oakland.Utopia of Futures Past Installation Video.
Born into a family of steamfitters in Upstate New York, Dannielle Tegeder‘s first visual education was at the kitchen table while her father and uncle drew mechanical diagrams of jobs they were contracting in New York City. These pragmatic bare bone renderings of architectural systems anchored Tegeder’s interest in utopias, urban planning, modernism, and the history of European abstraction. Today, Tegeder’s wall drawings and paintings comment on infrastructure of the locales she’s invited to engage, and compositions are coded with a personal palette of symbols that become embedded into each work.To be executed in the main gallery, Tegeder will be constructing a large-scale site-specific wall drawing using acrylic, graphite, and inks into an elaborate network of fictional language, coded maps, and mechanical systems. Adjacent to the wall drawing will be a hive of framed drawings that gather into one tableau made for this exhibition.Accompanying the larger works, we will exhibit a selection of Tegeder’s drawings in the project space referencing the dialogues of the Russian Constructivists and El Lizzitsky’s Prounenraum, 1923. This collection of drawings has been selected from a larger body of work entitled The Library of Abstract Sound.
Tegeder’s work has recently been the subject of a monograph and mid-career survey by the newly inaugurated Wellin Museum at Hamilton College, New York:
Dannielle Tegeder: Painting in the Extended Field
Texts by Barry Schwabsky, Tracy L. Adler, Claire Gilman and Xandra Eden
130 pages, 102 illustrations
Copyright: 2013 ISBN: 978-0-9892394-0-0
May 27 thru June 27: Gallery hours are Tuesday – Saturday 10am to 6pm
June 29 thru July 24: Gallery hours are Monday – Friday 10am to 5pm
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January 16, 2015
Santa Cruz Museum of Art
December 19th, 2014 – April 19, 2015
2nd Floor Solari Gallery
Open to the public December 19th
Opening reception: January 2nd 5-9 PM with special performances by Henry Kaiser, Kadet Kuhne, Elia Vargas and Jason Wyman. Find out more here.
Everybody’s Ocean works just like our relationship to the ocean: it constantly evolves. The ocean represents anything from womb to tomb. We personify it as a wrathful god, a seductive spirit, or an indomitable force. The four oceans of the world cover 71% of the Earth’s surface and link us to primordial pasts. The ocean is a living, shared space and one of the greatest unexplored mysteries of the world. Everybody interprets the ocean in different ways. Your work has unique inspiration. Let’s share it with each other.
March 05, 2014
FOR IMMEDIATE RELEASE!
ALTER SPACE PRESENTS
Thresholds: Shadow Self
March 15 – 29, 2014
OPENING: March 15, 2014 from 7-10pm
Thresholds: Shadow Self, is a site-specific installation by Yulia Pinkusevich, located in the
basement of the gallery. Pinkusevich has embedded an architecturally scaled structure into the
existing space that explores notions of shadow, light, barrier and threshold. Utilizing 30+
reclaimed doors that she collected during her time at RecologySF (SF Dump), this immersive
environment aims to evoke personal inquiry and examination, prompting visitors to embark in an
act of investigation as they navigate the maze-like arrangement through its series of doors.
Pinkusevich’s Thresholds is inspired by the Jungian philosophy of shadow, that which hides in
the subconscious darkness of the human psyche. Even though the shadow exists in the psyche,
waiting to reveal itself through human action, it seldom manifests in real life. This installation
creates a dialogue with the body that is aimed at prompting a deeper awareness of the journey
into one’s self, shining light on dark corners of the psyche while playing with the viewers
perceptions of space.
“Art’s not psychology, some art can be psychological but I don’t claim to be able to solve
people’s problems through an installation. I do hope it makes you ponder a bit or think about
why- I think art is meant to be an experience, I control certain aspects of it but I can’t control
how it’s perceived, that belongs to the audience.”
Yulia Pinkusevich is an interdisciplinary visual artist. Born in 1982 in Kharkov, Ukraine she holds
a Masters of Fine Arts from at Stanford University and Bachelors of Fine Arts from Rutgers
University Mason Gross School of the Arts. Yulia has been awarded residency grants from
Recology (SF Dump), Cite des Arts International in Paris, Headlands Center for the Arts, Redux
in South Carolina, Goldwell Open Air Museum and The Wurlitzer Foundation. She received The
San Francisco Foundations 2011 Phelan, Murphy & Cadogan Fellowship in the Fine Arts as well
as Stanford University SiCA’s Spark and ASSU Grants. She currently lectures at Stanford
University and resides in East Palo Alto, California.
Alter Space 1158 Howard St San Francisco CA
GALLERY HOURS Thursday – Saturday, 1-6pm or by appointment, email@example.com
February 13, 2014
Posted on 26 January 2014.
For a ringside view of consumption and its discontents, there’s no better place than Recology, the arts program at the San Francisco city dump. Each year, a handful of artists-in-residence gain access to a seemingly limitless supply of commercial and residential debris which they transform during four-month residencies into plangent installations, many of them dealing with environmental woes and their underlying causes.
farmland by cities: plowshares into skyscrapers. Most compellingly, there is the shadow image of city projected onto a large wall. It arrives there by the artist’s placement of heat sinks — the fluted metal boxes that cool electronic devices – in front of light bulbs. The angle of the light makes the silhouettes of some appear crumbling and ancient, while rendering others as geometric monoliths, echoes of the towers that now populate cities like Shanghai. Lastly, there is a wall sculpture made from capacitors, which the artist painstakingly extracted from several dozen discarded computers. Shorn of rubber sheathing they resemble shell casings, and are here arrayed by size to represent the shape and population density of Silicon Valley, which, until the 1960s, was largely farmland. It was called the Valley of the Heart’s Delight.
Not anymore. Progress, the artists tell us, always carries a price.
–DAVID M. ROTH
January 24, 2014
June 10, 2013
Present Tense: 2012-13 Graduate Fellows Exhibition at Headlands Center for the Arts
Headlands Center for the Arts is only one part of the multifaceted, convoluted history of the Marin Headlands. Legends of the Miwok Native Americans to the archived histories of the seacoast fortification Fort Barry perhaps known by many will also tell just one fraction of the land’s entire story. ”Present Tense,” guest curated by Christian L. Frock, whose past interests include art in atypical settings and presenting works exploring histories within contemporary art, examines the upending of conventional studio practices at Headlands by its 2012 – 2013 Fellowship artists to produce narratives concurrently told within contemporary and traditional voices. New works featured in the galleries and in a series of site-specific projects staged inside and around the main building created by Fellows Joshua Band, Kyle Austin Dunn, Liam Everett, Michael Koehle, Kari Orvik, Jordan Perkins-Lewis and Yulia Pinkusevich showcases how each of the artists’ artistic practice parallels and differs from the multifarious histories found within the unique, varied Headlands landscape.
Many of the participating artists explore these themes and investigate the ideas within two disparate mediums or approaches, in many ways a powerful metaphor of the difficult task to illustrate to these multiple layers of history by just one means. Kari Orvik comments upon the continued construction of the landscape among these various chronologies as well as the at times tenuous historic relationship with Headlands’ human incursion and its environs in her series, Exercise for Moving in Between through a spectrum of approaches: a suite of tin-type photographs of Orvik tight-rope walking inside the Headlands’ historic military gymnasium, a filmed iteration of this precarious performance at an ocean bluff rope barrier nearby, and some quite effective etched mirror panels placed circularly in front of an West Gallery window. Yulia Pinkusevich’s breadth of mediums is perhaps the most commendable; her explorations of the surrounding landscapes through salt block sculptures (judging by their delicate curves, they were carved by water or some other delicate instrument) tackles both the rolling hills as well as the undulating ocean waves nearby. The large, fantastical, and heavily geometric two-dimensional painting that looks as if it implements topographical mapping completes this broad range of both the real and imagined, and the human and natural markings upon the land. Michael Koehle’s digitally created sculptures alongside digital prints upon traditionally wrought encaustic panels sways the past and the future back and forth, creating an obfuscation of historical and contemporaneous narratives, acutely paralleling Headlands’ histories that is at times follows the same patterns.
In addition to multiple mediums and assorted artistic approaches, “Present Tense” also unveils how some subversive techniques that deeply challenge the space can also call attention to the particular richness of Headlands’ environment and history. This fracture between the artwork’s inherent qualities and its surroundings can throw an audience’s gaze while calling attention to the elements of its presentation, prompting awareness of the modes of seeing contextually and how meaning is constructed from this relationship. Kyle Austin Dunn’s sculptural installation in the stairwell, Bunch of Heavy Lines remains blatantly defiant of the historic building by its very plasticity as well as its placement, stripping the stairwell of its utility for persons to gain access to and from the attic. Blocked from hitherto accustomed perambulations of the space, audiences are confounded to achieve any possible amelioration to the unyielding physical and aesthetic confrontation. They become deeply aware of their surroundings once rendered inaccessible by such a brazen obstruction. Joshua Band’s, Scenic Overlook, constructed by hundreds of photographs from not only the Headlands landscape but also the artist’ national road trips is at first a delightful and engrossing Arcadian installation wherein the viewer becomes to some degree an omnipotent presence among all Band’s travels. But, upon closer inspection the diorama’s haphazard photographic compilations from multiple travels and experiences as well as its miniature scale creates more of a disjointed, dizzying contemplation for audiences that leaves this woodland diorama and the outer-lands it represents with a fabricated feeling that rather than pulling one into the scene, progressively pushes one out.
Headlands Center for the Arts’ Graduate Fellowship program is unique in the country for addressing the critical juncture from an academic to a professional career. These fellowships give post-graduates from Bay Area academic institutions opportunities for professional development and a chance to define their practice outside the academic context. In addition to private studio space and public presentation opportunities including participation in this annual curated exhibition, Graduate Fellows are active participants in Headlands’ creative community including engagement with the local, national, and international artists participating in Headlands’ various artist programs.
Present Tense will be at Headlands Center for the Arts through June 9.
April 21, 2013
Headlands Spring Open House
Ina Archer Joshua Band Laurel Braitman Jefre Cantu-Ledesma & Paul Clipson Steve Carr Sohyung Choi Luke Damiani Kyle Austin Dunn Liam Everett Victoria Gannon Brett Goodroad Jesse Hewit Cynthia Ona Innis Michael Koehle Sara Kraft Marya Krogstad Jennie Lin Mikael Lindahl Ali Naschke-Messing Tucker Nichols Kristian O’Hare Kari Orvik Jordan Perkins-Lewis Yulia Pinkusevich Meghann Riepenhoff William Rockwell James Sansing Erica Lorraine Scheidt Christina Seely Samantha Senn David Shrigley Scott Vermeire Emily Meg Weinstein Hazel White Will Brown
Charleston City Paper: Yulia Pinkusevich will turn your world upside down Flip Flopper by Erin Holaday Ziegler
April 02, 2013
Yulia Pinkusevich will turn your world upside down
Opening reception Fri. March 29, 6-8:30 p.m.
On view through May 4
Redux Contemporary Art Center
136 St. Philip St. Downtown
(843) 722-0697 Reversion
Imagine the incredible: A giant man with a giant hand spontaneously grabs our densely populated downtown. He rips up King, Meeting, and East Bay streets from the ground and turns us upside down. The Holy City is practically hanging on marionette strings. Yet the layers of concrete, dirt, and buildings remain.
“The city is so prevalent. It feels like we’ve always lived this way,” Yulia Pinkusevich contemplates. “But I’m interested in looking at a much grander time frame … is this type of city obsolete? How permanent is this environment? Why does it exist and what is its influence?”
From the soaring steeples of King and Broad streets, to the pristine porches South of Broad, Charleston’s architecture defines us. Amidst the hustle and bustle of tourist season, Pinkusevich will make you stop and look up with her transformative exhibition Reversion, opening at Redux Contemporary Art Center on Friday.
Pinkusevich’s show is less commentary and more a question. A world turned upside down is the focal point of her site-specific installation at Redux, but also of her work as a whole. “Architecture is transformative,” she says. “It’s an icon and a symbol of whatever a city wants to put forth, and it affects how we live. I’m curious as to how long our cities will last. I think that my drawings try to ask this same question.”
Born in Kharkov, Ukraine, in the former U.S.S.R. and influenced by a life of international and domestic travels, Pinkusevich is a self-described city girl. Moving to New York City at eight years old was a pivotal moment in the young artist’s conscious understanding of architecture. “Being a Soviet kid, the Twin Towers held a symbolism,” she explains. “You identify a city through its architecture, like the Eiffel Tower or Golden Gate Bridge. I wasn’t old enough to understand everything then, but I had that visceral feeling — these structures are amazing, and they were made by humans.”
Using simple components, like chalk and salt, Pinkusevich helps audiences to see the wonder of our world in a different light. This interdisciplinary artist definitely looks up. A lot.
“We’re creatures of habit, and some of the most exciting moments in life for me are discovering something new or a realization when you think about something in a different way,” Pinkusevich says. “I like the idea of making you think about the impossible — visions of the mind that don’t exist in reality.”
On a more literal level, Pinkusevich is creating a large wall drawing at Redux that envelops the gallery’s entrance with a series of small salt sculptures. “Reversion” also includes a lens that reverses the optics of the wall drawing and plays with perception.
“My exhibit will be interactive,” Pinkusevich explains. “I want to engage with the viewer physically and with his or her perceptions as well. A lot of my work is of a scale meant to place the viewer within the image.”
When you first step into the gallery, the wall image is the first thing you see, but as you get closer, your gaze is drawn to other observers in front of you as you continue looking. “Everyone becomes a part of the piece,” Pinkusevich says.
The lens on the opposing wall adds another visual layer, reducing the size of the wall image and turning it upside down. “So you’ll see the city right side up — and tiny. That’s the paradox.”
Like most of Pinkusevich’s work, the title of her show has multiple meanings. The wall drawing is inspired by a drawing Pinkusevich did in 2009 that never came to fruition. This first solo exhibit also fully fleshes out concepts she intended for her MFA thesis at Stanford last year.
“It’s like going back to something I never fulfilled,” she explains. “In addition to looking at the shifting landscape of the city and the visual reversion provided by the lens, I feel like I’ve been able to marinate and really process my whole experience over the last year.”
Pinkusevich, who claims a diverse array of artistic influences (French symbolist Odilon Redon and German painter and sculptor Anselm Kiefer, among others) works in many mediums. “I do a lot of tests and play with concepts to see what comes of them,” she says.
Charcoal and chalk are freeing to the boundary-pushing artistic philosopher. Sculpture brings with it increased cost, engineering problems and takes a lot of logistical time. “Drawing frees me of mundane burdens,” Pinkusevich explains. “Wall drawing is a really pure form of art for me. You can’t sell it or reconstitute it. In that way, it frees me and allows me to make mistakes. My art exists in the moment. For me, that’s really rewarding.”
Unless you’re talking salt, of which Pinkusevich has 3,000 pounds in her Palo Alto, Calif. driveway. “Working with salt goes back to love to temporal materials,” she explains. “I’m trying to use something familiar and shift it into the sublime.”
Pinkusevich’s fragile salt sculptures are created through erosion using water. “You can control certain things, but other things just happen … it’s a really delicate science experiment,” she says. “Salt has this gorgeous quality — it kind of looks like marble and goes well with my monochromatic theme.”
Light and dark, heavy and weightless, the attrition of time — these ideas are essential for Pinkusevich and her viewers. “We are all creatures of habit, and in my work and in life I try to break out of particular habits,” she explains. “Allow yourself to think about time not through the human lifespan, but through a grander timeline. If you detach yourself from your ego and kind of pull back, looking out … you’ll see that our human civilization is just a speck on the trajectory of life on our planet.”
Reversion: Works by Yulia Pinkusevich @ Redux Contemporary Art Center
- Opening reception March 29. On view through May 5.
By Richard Labaki
Yulia Pinkusevich is a multi-disciplinary visual artist whose work is based on site-specific installations and immersive environments. Her art is very distinct and she expresses it to convey deep philosophical concepts (the artworks ultimately deal with questions that she has about life in general.) There is no one overarching concept that Pinkusevich is always delving into and exploring. Each project is unique and has a basis in a particular idea or question. One thread that has been running through her work in recent years, however, is concerned with global urbanization – a relatively new trend that Dubai understands far too well. Pinkusevich questions how this recent trend towards massive urbanization affects humanity and the planet as a whole. And how, if at all, this trend will affect the human psyche.
There is a haunting thread of morbidity or melancholy that interweaves your art-pieces. There is also a sense of loss and confusion. Do you agree with this perception?
Yes and no. My work can be perceived as melancholic, because I am interested in form, composition and materiality in my art but less interested in colour and the individual experience. Thus, my recent body of work has been devoid of people and largely monochrome. To some, art that is lacking colour is perceived as austere. But for me, it gets to the essence of form without the distraction of another element – colour! The haunting perception can come from the concepts, which intrigue me.
For example, throughout my recent work I make images, which envision a world where contemporary architecture and modern cities are seen as relics of the past – long abandoned and in a state of reverting to its elemental forms. Envisioning a place like this implies a post human planet – an idea that can make some people feel very uncomfortable. But to me, this idea is wonderfully intriguing, because I am interested in exploring time through a different perspective – one that does not measure itself against a period of a human lifespan but instead thinks of time on a much grander scale.
Perhaps some see this as confusing. But my intention is not to make people feel bad about the world but to allow their minds to expand beyond their normal way of thinking about time, space and architecture.
Are you a sci-fi fan? It is as if a sci-fi feel permeates through many of your artworks.
Last year, a professor of mine at Stanford [Paul DeMarinis] said to me that he finds that artists from the Soviet Union naturally gravitate towards sci-fi aesthetics and concepts without doing so consciously. It must be in our heritage. Perhaps my personal history and background attracts me to the unexplainable things in life. I am intrigued by looking at things from a different perspective and imagining a world through alternate realities. To be frank, I am not a huge sci-fi movie fan. I don’t like space adventure or horror films at all. Though I do like the films of Andrei Tarkovsky; many of which are quite strange and out of this world. I also love several fantasy and sci-fi writers such as Mikhail Bulgakov; his novel ‘The Master and Margarita’ is one of my favourite books, along with ‘Brave New World’ by Aldous Huxley. I’ve also been into Philip K. Dick novels recently, so I guess I am a sci-fi fan after all!
Had you not been an artist, would you have been an architect today?
I have pondered this question before and the short answer is yes. I seriously considered getting a Masters in Architecture several years ago; I was fortunate enough to have the opportunity to take a summer course in Architecture at Harvard University’s Graduate School of Design. This Career Discovery course was intensive and taught me a lot about architectural design methodology. I loved the program and did quite well in it. But throughout my time there, I realized that I did not really want to be an architect as much as I wanted to acquire the skills of an architect in order to push my art to a new level.
I deeply respect great architects, because to me good architecture can be the highest form of art. It is a structure for the public, which is experienced by people from all occupations. It finds a perfect balance between form and function – it can be striking, complex, sophisticated yet humble or seemingly simple at the same time. Throughout my study of architecture, I realized I wanted to make art that possessed these qualities – to create work that presents people with an immersive visual environment. I am still working towards this goal in my art. And I hope to pursue some larger scale, multifaceted installation-based projects in the near future.
How much time and effort did you expend in refining your unique artistic style? And what were the major challenges in developing it?
It’s hard to answer this question, because I did not set out to create a “unique artistic style”. When I was quite young, I realized that the work I was making then was not at all like the work I was attracted to when I went out to galleries and museums. I started to ask myself a simple question, “If I saw this piece in a museum and didn’t know it was mine, would I like it?” This stirred up many emotions in me, because I realized that the answer at that time was no.
So I made a list of the qualities in the artworks, which made me stop dead in my tracks. The list ignored all superficial aspects such as popularity, price point, gallery affiliations etc. Instead, it focused on something undefined – a personal gut reaction. After practicing this for some time, I found that there were very particular qualities that I was attracted to. With this in mind, I attempted to distil my own work down to its essence and consider the aesthetics, which I found myself drawn to. What resulted was this linear, architectonic, monochrome work. I cut out all excess – no figures and no colour in order to concentrate on what I was concerned with: Form, space, concept and composition.
March 16, 2013
Reversion: Work by Yulia Pinkusevich
March 29 – May 4, 2013
Redux Contemporary Art Center is proud to present Reversion: Work by Yulia Pinkusevich. Reversion is a site-specific installation that examines the urban city as a relic. It observes the urban structures of the 20th Century from a distant future gazing back at our moment in time. This installation questions the validity of skyscraper architecture and the impetus for the ever-growing density and rigidity of the contemporary built environment as well as its deployment within future systems. Imagine a world of densely layered urban dwellings. Skyscrapers and labyrinths of tunnels fill this vision. This world is disconnected from nature and unaware of its ambient environment. Humans are stacked in layers, living atop one another in soaring structures. The aggregate map of their psychology is manifested in the form of their city… and then imagine it destroyed.
Artist Residency: March 19 – 29, 2013
Opening: Friday, March 29, 2013 | lecture: 5:30 pm | reception 6 – 8:30 pm
On View: March 29 – May 4, 2013
All of our exhibitions are free and open to the public. Although PARKING is not available at Redux, there is on-street parking throughout downtown as well as two parking garages in close proximity.
Redux is a nonprofit organization in Charleston, SC committed to the cultivation of contemporary art through diverse exhibitions, subsidized studio space for artists, expansive educational programming, and a multidisciplinary approach to the creative dialogue between artists and audience.
November 15, 2012
MicroClimate Collective presents our second fall exhibition dealing with time, X Libris. Joining MicroClimate as a guest curator for this exhibition is Sarah Ratchye. We hope you can join us for the opening reception this Saturday, November 10th, from 7-10pm.
Glenna Cole Allee and Victoria Mara Heilweil
Exhibition Dates: November 7 – December 1, 2012
3175 17th Street (at South Van Ness)
San Francisco, CA 94110
Opening Reception: Saturday, November 10, 2012, 7-10 pm
Cocktail Hour/Closing Reception: Friday, November 30th, 2012, 5-8 pm
Gallery Hours: Wednesday-Saturday, 2-6 pm (or by appointment)*
*Please note that gallery will be closed November 22nd-24th in observance of Thanksgiving holiday
X Libris is an exhibition exploring the book as a mode of communication in flux. As we transition from the printed page to digital communication, our relationship to print changes as we enter the literary realm of binary code and multi-directional referencing and browsing. Once valued as a solitary activity requiring deep concentration, perusing written language is incrementally measured, and our attention fragmented. X Libris explores the book as a vulnerable, ephemeral, morphing form, in this time of accelerated transition to digital communication and “real-time.”
Samuel Levi Jones
Kate Jordahl with Don Drake
Pantea Karimi Michael Kerbow
Steven Vasquez Lopez
Yulia Pinkusevich with Glenna Cole Allee
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Artwork Credit (left to right): Leah Rosenberg, Maria Porges, Alexis Arnold
Support for MicroClimate Collective and the publication accompanying the exhibition X Libris is provided by Southern Exposure’s Alternative Exposure Grant Program.
September 28, 2012
Juried by Sergio De La Torre, Valerie Imus, & Kimberly Johannson
Opening Reception: September 8, 2012
Including CREATIVE STATION
Exhibition Dates: September 6-29th, 2012
May 07, 2012
Featuring works by Yulia Pinkusevich, Adam Katseff, Rhonda Holberton, Andrew Chapman, Yvette Deas.
Curated by Enrique Chagoya.
Never Odd or Even opening reception is May 17, 5:00-7:30 pm, runs from May 17th-June 16th 2012. Second show will open at Root Division in San Francisco, on May 23 rd 7-10 pm See info below for more details!
April 01, 2012
ISEA 2012: Machine Wilderness Albuquerque, New Mexico
Excited to return to this landscape… Some photos from my time in NM
Thanks to Stanford University for granting Yulia a 2013 Cité Internationale des Arts Residency in Paris
info at: http://www.citedesartsparis.net/
|The Cité Internationale des Arts is intended to provide short or long stays (2 months to 1 year) for professional artists who want to develop an artistic work in France.The Cité Internationale des Arts is a foundation directed to the public benefit since 1957.It is related to a vast network of partners and associates. Its founders include a large number of States, schools, institutes, universities and ministries from close to 50 countries all across the world. Three of its historic founders and key partners are the City of Paris, the Ministry of Culture and the Ministry of Foreign Affairs.The facilities of the Cité are divided between two locations in Paris :|
– The site located at 18 rue de l’Hôtel de Ville includes 270 individual workshops in the heart of the Marais district, a dynamic quarter swarming with art galleries and a favourite destination for Parisians.
– The site located at 24 rue Norvins is composed of several buildings in a large garden in Montmartre and has 30 individual workshops. Montmartre was for many years a focal point for artists over the world.
Residents may practice their artistic discipline and develop their creative techniques for the duration of their stay at the Cité Internationale des Arts. The residence also houses an exhibition area where artists can display their works and an auditorium where they can perform concerts.
Since its opening in 1965, the Cité Internationale des Arts has accommodated more than 18 000 artists from all over the world.
Some photos from my time in Paris in 2010
February 24, 2012
There’s a certain house in San Francisco’s Cow Hollow Neighborhood. It’s not a particularly memorable home. But it is pretty old. It was built in the 1870s, and has withstood more than 140 years of remodel jobs. But its final facelift will certainly be its most dramatic.
Two years ago, Amir Mortazavi’s sister bought the house at 3020 Laguna. Mortazavi, a San Francisco real estate developer and art gallery owner, said the family planned to demolish the home and replace it with a new one. But before its date with the wrecking ball, Mortazavi envisioned one last chapter in the home’s long history.
“What we wanted to do was give this home a secondary life,” said Mortazavi, standing in front of the home’s curiously stripped down facade. “We’re giving it a secondary life by inviting these nine artists inside the building.”
Mortazavi gave nine artists free reign of the house with one stipulation: they had to create art inside using only things found in the home.
Artist Chris Fraser stripped the front of the home down to its wood slats. He removed three windows and replaced them with more wood. Inside the front room he painted stark white, light spills through the slats creating a ballet of dancing projections.
VIDEO COMING SOON
In the kitchen an artist carved a labyrinth in the linoleum. In a hallway, Artist Andy Vogt created a subfloor, almost like a wooden moat meandering toward a doorless doorway to nowhere. In the basement, Yulia Pinkusevich stripped the home’s wiring of its casing and then fashioned it into a colorful sculpture.
“When a house finally does come to the end of its time, it’s usually an unceremonious passage,” said artist Jesse Schlesinger. “This was a way of really giving depth to that lived experience.”
Schlesinger lived in the home for 28 days, becoming its final occupant before it’s torn down next month. He occupied a 10 by 12-foot room, fashioning furniture from base board and door frames. He even made a plaster cast of one of the home’s Victorian doors and hung it in his room.
“There was a kind of sadness or poignancy to that idea that this will be it,” said Schlesinger looking around the tiny room. “This space I got to know, this 10 by 12 room, will no longer exist.”
But any nostalgia for the home is tempered by the fact it will continue on in the art. Organizers of the project have photographed and videotaped the work and opened the home to visitors.
“This house otherwise probably would’ve only existed through blueprints in the city archives,” said David Kasprzak, who curated the project.
Mortazavi said the project will bring an unexpected twist to the home’s long history… “to give the building a sort of a wake and a funeral before it goes.”
The home will open this Saturday for the public from 2 p.m. – 7 p.m.
February 17, 2012
3020 Laguna Street in Exitum //Press Links
January 31, 2012
3020 Laguna St in Exitum
NEW VIEWING HOURS: SATURDAY February 11th,2012 2-7pm
Amir Mortazavi and David Kasprzak are pleased to present the opening of Highlight Gallery’s first project space, 3020 Laguna Street, a collection of sight-specific installations created in a residence in San Francisco’s Cow Hollow District, on Saturday January 28, 2012. Featuring a set of works formed solely from the materials of a residence sharing the same address as the title, the exhibition takes its inspiration from the works of artist Gordan Matta Clark. Matta Clark’s investigations into unused or forgotten residential spaces—calling them “nonsites,” a term he adopted from his mentor Robert Smithson. These liminal spaces included alleyways, median strips, and small portions of commercial and residential architecture. Matta Clark purchased these sites to become the medium of many of his works and as exhibition spaces for projects from his peers.
Working in this tradition, artists Jeremiah Barber, Randy Colosky, Chris Fraser, Christine M. Peterson, Yulia Pinkusevich, Jonathan Runcio, Jesse Schlesinger, Gareth Spor, and Andy Vogt were invited to inhabit a modest residential space built in the 1800s. This site has been home to a number of residents over the last 150 years—fulfilling the dualistic role as both a practical shelter and a symbol of dreams and ideologies, as written about by Roland Barthes. Now slated for demolition due to structural instability, the artists were invited to enter the space, to set entropy in motion with perhaps a more sensitive hand and a “tool belt conceptualism.”
The artists have responded to this specific history of the building through many forms, excavating the literal scars contained within its walls, investigating the history of the site’s residents and the craftsmen who create residential structures, projecting their own histories and identities into the space, and enacting these investigations through the purely cathartic act of destruction. Please join us on Saturday, January 28th, for the opening of the exhibition—or perhaps more accurately, the wake of this site.
Data Mass Projection
“Data Mass Projection” is an installation created out of telephone and data wires found throughout the Laguna Street house. The found wire was taken down and stripped of its grey outer coating to reveal the multi-colored inner strands, that comprise each telephone wire. The installation serves as metaphor for a spectrometer like visualization of digital data and information surrounding us at all times. This data is anchored in and released through a single point of projection, bouncing a wave like form throughout the space, redefining the parameters of the architecture. Color sequencing algorithm is applied to the pattern, which also account for digital noise or moments of interference.
More about the artist curators and project please visit http://3020lagunast.com/
July 31, 2011
Frontrunners: The San Francisco Foundation 2011 Murphy & Cadogan Fellowship Awards Exhibition
What: Frontrunners: The San Francisco Foundation 2011 Murphy & Cadogan Fellowship Awards Exhibition
When: August 17, 2011 – September 16, 2011
Gallery Hours: Tuesday – Friday, 12 – 7PM. Saturday 12 – 5PM.
Where: 934 Brannan St. (between 8th & 9th)
How much: Free Admission
SOMArts Cultural Center and The San Francisco Foundation present a focused look at the future of the Bay Area visual and media arts landscape. Frontrunners is a survey of new work from the recipients of the competitive Jack and Gertrude Murphy Fellowships and the Edwin Anthony and Adelaine Bourdeaux Cadogan Fellowships in the Fine Arts. The exhibition identifies young artists whose work connects directly to the pulse of emerging trends and showcases the work of promising visual artists from regional Masters in Fine Arts (MFA) programs working across disciplines.
The exhibition will include an accompanying artist talk & social, Lesser But Vital Practices (August 30th, 5:30 – 7:00PM). Moderated by SOMArts Curator & Gallery Director Justin Hoover, exhibiting artists will discuss the evolution of their artistic practice through the exploration of individual and cultural identity. A selection of these talks will be released on the SOMArts YouTube channel in early September.
The public is invited to celebrate with the Fellowship winners at a special closing reception (September 16th, 6:30 – 9:30PM) featuring food & DJs. During the awards ceremony at 7PM, Fellowship tuition awards, plus one additional
Juror’s Choice tuition award, will be presented to all exhibiting artists.
EXHIBITING ARTISTS INCLUDE
Andrew Chapman, Stanford University
Li Chen, San Francisco Art Institute
James Coquia, California College of the Arts
Christine Elfman, California College of the Arts
Joel Frudden, San Francisco Art Institute
Stephanie Halmos, California College of the Arts
Joey Izzo, San Francisco State University
Adam Katseff, Stanford University
Michael Koehle, Mills College
Senalka McDonald, California College of the Arts
Kate Nartker, California College of the Arts
Toyin Odutola, California College of the Arts
Rodrigo Ojeda-Beck, University of California, Berkeley
Kari Orvik, University of California, Berkeley
Maya Pasternak, California College of the Arts
Christine Peterson, California College of the Arts
Yulia Pinkusevich, Stanford University
Michelle Ramin, San Francisco Art Institute
Amy Rathbone, University of California, Berkeley
Helene Schlumberger, California College of the Arts
Sofia Sharpe, Mills College
Elia Vargas, San Francisco State University
Rachel Weiss, San Francisco Art Institute
ABOUT THE MURPHY & CADOGAN FELLOWSHIPS
The Murphy & Cadogan Fellowships, administered by The San Francisco Foundation, provide a varying number of annual tuition awards of $3,500 to MFA students in support of exploring and developing their artistic potential in digital art, illustration, film/video, hybrid practice, installation, mixed media, painting, photography and sculpture.
ABOUT THE SAN FRANCISCO FOUNDATION
The San Francisco Foundation is the community foundation serving the Bay Area since 1948, granting more than $800 million over the past ten years. Through the generosity and vision of our family of donors, both past and present, The San Francisco Foundation awarded grants totaling $76 million in fiscal year 2010. By focusing on policy, advocacy, community organizing, and systems change, the Foundation addresses community needs in the areas of community health, education, arts and culture, community development, and the environment. In response to the economic downturn, The San Francisco Foundation is focusing funding on safety net partners, job creation and training, and foreclosure response and neighborhood preservation for the next two years.
June 19, 2011
Please join us at Million Fishes on July 9th. 2501 Bryant St, San Francisco Opening reception July 9th 7-10, Closing Reception July 24th 2-5. I will exhibit a 8x 12ft drawing on paper.
March 25, 2011
The Center for Computer Research in Music and Acoustics (CCRMA) presents its annual Modulations festival in San Francisco: an 8-hour marathon of sound art installations and live electronic music. The event begins with interactive and kinetic sound installations by Trimpin and his students; evolves into a sit-down concert of electronic music; and ends with a dance party, with performances by CCRMA artists and guest performers Wobbly and Sutekh.
SOMArts is located at 934 Brannan Street, San Francisco, CA
Yulia will exhibit her Icarus Kinetic Fan at this event!
December 02, 2010
Stanford University, 1st year MFA Exhibit
Featuring works by : Yulia Pinkusevich,Andrew Chapman, Yvette Deas, Rhonda Holberton, Adam Katseff.
January 11-February 13th, 2011
Opening Reception January 13th 5-7pm
Thomas Welton Art Gallery (Stanford University)
Gallery Hours: Tuesday- Friday 10-5pm
October 16, 2010
Tokyo Go Go, located at 3174 16th Street, San Francisco, CA.
Is currently display 12 of Yulia’s works on paper, including the new Nuclear Sun Portraits, as well as other works.
Hours are 5:00pm-11:00pm Daily.
September 18, 2010
Paypal: The New Medici? By Diana Rico
Michelangelo had the Medicis. Diego Rivera had Rockefeller. And Yulia Pinkusevich has Paypal, her trusty email list, and a large dash of inventiveness to propel her artistic vision forward.
On April 3, 2009, at 6 pm, Yulia will be suspended high above the lobby staircase of Warehouse 21, a community arts organization in the currently hot Rail Yard district of Santa Fe, New Mexico. There she will create a large-scale charcoal drawing covering much of the upper wall and corner of the 40-foot space. What makes Yulia’s project
especially intriguing to the wordARTist is the way she set about raising funds. A couple of months ago she sent out this email:
I will create a large scale drawing directly on the wall. The wall will be rigged for climbing and I will be suspended by a harness. The performance will consists of me negotiating the vertical space while drawing an image with charcoal and tape. The action of drawing and climbing will leave marks from my body along with marks
made by my hands, leaving a trace of physical struggle that will become an inherent part of the drawing and image.
I have begun rigorous training for the performance and am seeking sponsorship for this project. I need to raise money to pay for the space and equipment rental, setup, filming and production costs. If you, your organization. or any others you know of might find this idea interesting, amusing, or would simply like to see it realized, please take a minute to donate as much or as little as you can. Every dollar counts! I have set up a quick pay pal link for your generous donations!! DONATE NOW (via PayPal). The new piece will be a natural extension of some of Yulia’s past explorations, largescale charcoal drawings either directly on walls or suggesting walled enclosures: “This is the first fundraiser I have initiated,” she told the wordARTist. “Most of the people who donated are friends and know me personally–except one art organization from NJ and DC. This was a nice surprise! Yes indeed it is strange territories that I am sailing, since I am not into asking for money! But in the spirit of this project and knowing how difficult it would have been to realize it without the help of others, I decided to be bold and simply write an email. I figured people would just delete it if they are not into it.”
Yulia has also obtained help from Kevin Jaramillo, a world-class climber and filmmaker from New Mexico “who helped me with the rigging of the wall to be safe and climbable. Also he showed me how to use the various devices/equipment to help me move around. He was very kind to donate his time and equipment to the project.” Filmmaker Kristin ten Broeck, studio director and founder of New Media Films, is also donating time and efforts to collaborate with Yulia on a video of the performance, to be premiered in Cambridge, MA, on April 30. In addition to these in-kind donations, Yulia has raised some $1200.
Her whole enterprise strikes me as being so in keeping with the spirit of these times. As the old infrastructures crumble around us, more and more we are reaching out to community for support, as well as inventing new ways of accomplishing our goals. The wordARTist loves Yulia’s out-of-the-box thinking for raising funds, which puts her
squarely in the vanguard of a new breed of artist entrepreneurs that the New York Times recently identified in the article “Shifting Careers: Making Artistic Careers Lucrative.” Yulia says, “I am hoping, now that others are involved, that this project will be good enough to make people feel that it was a worthy cause to contribute to. It’s a fine line
between silly and serious.” I’d say it’s just plain inspiring
THE Magazine: JUNE 2008, Critical Reflections
by Anthony Hassett
While thumbing through a recent edition of Art#!*&% magazine I found myself becoming increasingly agitated. There seems to be a widespread timorousness in the art world these days, a need to express aggrandized ambitions, trivial confusions and gutless mysteries. Granted, the gouging careerism that powers the considerations of many artists (and the mandarins who support them) can lead to the production of something interesting. For the most part, however, what we find ourselves left with is a tremendous amount of skill undermined by impoverished imaginations. I am not bewailing the breakdown of some past artistic authority. My problem is in the fact that eternal sameness presents itself as the eternally new. In the recognition of that fact there is most certainly a way out.
From time to time one comes across an artist who refuses to be institutionalized by the assumptions of his or her mentors, by the transcendental nonsense of the art market, nor by the very weird over-therapized psychology of practicing artists themselves. In the contemporary art world, work featuring (or even originating from) the darkness and desperation of current “American” realities is about as popular as toenail parings. But imagine if, during one of your happy art-walks, you came across something with the power of Goya’s fitful creative explorations of violence, something that craved and succeeded in capturing the denied and willfully resisted underpinnings of your own prosperity. Such is the power in the work of Wurlitzer recipient Yulia Pinkusevich, now showing at the Loka Art Space in Taos New Mexico. In this series of charcoal and beeswax images on paper, the artist imagines the full force of institutional domination, both mental and physical, right at the point where it meets the oblique acquiescence of the outside world. Fear has never been absent from the human experience, and city building has always contended with the need for protection from danger. But this can be turned upside down to give us a glimpse of the dangers lurking in our midst, not only in urban institutional design, but also in the power structures that work as a lens for perceiving the world. In these works, we seem to be looking through and into a picturesque labyrinth, immersed ever deeper in claustrophobic ideas of captivity, incarceration, isolation, and a degenerative moral force masquerading as restoration, or some such utilitarian philosophy. Even so, the paradoxical substance of this work is that, on closer inspection, we realize each dark corridor possesses a door, or a structural alternative -a way out of what otherwise feels like confusion and despair.