Texas Abstract: Modern + Contemporary HOUSTON opening and book signing

My work has been published in Texas Abstract:  Modern + Contemporary.

http://www.frescobooks.com/txab-cover.html 

Houston Opening: 
Gala reception and Book signing: Saturday, April 18, 5-8 pm 
     Exhibitions spread out at both
     Gallery Sonja Roesch and RudolphBlumeFineArt/ArtScanGallery


       FInd my work at:

       Rudolph Blume Fine Art/ Artscan Gallery
       1836 Richmond Avenue
       Houston, TX 77098
       http://rudolphprojects.com/index.php

Exhibition Dates: April 18- May 16, 2015


Previous exhibitions:
TEXAS Abstract
Galveston Arts Center, Galveston, TX
January 17, 2015 - February 22, 2015
Reception:  January 17
6 PM - 9 PM
 
Texas Abstract
Barry Whistler Gallery, Dallas, TX
January 17, 2015 - February 28, 2015
Reception:  January 17
6 PM - 8 PM
Installation: 

http://www.barrywhistlergallery.com/exhibitions/texas-abstract

Texas Abstract:  Modern + Contemporary exhibition and book signing
Wade Wilson Gallery
Santa Fe, NM

TEXAS WOMAN’S UNIVERSITY  
School of the Arts
Department of Visual Arts

PRESENTS:

Construct: Abstract / Three Painters
MICHELLE MACKEY | MARCELYN MCNEIL | LORRAINE TADY 

September 30 to October 22
East | West Galleries

Fine Arts Building

 
Reception: Tuesday, September 30
5:00pm to 8:00pm




Gallery Hours:
M-F / 9:00am to 4:00pm
 
Lorraine will exhibit paintings and drawings

Pictured: Lorraine Tady, Left, Octagon Vibration Series, Oscillation Expansion, 44x35 inches, 2014;  Right, Compass, (L.E.D.), oil on canvas, 60x48 inches, 2013

For more information
Vance Wingate / 940-898-2533
 vwingate@twu.edu<mailto:vwingate@twu.edu

 www.twu.edu/visual-arts

 MICHELLE MACKEY | MARCELYN MCNEIL | LORRAINE TADY

TWU Department of Visual Arts welcomes three painters working in abstraction for our next exhibition. Each artist develops imagery in very unique ways, while still attending to formal elements of painting and composition.

Michelle Mackey has exhibited her work recently at Holly Johnson Gallery in Dallas, Texas. Her works explore time and memory, the way that places, experiences and events are remembered/reinterpreted. The images in her work derive mainly from the physical structures in her environment. She states: “I look at the surface mix of cracked mortar, shiny metal, peeling paint, and rusty scaffolds; I hear the rhythmic distance from chimney to chimney, branch to branch, and window to window; I think of the structural soundness of repetition, from the frame to the brick. As I work, I periodically refer back to these environmental sources, as well as conversations, books, music, patterns and other sources for ideas on color, form, and composition.” These formal elements are presented in paintings that show the extremes of materials and techniques in the making. Sanding, scraping, burning, dissolving and rebuilt layers and the resulting textures and colors inform the barely discernible structures that the paintings started with. The artist received an M.F.A. from Pratt Institute, Brooklyn, NY (1999) and a B.A. from Furman University, Greenville, SC (1997). She currently divides her time between Brooklyn, NY and Dallas, TX.

Marcelyn McNeil’s work is developed through a process of taping areas to be painted and pouring paint on canvas laid horizontally as well as vertically. This process is both formal and idiosyncratic. Simple clear forms are identified as she develops a work, forms that embody assertiveness, a kind of peculiarity, and vulnerability at the same time. The masses present in her work have a way of being both flat and dimensional. She is thinking about sculpture and three dimensionality continually as she paints, embracing trial and error while developing her peculiar animated forms. Marcelyn earned an M.F.A. from the University of Illinois, Chicago and a B.F.A. from the Pacific Northwest College of Art in Portland, Oregon. She is represented by Conduit Gallery in Dallas, Texas and recently had a show of work there in 2014. Ms. McNeil lives and works in Houston, Texas.

Lorraine Tady’s work incorporates mechanical-like systems that are subjected to or are participants in an indirect and formal examination of structure; or a subverted diagrammatic, engineering process. The paintings show evidence of searching line, rough outlines covered over and then brought back through scraping or sanding.  Corrections to the image and forms as they are developed are very important in the work. Ms. Tady states, “The language of line propels the work, and I use it to help make visible the parts, and to find the answer to ‘what connects to this, how is this connected to that, etc.” Lorraine is represented by Barry Whistler Gallery in Dallas, Texas. She has been included recently in “Parallel Process” at the gallery and had a solo exhibition there in 2013. Ms. Tady lives and works in Dallas, Texas.

The East /West Galleries are on the first floor of the Fine Arts Building, at the corner of Texas & Oakland streets (300 Texas Street), TWU campus in Denton, Texas, 76201. Gallery hours are Monday - Friday, 9am to 4pm, when the university is in session. Weekends by appointment only.
For directions, please go to the TWU website: http://www.twu.edu/visual-arts

If you need more information, please contact: Vance Wingate at 940-898-2533 or by email: vwingate@twu.edu.

Parallel Process open until June 7th

Parallel Process at Barry Whistler Gallery, Dallas, opens Saturday, May 10th, 6 - 8 pm with 6 new drawings from my Octagon Vibration series. Also showing work: Polly Lanning Sparrow, Leslie Wilkes, and Toni LaSelle


click here to look closely at my works in the show

Testing. . . 1, 2, 3

The above drawing is in the collection of Charles Dee Mitchell. Now I wish it was in the show with the others as it is part of that series.  Please come to the opening of Parallel Process, Saturday May 10th 6-8pm with Polly Lanning Sparrow, Leslie Wilkes, and Toni LaSalle. 

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Artist Statement: 

In my work mechanical-like systems are subjected to or are participants in an indirect and formal examination of structure; or a subverted diagrammatic, engineering process. Parts are extracted, analyzed, and re-translated, using both digital and analog tools. I propose questions in the investigation and set up specific games, parameters and rules to respond to in the work’s progression. The language of line propels the work, and I use it to help make visible the parts, and to find the answer to ‘what connects to this, how is this connected to that, etc.’

The Octagon Vibration series:

Thoughts 2/14/14 with excerpts from my artist statement

These large “white” drawings on paper (60” x 44”) consist of graphite, charcoal, conte, pastel, pigment and paper collage elements. I include rulers, tape, and stencils in my process. Along side them I have been working on monotypes and drypoints utilizing stencils. This often results in embossed areas of “white on white” They are my most recent response following my L.E.D. series, as in how I vary my grounds in a series, “The L.E.D. work’s veils and values of blackish-grey follow previous works where my investigation of painted grounds focused on bright yellow, various greys, red or Pescia blue.”

The limitations of color grounds is part of my game playing, “I propose questions in the investigation and set up specific games, parameters and rules to respond to in the work’s progression. The language of line propels the work, and I use it to help make visible the parts, and to find the answer to ‘what connects to this, how is this connected to that, etc.’ ”

Charles Dee Mitchell and others have suggested to me that the viewer’s engagement in my work is in “seeing” the drawing being built in the drawing. That is very satisfying to me as the artist.

The physicality of edge that results in my collage process is desired and parallel to the embossed edge in my printmaking imagery. It becomes another way to make a line or shape, another way to delve into the structure of the image. In 1999 I began to build my drawings and paintings with scraps of wood, as another way to draw. I would have to anticipate the top view, back view, side view of the image, whether I was re-inventing the drawing in wood or re-inventing from my mind’s eye on paper; “Overall, the resulting mechanical-like systems in my work over the years are subjected to or are participants in an indirect and formal examination of structure; or a subverted diagrammatic, engineering process. Parts are extracted, analyzed, and re-translated, using both digital and analog tools.”

The Octagon Vibration series is a reference to Emma Kunz’s work, which might serve as a portion of the iceberg for a mountain of spiritualists involved in abstract art throughout art history.  “Reference,” as described with the Maldoror Drawings, or mentioned in the L.E.D. series, and each past series of my work; the “reference” is an underlying “something” which I find kinship mostly after the work is made. I am not trying to illustrate ideas or make them visible. All in all, each series is a continuity of that which resonates. Each series is a different way to approach how to make visible that which resonates. The references are more like how a poem works to help make visible or structure the thing that drives me to “make” which has no words or imagery. This is why I included a poem in the L.E.D. exhibition.

 
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(OVS-3B) Octagon Vibration Series, Oscillation Expansion, 2014, graphite, pastel, pigment, 44"x35” and below, an inversion of the image as an experiment. It doesn't surprise me that it reminds one of my L.E.D paintings.

 

"Maldoror's Lamp Series" 2013 at the Dallas Art Fair

The drawings emanate from Maldoro’s described hallucinogenic vision of a lighted street lamp floating down a dark river in the blackness of night (from Le Chants de Maldoror, Lautrèamont, 1869). The drawing’s exploration of lead pencil, charcoal, water resistant and water-soluble materials with gum arabic create a tactile quality.

(all mixed media on paper, 8x6 inches each)
click on images to enlarge

 (all mixed media on paper, 8x6 inches each)
click on images to enlarge

L.E.D (The Title of The Exhibition is Like A Poem) March 2 - April 13, 2013

Click on above invite or below images to make them larger.
Scroll down for more information...

 

                   Paintings above: oil on canvas, 60" x 48"

Lorraine Tady

Artist Statement

2-28-13

The paintings from my L.E.D. series reference radar-like light on luminous black grounds (as from electronics.) The emotional or narrative associations poetically derived from L.E.D (such as light machines, sound, the lead element, tenses of “to lead”, the reference to paths and search, as well as temperature, luminosity and weight) interact with my visual games.

The show at Barry Whistler Gallery represents work inspired by a moment one trip of sitting on the tarmac in an airplane. I got lost looking out the window and the yellow and black lines on the runway really started to resonate with me. I really wanted to bring this into a painting and I’ve been working on these paintings for the past few years. The L.E.D. work’s veils and values of blackish-grey follow previous works where my investigation of painted grounds focused on bright yellow, various greys, red or Pescia blue. Ludwig Wittgenstein’s “Remarks on Colour” is a touchstone for my questions regarding color and luminosity; and the black is also informed by Robert Moskowitz’s night drawings. I also think of Roman frescos with dark backgrounds (on one end of the time spectrum) and a Jenny Holzer installation at the DIA Foundation, NYC, many, many years ago on the other. Her installation included a huge dark room with carefully placed vertical red L.E.D. messages. The room had an odd, almost silent, yet beautiful “pinging” sound. I also enjoy works by Jonathan Lasker, Joanne Greenbaum and Terry Winters.

My L.E.D. works have a painterly, searching, as well as process-oriented use of mark and tool resulting in a very tactile surface. The paintings are built slowly like puzzles with line, color, and shape reflecting my interest in structure, light, space/spatial tension, and architecture (i.e. using aerial, plan, side-view, and map-like orientation.) Shapes and individual parts, which I use repeatedly in my paintings and drawings (and re-invent with each use), serve as a language, and are drawn from specific sources (for example, natural or man-made geometry, plastic toys, transportation terminal layouts, a Photoshop Magnetic Lasso selection tool, and my shapes themselves) and form hybrid abstractions.  The drawing is slowly arrived at yet determined and intentional.

Overall, the resulting mechanical-like systems in my work over the years are subjected to or are participants in an indirect and formal examination of structure; or a subverted diagrammatic, engineering process. Parts are extracted, analyzed, and re-translated, using both digital and analog tools. I propose questions in the investigation and set up specific games, parameters and rules to respond to in the work’s progression. The language of line propels the work, and I use it to help make visible the parts, and to find the answer to ‘what connects to this, how is this connected to that, etc.’  

My poem L.E.D (The Title of the Exhibition is like a Poem) is supplemental to my artist statement.

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Brief Biography:

Lorraine Tady (b. 1967) lives and works in Dallas, TX.  She attended the Yale/Norfolk School of Art in 1988 with the Ellen Battell-Stoeckel Fellowship. She received her BFA in painting from Ohio’s Wright State University in 1989 and, on full scholarship, her MFA in 1991 from Southern Methodist University, Dallas, TX.

Tady has had numerous solo shows at the Barry Whistler Gallery in Dallas, TX as well as group exhibitions nationally, including Seattle, Los Angeles, New York, Massachusetts, Washington, D.C., and SPACES in Cleveland. Her work was included in New American Paintings #48 in 2003. She received the Kimbrough Award from the Dallas Museum of Art in 1993 and the Ruth and Harold Chenven Award in 2010. She was nominated for the Arthouse Texas Prize, the Joan Mitchell Grant and the Louis Comfort Tiffany Grant. Tady is currently a Clinical Assistant Professor of Visual Art at The University of Texas at Dallas. She has been Visiting Assistant Professor at the University of Dallas, Southern Methodist University, and Baylor University. Her work is included in the American Airlines collection, Saks Fifth Avenue, Miami, as well as private collections in Dallas and New York.