Monthly Archives: January 2012

Richard Serra

21 January 2012

Richard Serra’s “Verb List Compilation: Actions to Relate to Oneself,” (1967–1968)

I’ve seen Richard Serra’s work on Art21. Tom and I saw a piece of his at the LACMA years ago. We were at SFMOMA for my birthday and I wanted to see his work but I wasn’t totally compelled. So I was surprised when his work left such an impression on me. I was touched. I really understood where his sculptures came from when I experienced the substantial weight of his black textural paint stick drawings.

Here’s a John Tusa interview of Richard Serra that I have yet to listen to. Thanks to Victoria May for Kara Pecknold’s link of her Design One project using Richard Serra’s verb list.

Posted in Blog

Aimee Mullins

4 January 2012

“When we can celebrate and truly own what it is that makes us different, we’re able to find the source of our greatest creative power,” spoken by Aimee Mullins with such touching emotion in her Moth talk. Subscribe and hear true stories told live every week.

Come to find out, Aimee Mullins film debut was a starring role in the highly acclaimed film Cremaster 3 by contemporary artist Matthew Barney. His work is unforgettable, powerfully different and odd but will leave a lasting impression on me always.

Posted in Blog

Kathleen Henderson

1 January 2012

We found ourselves at Pizzaiolo recently based on a friend’s recommendation. Awesome pizza (and other great food too) in Oakland. It’s a hip happening place so maybe best to have reservations or expect to wait. One of the highlights of this night besides the food was discovering the artwork of Kathleen Henderson. I loved her simple drawing style, her composition and thought-provoking work…as well as her sense of humor.

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  • Artist statement

    I’m hungry to learn and it’s through my process of creating that I’m ultimately satisfied. I’m curious about different materials and take on the challenge to incorporate what I’m most drawn to into my work. I’m intrigued to discover the resulting patterns and repetition. As I create, I explore my inner landscape. I’m attempting to uncover a stifled sound. It’s my challenge to express this internal voice through my art and ultimately, boldly, out loud.

    My quest to connect my voice with my work has led me to reexamine my personal history. The threads in my bookbinding and in my collage are entwined in my familial roots. Growing up, I remember a quilt frame my dad made, taking up our entire living room. His grandmother taught him to quilt using scraps of clothing. Years later, I began a quilt when a friend was teaching a class on patchwork. To my surprise, cutting up fabric and piecing it back together reminded me of my work with paper collage.

    As a child I would sew with my mom and what I most remember is the guilt I’d feel as I jammed up her machine. Now, when the threads and material bunch up they become useful fodder for my work. In some ways the threads act as a binding element, as in my books, and in other ways they are a reflection of my internal processes.