L O R R A I N E T A D Y
2 0 2 0 - 2 0 2 1
new website coming soon
Recent SHOWS:
MULTILAYER Vision 20/20
11.OCTOBER.20 - 25.APRIL.21
RAUM SCHROTH, Stiftung Konzeptual Kunst,
Museum Wilhelm Morgner, Soest, Germany
Tim Allen (GB) ǀ Stefan Annerel (BE) ǀ Steven Baris (US) ǀ Dominic Beattie (GB) ǀ Nelleke Beltjens (NL) ǀ Wolfgang Berndt (DE) ǀ Andrew Bick (GB) ǀ Alain Biltereyst (BE) ǀ Britta Bogers (DE) ǀ Beti Bricelj (SL) ǀ Brice Brown (US) ǀ Dan Devening (US) ǀ Ursula-Lisa Deventer (DE) ǀ Edgar Diehl (DE) ǀ Mark Francis (GB) ǀ Luc Hoekx (BE) ǀ Vanessa Jackson (GB) ǀ Michael Jäger (DE) ǀ Jason Karolak (US) ǀ Imi Knoebel (DE) ǀ Gerda Kruimer (NL) ǀ Antoine Langenieux-Villard (FR) ǀ Rudy Lanjouw (NL) ǀ Annekatrin Lemke (DE) ǀ Jai Llewellyn (GB) ǀ Peter Lowe (GB) ǀ Jonas Maas (DE) ǀ Dóra Maurer (HU) ǀ Patrick Mifsud (GB) ǀ Burghard Müller-Dannhausen (DE) ǀ Laurence Noga (GB) ǀ Paul Pagk (GB/US) ǀ Nina Pops (RS) ǀ Marlon Red (RO) ǀ Tim Renshaw (GB) ǀ Ivo Ringe (DE) ǀ James Ryan (GB) ǀ Julio Rondo (ES) ǀ Suzan Shutan (US) ǀ Sonita Singwi (US) ǀ Sandi Slone (US) ǀ Gary Stephan (US) ǀ Lorraine Tady (US) ǀ Dannielle Tegeder (US) ǀ Isabella Til (DE) ǀ Don Voisine (US) ǀ Thomas Weil (DE) ǀ András Wolsky (HU) ǀ Miro Zahra (DE)
Curated by: Cologne based
artist Ivo Ringe and Soest based art historian Juliane Rogge
Traveling to: Schloss Plüschow - the Mecklenburgische Künstlerhaus,
Plüschow, DE, in Tremenheere Sculpture Gardens, Penzance/Cornwall, GB and in
the Vasarely Museum, Budapest, HU. Further venues are in planning.
RECENT SHOWS
ORTH CONTEMPORARY
HOPE MADE VISIBLE
DEC 4TH 2020 - JANUARY 1ST (EXTENDED), 2021
Caper Brindle, Jimi Gleason, Henry Jackson, Robert Minervini, Patti Oleon,
Kate Petley, Eric Sall, Lorraine Tady, Liz Trosper, Chris Trueman
Texas Women: A New History of Abstract Art
February 6 - September 2020
San Antonio Museum of Art
Curated by Suzanne Weaver
Including Sara Cardona (b.1971, Mexico City), Pat Colville (b. 1931), Sharon Engelstein (b. 1965), Dana Frankfort (b. 1971), Linnea Glatt (b. 1949), Dorothy Hood (1919–2000), Terrell James (b. 1955), Dorothy Antoinette “Toni” LaSelle (1901–2002), Annette Lawrence (b. 1965), Catherine Lee (b. 1950), Constance Lowe (b. 1951), Marcelyn McNeil (b. 1965), Susie Rosmarin (b. 1950), Margo Sawyer (b. 1958), Lorraine Tady (b. 1967), Liz Trosper (b. 1983), and Liz Ward (b. 1960).
Women on Top
January 18 - February 22, 2020
Barry Whistler Gallery
Lorraine Tady, Linnea Glatt, Terrell James, Terri Thornton, Liz Trosper, Jessica Sinks
On Screen/Off Screen:
Contemporary Painting and Technology:
Kate Petley, Lorraine Tady, Liz Trosper
Orth Contemporary, Tulsa, OK ***POSTPONED
The Adjacent Possible August 27 - September 27, 2019
Muscarelle Museum of Art, Williamsburg, VA,
Curated by Elizabeth Mead, Professor, College of William and Mary
Susan York, Helen O’Leary, Lorraine Tady, Michelle Benoit, Phil Chang, Stefan Chinov,
Jaynie Crimmins, Sara Dochow, Diane Englander, Pamela Farrell, Karen Fitzgerald, Jo Volley
Plugged-in Paintings
JAN 19 - MAR 15, 2019
Site 131, 131 Payne Street, Dallas, TX
Co-curated by painter John Pomara, transmedia artist Dean Terry, and SITE131 director Joan Davidow, the exhibition presented one large-scale digital painting by each of nine artists. The artists include Petra Cortright from California; Matthew Choberka from Utah; Chris Dorland from New York; and statewide artists Lucas Martell, John Pomara, Lorraine Tady, Dean Terry, Liz Trosper, and Zeke Williams.
**REVIEWS:
Site 131 “Plugged-in Paintings"
Glasstire Top Five: Jan. 24, 2019
Video starts at **3minutes40seconds** for “Plugged-in Paintings”
Draft Interview for Plugged-in Paintings at Site 131, Dallas, TX
[Edited
from 1/16/2019 draft email interview between Lorraine Tady and Lyndsay Knecht
in preparation for Knecht’s brochure essay
Lyndsay Knecht/LK: First, speaking to the source parts you
mentioned. To be sure, re: material: you photographed your monotypes and then
manipulated the digital image, for this work?
Lorraine Tady/LT: Yes, BUT it’s not that simple. The “monotypes”
are multiple plate drypoint monotypes, so 4-5 copper plates (“image parts”)
usually are combined/layered to make the final image. While those images (parts
and combined parts) are photographed and brought into the computer, the various
arrays of layering those parts/images continues---the layering I did on the
press continues in different ways as layering in the computer (i.e. various new
images made with various parts).
Furthermore, an important note is that I print out the images
from the computer, alter them by hand, re-scan, then bring them back into the
computer. This is a process. My resulting images share a type of genetic
heredity, where some parts/or traits show up now and again as markers [i.e. as landmarks
in wayfinding or as how vocabulary words re-assemble to tell different
stories.]
For this piece (at Site 131) I like to remind people of the
material I work with—my work has never been too shiny or slick and often has a
rough edge somewhere. By having this image somewhat crooked and pixelated ala
“bad printing,” I'm reminding people that this ultimately is a digital
manipulation and a photo image (and the original source parts are my very tactile
drypoint monotypes.) I take advantage of some of these “mistakes” that appear
in my process and intentionally take some out and leave some in.
LK: Were you looking a map when you produced this piece? If so,
what kind of map was it?
LT: If you understand my process, those “parts” can consist of
both appropriated images and unique images. Specific appropriated images have
and will appear in my work. For example, a large drawing in my “Sparklines”
solo exhibit last year at Barry Whistler Gallery contained a floor plan of the
Dallas Contemporary; in another, a sign marking a hiking trail in Iceland.
In this piece, however, a map I recognized “appeared” in the
resultant work through the process. It was the Bakerloo and Piccadilly Circus
intersection of the London Tube map. So, no I was not "looking”
specifically at a map when I produced this particular piece, or using a map to
create this piece, but I do look at maps and graphs and they are part of my
visualization and sometimes I appropriate them. “Sparklines” borrowed its title
from a word coined by Edward Tufte, a key figure in the field of data
visualization. Sparklines are lines that carry data.
LK: I've been asking each artist what painting as a gestural
discipline means to them, and how that philosophy might manifest in the work
they contributed to the show. What are you saying about/to/with painting, with
this work, whether in the production of it or in the choosing of it to submit
for consideration?
LT: For me, “painting" has always been about process and
this wrestle between painting and drawing (and sculpture/building); and my
process has a sort of printmaker’s approach (variation, reusing images,
alterations) and it involves a slow building of the image. [My sculptures were
“drawings” in space to figure out my paintings. My drypoints slow a line down
through the friction of marking copper.] For me re-accessing my images in
various ways throughout my career concerned my interest in image structure. The
mechanical or digital in painting is yet another tool for me to use in my
investigative process.
I submitted this work to the curators because my art process has
utilized the mechanical or digital tool starting back in grad school in 1991
(where I used the xerox machine to alter and create new images from hand-made
images), and of course the camera. While I had been using PS to make images in
the early 00’s—as an additional tool to “see”, invent and re-translate my
images, then paint them—it was only in the digital/paint paintings and digital
prints in “Sparklines” that I found a way to make the images my own (by
mediating my images with “printmaking thinking”.) Since then the digital prints
and “digital canvas grounds” which I had previously painted on (unifying the two
surfaces as a collage), made way to images that stand on their own without
further paint.
MONUMENTAL January - March 2019
BARRY WHISTLER GALLERY, DALLAS
**REVIEW:
"SPARKLINES: Paintings, Drawings and Prints" 2017 Barry Whistler Gallery, Dallas
see reviews and interviews above at the start of this post
Facebook
https://www.facebook.com/lorraine.tady
Awards: 1993 Dallas Museum
of Art Kimbrough Award, 2010 New York Ruth and Harold Chenven Foundation Award,
2015 Otis and Velma Dozier Travel Grant (to Iceland) Dallas Museum of Art.1993 Kimbrough Award, Dallas Museum of Art
Nominations: Joan Mitchell
Foundation 2006 Painters and Sculptors Grant (NYC), the 2007 Arthouse Texas
Prize (Jones Center, Contemporary Art for Texas), and the Louis Comfort Tiffany
Foundation Grant (2010).
Publications: Texas Abstract:
Modern + Contemporary, by Michael Paglia and Jim Edwards, 2015 Fresco Books ISBN 978-1-934491-46-1
Collections: American Airlines;
Saks Fifth Avenue; JPMorgan Chase; Neiman Marcus NYC; Toyota North America; Strake Jesuit Art Museum/Houston;Yale; Southern
Methodist University; The Family Place, Dallas; Lancaster Hotel, Houston; and Private Collections
New American Paintings Juried-Exhibition-in-Print, Number 48 (2003); and Number 132 (2017), The Open Studios Press. Valerie Cassel Oliver (former) Senior Curator at the Contemporary Arts Museum Houston selected me for the New American Paintings Issue 132 https://newamericanpaintings.com/issues/132
Upcoming Issue, curated by Suzanne Weaver.
CV/Full Resume: CLINK LINK, see bottom of page: UT Dallas Faculty, Visual Art
ARTIST STATEMENT:
2017 for Sparklines
My seventh solo show at Barry Whistler Gallery Sparklines: Paintings, Drawings, Prints opens October 21, 6-8
pm at Barry Whistler Gallery, 315 Cole Street #120, Dallas, TX 75207. The
exhibition runs October 21 – November 25, 2017.
Edward
Tufte’s “intense continuous time-series” reduction of data into a strong,
specific graphic line (from The Visual Display of Quantitative Information,
1983) was eventually re-named “sparklines” in 2006. Sparklines as my exhibition title is a tag for my own poetic
translation of Tufte’s “extreme compaction of process and experience” into a
line.
My CV outlines exhibits from 25 years as a professional
artist, including publications which feature my work: Texas Abstract / Modern Contemporary by Michael Paglia and Jim Edwards [Fresco Books/SF Design,
Albuquerque, NM, ISBN 978-1-934491-46-1, pp 204-209 (photos)] and “New American
Paintings” Juried Exhibition-in-Print Number 48, 2003 [pp 134-137 (photos).] I also
have a forthcoming October Press Release of the most recent 2017Juried
Exhibition-in-Print Number 132 publication from “New American Paintings.”
In those 25
years, my work in painting, drawing, printmaking and sculpture has explored a
process oriented conceptual abstraction using re-construction or re-assembly of
my bank of invented imagery. The Sparklines
show includes paintings, drawings and prints from my “Octagon Vibration Series”
(OVS) of intuitive architectural spaces, digital explorations and continued
arrays of interconnected parts. Some of this OVS work is map-like as an
intuitive translation of experience in a place—a type of spatial graph that is
also structural. My art has been influenced by excursions to northern New
Mexico; Cape Cod, Massachusetts; and Paris, France. The Dallas Museum of Art “Dozier
Travel Award” enabled me to go to the Westfjords and the Reykjavik area in
Iceland in 2015.
The translation
and re-translation of the components of my visual vocabulary employs a process
of investigative diagramming and orthogonal projections using plan, elevation,
cross-section and extrusion. This process allows my images to be intuitively
found, extracted, analyzed, shifted and represented in various arrays. These systematic
formulas are sometimes borrowed from meaningful sources (i.e. a London Heathrow
Airport terminal plan in the drawings “Octagon Vibration Series/Heathrow 1-4,”
2017; or the Dallas Contemporary floor plan in the drawing “Octagon Vibration
Series, Escape Hatch/Observant,” 2017.) However, as exemplified in “Heathrow 1,”
they are often subverted for my own intentions.
Serial arrangements exist
throughout my paintings, drawings, prints and sculpture as this process
perpetuates my conceptual abstraction and reinvents particular aspects of my
image bank. My “Octagon Vibration Series” started in 2013 as an inverted continuation
of my “L.E.D.” series. The black paintings with bright lines in L.E.D. (The Title
of the Exhibition is like a Poem) began
with a mental picture of electricity and dark water gleaned from Lautreamont's
1868/69 Les Chants de Maldoror. Further
inspiration included seeing a resonant yellow line on the airport tarmac. These
thoughts evolved with sonar and radar as homage to leading, finding and the
heaviness of a searching act. The subtitle “Octagon Vibration Series” (or OVS) is
partially in recognition of the Swiss artist/healer Emma Kunz (1892-1963) who
harnessed spiritual energy and used a divination tool in her abstract drawings
to find beneficial results for her patients.
For the new
work in Sparklines I applied direct
drawing on large paper, but also rebuilt and mixed parts of my OVS multiple
plate drypoint prints using digital programs and creating works such as the
print “Untitled 1-R,” 2017, pigmented print on paper
from digital OVS, 22x18 inches. Since technology (the photograph, Xerox machine
or new digital programs) has always been a tool for artists of my generation, I was curious now to employ digital
printing to canvas as part of my painting process. Enlarging select new digital
images and printing them at 40% would allow me to work on top of the printed
ground and continue the making of my overall image. The painting “Octagon
Vibration Series/Radial Velocity,” 2017, acrylic and solvent based ink on canvas
(printed canvas from digitally
altered OVS print), 48x36 inches, is an example.
Satisfied
with the digital results, I was also curious to explore handmade grounds that
mimicked the 40% under print. Furthermore, visits to prehistoric sites such as Monks
Mound/Cahokia Mound in Illinois and Effigy Mound in Iowa ultimately influenced
a few new works as well. For example, the painting “Octagon Vibration Series/
Blue Shift after Effigy Mounds National Monument, Harpers Ferry, IA,” 2017,
acrylic on canvas, 72x60 inches. (I’ve since explored Mesa Verde, CO and Chaco
Canyon, NM.)
A timeline
of sorts marking my process for Sparklines
begins with the OVS series in 2013. Then, multiple plate drypoint prints anticipating
a trip to Iceland. Next, actually traveling to Iceland with my 2015 Dallas
Museum of Art travel award. This resulted in more OVS works specifically
influenced by places in Iceland [i.e. the drawings exhibited in the group show Tangled up in Blue such as “Octagon
Vibration Series, Isafjordur (Westfjords, Iceland).”] As explained earlier, the
studio work then became an investigation into ways to use some of my favorite
Iceland multiple plate drypoint monotypes as a source for new large drawings, paintings
and digital prints.
Some
resultant works and their relationships are the print “OVS#27” for the drawing “OVS/Escape
Hatch/Between” and the print “OVS#22” digitally mashed up in the earlier mentioned
print “Untitled 1-R.” “Untitled 1-R” was then used as a ground in the aforementioned
painting “Octagon Vibration Series/Radial Velocity,” (as well as in the
painting “Octagon Vibration Series/Red Shift Frequency Fold,” 2017, acrylic and
solvent based ink on canvas using altered OVS digital print, 72x60 inches.) Of
note, developing an image through process and layering is also imbedded in the OVS
multiple plate drypoint monotype source works. They are made from my collection
of 50 plus copper plates that are interchanged in the printing process to
develop variations in the final image. One might recognize and locate part
components of my visual image bank while viewing my work, finding in the
process what is akin to landmarks in my work’s terrain.
As with
Kunz and the artist Agnes Martin (Canadian 1912-2004), there is a meditation in
the making of my art. Besides a practice based in process, my work is often
influenced by my travels to specific sites and experiences. However, these site
visits may not show up literally in the image. Drawing on wide sources of
arcane knowledge, the work is map-like as an intuitive translation of
experience in a place—a type of spatial graph that is also structural. While
elements from map making often appear (i.e. wind roses), one point of view
gives in to multiple views. The work is painstakingly slow, like balancing
needles. One mark, sign or symbol is incrementally built up, connected to and leading
to another mark, sign, or symbol. The incremental line building in my work is
similar to Joanne Greenbaum’s paintings (American b. 1953).
The incremental building through layers is similar to works by Julie Mehretu
(Ethiopia b. 1970). Furthermore, my structural mediation of the diagrammatic
visual language is more akin to Greenbaum and Mehretu, rather than the precise drawings
of Jorinde Voight (German b. 1977) or
the cartography of Emma McNally (b.1969 England). It always felt right when critic
and writer Charles Dee Mitchell described my work as “a drawing that works
itself out in front of you.”
