Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold through October 24, 2014

2 weeks left! I hope to go over here today to gather a few cards to mail. If you are unable to go by, here are some installation views from the exhibition. Please contact me if you have any questions on any of the works. My contact info is listed at http://kathrynarnold.com/   (Exhibition curated by Jan Casey and Associates , artwork courtesy of Sandra Lee Gallery)

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

Installation at Salesforce.com, 50 Fremont, SF CA by Kathryn Arnold

New updates to my website

Today I updated my website with a number of new works. I hope you will take a visit.
http://kathrynarnold.com/

Also the artworks at at a larger dimension making viewing easier. And I removed works that are no longer available. Hope you enjoy!

Please be invited! Solo Exhibition “Sky Window” at 50 Fremont in San Francisco August 16- Oct 25, 2014

Sky Window: New Works by Kathryn Arnold
August 16- Oct 25, 2014
50 Fremont Street (this is the Salesforce.com Building)
San Francisco, Ca 94105
Curated by Jan Casey and Associates ( casey & associates art advisors)
For more information contact me or Sandra Lee at Sandra Lee Gallery
415.291.8000
art@sandraleegallery.com

Below are the artworks included in this exhibition. These are large-scale paintings.

Meandering in Mist Kathryn Arnold oil on stretched canvas 84 x 84 inches

Meandering in Mist
Kathryn Arnold
oil on stretched canvas
84 x 84 inches

100!: the silver lining oil on stretched canvas 140 high x 70 wide   inches oil and silver on 100 10" x 10" canvasses

100!: the silver lining
oil on stretched canvas
140 high x 70 wide inches
oil and silver on 100 10″ x 10″ canvasses

String of Pearls  Kathryn Arnold oil on stretched canvas 84 x 84 inches

String of Pearls
Kathryn Arnold
oil on stretched canvas
84 x 84 inches

Sky Window: Soft Night Rain Kathryn Arnold  Oil on Canvas with Gold Composition Leaf 70 x 70 inches

Sky Window: Soft Night Rain
Kathryn Arnold
Oil on Canvas with Gold Composition Leaf
70 x 70 inches

Sky Window: Shadows Touch Kathryn Arnold  Oil on Canvas with Gold Composition Leaf 70 x 70 inches

Sky Window: Shadows Touch
Kathryn Arnold
Oil on Canvas with Gold Composition Leaf
70 x 70 inches

Sky Window: Serpent Mirror Kathryn Arnold Oil on Canvas with Gold Composition Leaf 70 x 70 inches

Sky Window: Serpent Mirror
Kathryn Arnold
Oil on Canvas with Gold Composition Leaf
70 x 70 inches

Sky Window: Dragon Moves Kathryn Arnold  Oil on Canvas with Gold Composition Leaf 70 x 70 inches

Sky Window: Dragon Moves
Kathryn Arnold
Oil on Canvas with Gold Composition Leaf
70 x 70 inches

Kathryn Arnold
“Sky Window”
August 2014
Press Release
Kathryn Arnold is a San Francisco based artist. Her paintings are a result of intuitive nonobjective processes and contain my search for a clear, precise moment of visual “magic”. At this place where everything comes together, integration occurs. Perhaps this is the magic – the moment is ordinary yet contains this indefinable occurrence of integration – of which each is new and previously unseen. There is no end to this continual process.

By working with abstraction Kathryn Arnold explores meaning and explores perception. She formalizes coincidental and unexpected connections. Experimenting with aleatoric processes, Kathryn creates personal moments revealing the diaphanous character of thoughts and associations in substantial form as they evolve into fields of color.

Growing from this process, Kathryn develops a fascination with the ordering function of the grid and its defining relationship to experience., in particular, the idea of 100 things and the grid defining and ordering these. The one hundred things are thoughts, ideas and images all active within the mind. Not active overtly all at once, but activated in the associations and relationships generated. The grid becomes an actual entity filled with 100 10” x 10” canvases, the end size being 10 squared giving physical form to the concept of infinity. Like real life, nothing is static, yet keeps a sense of underlying structure in the realm of pure chance and chaos. In this exhibition, 100! has taken on a modular form.

Kathryn’s abstractions do not typically reference recognizable forms; and meaning is shifted and interpretations become multifaceted. By rejecting objective truth the viewer is present with their own perceptual experience. At times, a fascination with the ordering function of the grid comes into play along with its defining relationship to experience, in similar way that language develops.
In “100! Silver Lining” , the 7th work of this series which is included in this exhibition, the images used are from Kathryn’s own photographs of the briefly blooming flowers at Joshua Tree National Park and are placed upon a slender silver grid (“Silver Lining”) making an ecological/environmental statement .

Kathryn studied at the Kansas City Art Institute for three years and completed her Bachelor of Fine Arts in Painting at the University of Kansas, Lawrence with a Phi Kappa Phi honor. She completed her (MFA) Master of Fine Arts in Art with Honors.

Kathryn Arnold has shown her work on a national scale, from New York City to Hawaii, from Los Angeles to Chicago and Kansas City and St Louis. She has been written about by Alan Artner, art critic for the Chicago Tribune and Raphael Rubenstein, senior editor of Art in America along with many others. Her work is included in numerous public and private collections.
She exhibits nationally in galleries, universities and art centers and is a NEA Regional Fellowship recipient. She has received other fellowships, grants and awards as well. Kathryn’s work is included in numerous public and private collections.

Dialogue on Review of “New Dawn” exhibition in Berlin

http://www.art-agenda.com/reviews/new-dawn/

“Instead of drafting a definitive curatorial statement, Churchman offers an exhibition note in which art historian Manuela Ammer inquires in lyrical form: “Who controls the border of painting? What is the border of painting anyway. The edges of the canvas?” These questions’ self-congratulatory rhetoric suggests that the exhibition is the product of a circle of insiders. Yet, despite its jump-cut style and gestural naiveté, “New Dawn” is a sublime staging of the painterly form as a registration of affect and the exhibition format as a “medium” of contagion. The show offers a communal ground in which personal subjectivity negotiates a multifold “borderspace” where political life, the human-animal, and the cosmological meet. It fundamentally awakens our re-enchantment with a world whose sensuality is being systemically drained into unfeeling states of conformity.”
author: Natasha Ginwala is an independent curator, researcher, and writer. She is currently part of the artistic team of the 8th Berlin Biennale for Contemporary Art (2014).

I find the above an interesting discursive analysis – I appreciate the idea that the entire space however lyrical can function as a painting. I also enjoy a good read of complexity. The idea of a world being drained into ‘unfeeling states of conformity’ is something that has come up in multiple places – meaning it could be indicative of our time.

Although the work is very different than my own, I enjoy understanding and at times grappling with new ideas that are being presented.

Here are some installation shots of the exhibition – the link also has more along with more text and the artists’ names.

View of New Dawn Silberkuppe  Berlin 2014

View of New Dawn Silberkuppe Berlin 2014

View of New Dawn Silberkuppe  Berlin 2014

View of New Dawn Silberkuppe Berlin 2014

Magical Diversion

I also keep a hiking blog which you might like to look at – it is a resource for hikers. Occasionally I need to travel into the back country for a healthy diversion. Most of the hikes are in California. I still need to catch up on 2013 and early 2014.

Tomorrow, back to the studio!

http://solairt.wordpress.com/

Studio Visit & Upcoming Exhibition August 2014

Preparing for a studio visit with Jan Casey and Associates on Friday to select works which will be hung at the Salesforce.com building in San Francisco in August. This is a large architectural space and most likely the works selected will be fairly large – I’ll post here once they are selected.

Preparing the studio takes a lot of manpower. I have been hard at work stretching new canvases and completing a few ends on some recent paintings and also photographing the newest works. So as you might imagine, the studio began to gain some unsightly debris! Studio clean-up has been completed with a few last minute things to do tomorrow and Friday.

Here is an image of my last architectural installation:

Installation at 555 California SF, Ca. Oct.-Dec. 2013, Kathryn Arnold

Installation at 555 California SF, Ca. Oct.-Dec. 2013, Kathryn Arnold

Studio June 2014

In the studio over the past year or two creating works for an exhibition at the Triton Museum February 2015. I hope to have new works for this exhibition and will be posting a few images as time continues.

This summer my time in the studio has become intensive as my teaching schedule subsided. At times there is a sense of overwhelm and other times the feeling I am hermit-like as it takes seclusion and lack of social activity to allow the focus needed.

Many of the paintings are large and many of them will be from my new ‘poetry’ series (for lack of a better name right now) which investigates how words/language create meaning from visual experience. I am selecting words from a number of existentialist poets and others – these words will not be on the front of the canvasses however as I desire the primacy of the visual experience to have full impact.

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