Saturday, January 10, 2009

Interview by Christine Brenneman in the Marin Independent Journal

Here is an Interview by Christine Brenneman in the Marin Independent Journal in connection with Front + Center at the Headlands Center for the Arts:
Working artist: Pastine focuses on physicality of objects
Christine Brenneman
Posted: 01/07/2009 07:16:07 PM PST

Francesca Pastine's ArtForum series of excavated magazines will be displayed at the Headlands Center for the Arts in Sausalito.
To hear local artist Francesca Pastine tell it, her artistic life began practically at conception. Her mother and father were both working artists, and her childhood was spent immersed in a milieu of paintings, sculpture, art studios and constant talk of the creative process. Pastine, a multimedia artist and painter, now lives and works out of her home in San Francisco's Mission district. There, she creates paper-based sculpture and realistic paintings, often using ordinary materials in her artworks.

This month, Pastine and 19 other California artists will be featured in a group exhibition, "Front + Center," at the Headlands Center for the Arts in Sausalito.

Each participant applied for the center's prestigious artist-in-residence program for 2009; though these applicants did not get the residency, their work was chosen for the annual kickoff exhibition, which showcases up-and-coming artists in a variety of visual media.

Four pieces from Pastine's ArtForum series of "excavated" magazines will be on display.

Q: There's an overarching theme in your work of calling attention to the physical nature of your materials - whether you're painting shopping carts used by the homeless, cutting snowflakes out of the New York Times or chopping into an ArtForum magazine. Can you talk about why that's important to you?

A: In those specific bodies of work, I wanted to work with things that were immediately at hand. I'm interested in the physicality and materiality of objects:
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the object-ness of the shopping carts, for example, the piles of things, the ways in which they were covered and piled with blankets. That theme runs through, wanting to deal with what's at hand, things that I'm engaged with on a daily basis. With both the ArtForum and the New York Times, I like how the pages feel, and all those little peripheral marks on the edge of the pages. I'm interested in all of these things as physical objects.

Q: The hand of the artist, and clear evidence of that,
Francesca Pastine's ArtForum series of excavated magazines will be displayed at the Headlands Center for the Arts in Sausalito.
seems paramount in your work. Why?

A: I was very inspired by the women's art movement of the 1970s, which emphasized craft. I got into paper-cutting and paper crafts, and I liked cutting into them and trying to have the trace of my hand in the actual object. This brings the viewer to the present, into a richer experience of seeing. The viewer can have an embodied, visceral experience with the physical act of making when I bring that aspect forth. That's the reason I don't want to laser-cut them.

Q: Can you talk about the pieces you'll have in the "Front + Center" show?

A: There will be four of my ArtForum works (in which she cuts into the venerable art magazine). I consider them an archeological excavation, a dig. I'm digging through the current history of art making and stripping it and exposing it in a physical way, not an abstract way. The reason I was attracted to them was that they are square-shaped. A rectangle represents a portrait or landscape. But with a square, your eye kind of stops, it reads more as a real object.

Q: You teach art at the college level, and have done so for much of your career. How does that feed back into your own art practice?

A: I think it's important to get back to the fundamentals of art, to touch base with that all the time, so that you don't get too far into the conceptual realm. Through teaching, I go back to the reason that art's exciting for me in the first place. It's really gratifying to open up the possibility and potential of art on all levels. People get so much out of this experience; it's gratifying to see how people connect with creativity.

Q: What's your favorite color?

A: That I don't have - but I do love orange.

Q: What is your most prized art possession?

A: The art I have that was made by my parents.

Q: What's the most inspiring thing you see daily?

A: My first cup of coffee.

Q: What one word best describes you as an artist?

A: Dedicated.

Q: What you would do if you didn't make things?

A: There's really nothing else I can do. I'm hopeless at anything else.

IF YOU GO

What: Front + Center, a group exhibition guest-curated by Kimberly Johannson with featured artists: Francesca Pastine, Tamara Albaitis, Brice Bischoff, Todd Bura, Matty Byloos, Ajit Chauhan, Joshua Churchill, Lori Esposito, Mayumi Hamanaka, Taro Hattori, Rachel Mayeri, Jennie Ottinger, Erik Parra, Alison Pebworth, Tara Tucker, Paul Urich, Lindsey White, Noah Wilson, Mary Elizabeth Yarbrough and Ayelet Zohar.

Where: Headlands Center for the Arts, 944 Fort Barry, third floor, Sausalito

When: Noon to 5 p.m. Tuesdays through Fridays and Sundays, Jan. 18 through Feb. 22. Public performance and reception Feb. 8, time TBA.

Information: www.headlands.org

Front and Center + Headlands Center for the Arts

Here is an upcoming show that I am in at the Headlands Center for the Arts:

Front + Center

Francesca Pastine, Erosion, ArtForum Excavation Series, 2008, 10.5 x 10.5 x 5 inches
Francesca Pastine, Erosion, ArtForum Excavation Series, 2008, 10.5 x 10.5 x 5 inches

Date: 1/18/2009 - 2/22/2009
Location: 944 Fort Barry, 3rd Floor

An exhibition featuring new and recent work by: Tamara Albaitis, Brice Bischoff, Todd Bura, Matty Byloos, Ajit Chauhan, Joshua Churchill, Lori Esposito, Mayumi Hamanaka, Taro Hattori, Rachel Mayeri, Jennie Ottinger, Erik Parra, Francesca Pastine, Alison Pebworth, Tara Tucker, Paul Urich, Lindsey White, Noah Wilson, Mary Elizabeth Yarbrough, Ayelet Zohar

Headlands Center for the Arts is pleased to present Front + Center, a dynamic group exhibition featuring cutting edge artwork by California artists working in a range of mediums who applied for the 2009 residency program. After six successful years launching its residency season with an annual exhibition, Headlands, in collaboration with Kimberly Johansson, reimagines the show and calls critical attention to noteworthy California artists from the applicant pool.

Front + Center reflects diverse interests among contemporary, emerging artists at both aesthetic and conceptual extremes. While some of these artists embrace blankness, or the void, others relish the notion of horror vacui, or "fear of empty space," illustrated on the canvas, page or gallery wall. Others pay particular attention to Headlands' physical space, focusing on architectural surroundings as subject matter. Front + Center also traces a trend among some artists in responding to history; they borrow and freely remix tropes of Surrealism, Dada and traditional portraiture, seemingly in reaction to their art historical ancestors. Many revisit antiquated techniques and favor the low-fi over the high-tech. This fascination with history and its relationship to current artistic production again underlines the significance of Headlands as an exhibition site.

The exhibition's title is borrowed from the military lexicon, alluding to Headlands Center for the Arts' campus as a place of rich military history. Moreover, Front + Center reflects the position of Headlands as both historic and contemporary, off the beaten path yet central. While physically located in the hinterlands of the Bay Area, Headlands is at the center of creative innovation. At the core of Headlands' mission is the importance of promoting and supporting artists as cultural producers who actively shape the world. Front + Center supports this mission while showcasing a specific group of artists to kick off the new year.

Members Reception: Sunday, February 8, 1-2PM (Please RSVP)
Public Reception: Sunday, February 8, 2-4PM

Sunday, December 7, 2008

Big Bang, Small Bucks at Dean Jensen Gallery

I am participating in a show in Milwaukee this month at Dean Jensen Gallery:

Big, Big Bangs / Small, Small Bucks: An Exhibition for the Post-Bust Economy
December 5, 2008 - January 24, 2009
exhibition photos

Opening Reception: Friday, December 5 from 6pm - ?

Here is some of the work in the show:


Sunday, October 19, 2008

Press!


Following is a review of my Iraqi Casualty Series which is currently in Art of Democracy at the Meridian. Also reviewed are Enrique Chagoya and Fernando Botero. I found it on the KQED website: http://www.kqed.org/arts/performance/article.jsp?essid=23522

Art Review

Art of Democracy: War and Empire

Large Image

Politics are not subtle, political communication is necessarily fast, strident, and goal oriented. The best art on the other hand has a subtlety and an ambiguity that inspires contemplation and allows for multiple interpretations. I am very interested in the possibilities offered by the intersection of politics and art but, because the two practices are best formally presented in contradictory ways, it requires immense skill to balance the demands that each bring to a work. Art of Democracy: War and Empire at the Meridian Gallery had plenty of pieces that did not succeed, but among these I discovered works that did. As I looked I became aware that the work that most impressed me put art first and politics second.

The best pieces in the show are Fernando Botero's painting Abu Ghraib #54 and Enrique Chagoya's litho and Chine-colle codex The Ghost of Liberty. Both of these works exhibit the inspired formal mastery of their makers.

Botero's piece could at first seem to be an obvious illustration of the Abu Ghraib torture that horrified many in the US, and the world, in 2004. His painting however imbues the depiction with a sorrow and a livingness that invokes a powerful and different emotion from the one the photos evoked. As Kimmelman points out, "The photos of Abu Ghraib imply no outrage about what's happening. In fact, the intent of the pictures is precisely to compound the humiliation." These photographs of atrocities were taken by the instigators of the atrocities, and as a result our contemplation is focused on the barbarity of a viewer who will witness and record horrible acts without considering the humanity of his subjects.

In opposition to this, Botero's work forces one to consider the humanity of this narrative's subjects. His figures are fleshy. The tender squishiness of their flesh emphasizes the brutality by which this flesh has been damaged making us feel them as fellow humans that suffer. I feel empathy for the sorrow of their pierced flesh, for their forced blindness, for the bindings that cut into their soft bodies. In Abu Grhaib #54, two figures are bound together in a dark barred cell. The cell that contains them has a strange slanting perspective. The way this warped perspective slides us down and out of the picture destabilizes the space emphasizing a strangeness and horror that adds to the painting's power. The figures are sympathetic, the space, the situation in which they exist, wrong. There is something about hope here too, a distant hope implied by narrow strip of light glowing in the oppressive darkness beyond double sets of cell bars. The omnipresence of hope is necessary for survival of dire and mundane trauma, and this slender strip speaks to me of the resonance of hope in human experience.

Enrique Chagoya's The Ghost of Liberty differs in its approach both to content and to formal investigation. Rather than focusing on a specific event, Chagoya's piece is thematic. He creates a magical pastiche of oppression by giving us a sampling of "imperialist intervention" and "arbitrary exercise of violent power" as they occur in different places and at different times.

While Botero utilizes the compositional manipulation of space and a sensitive rendering of the figures that instills them with symbolic meaning, rhythm, scale, color, and image complexity are the formally compelling aspects of Chagoya's work. Jesus-headed dinosaurs, Chinese-baby astronauts, Mayan gods, and Buddha heads, are printed in brilliant hues and collaged into a landscape of changing conflict. His hybrid forms are as inventive and delightful as his subject, the omnipresence of cultural violations, war, and political violence. The tension that holds these opposites together results in a very exciting piece.

While I am most insistently drawn to work in which the formal qualities are most developed, occasionally a more conceptually focused piece will compel me. In The Past as Future, Habermas discusses what has happened, in the media, to depictions of war. He presents the idea that public opinion was affected by media images during Vietnam in a way that created difficulties for US politicians, and that as a result images of subsequent conflicts have been edited to reduce negative public opinion. Several more conceptually focused artworks intersected with these ideas in intriguing ways.

Francesca Pastine's pieces from her series Iraqi Casualty Series were the most interesting of these. Three pages from the New York Times had all the text blacked out with graphite, leaving only barely recognizable images of covered bodies, coffins with a sprinkling of dirt, and a stack of diamond rings. Again the formal qualities are important to the success of the work although the emphasis here is on how they are used to present a criticality interesting idea.

The density of the graphite darkness obliterates meaning, transforming information into unreadable black columns; censorship is an obvious implication and the resulting form speaks directly to ideas that our media, in this case the New York Times, is being edited obscuring truth as it reveals only partial events. The difficulty of identifying the imagery, which has had its surroundings erased by blackness, references the difficulty of comprehension when context is stolen from us.

I was happy to find work in this show, which both compelled me as art and allowed me to ponder political themes in interesting ways that standard political communication does not usually engage.

Art of Democracy: War and Empire is on display at the Meridian Gallery through November 4, 2008. For more information, visit meridiangallery.org.

14th Annual Artwalk NY

I am participating in the above auction. I donated one of my watercolors of a homeless persons cart which I think is apropos.

Monday, November 3, 2008

ARTWALK NY 2008 takes place on Monday, November 3, and will pay tribute to the visionary artist Robert Rauschenberg. Now in its fourteenth year, we will join with returning Co-chairs Richard Gere and Carey Lowell to remember his unparalleled contribution to the world of contemporary art. All ARTWALK proceeds directly fund the Coalition's life-saving programs.


ARTWALK NY
Monday, November 3, 2008
6:30 PM - Silent Auction + Cocktail Party
8:00 PM - Live Auction
Metropolitan Pavilion
125 West 18th Street
New York City

ABOUT ARTWALK NY

Each fall, ARTWALK NY unites artists and art lovers in an effort to help our homeless neighbors, and to celebrate the most important artists of our time.

This year, the Coalition for the Homeless will pay tribute to the legendary artist Robert Rauschenberg. Now in its fourteenth year, ARTWALK NY has become one of the City's largest and most anticipated annual art auctions. The event will feature a silent and live auction along with a cocktail reception. Previous events have featured works from artists such as Donald Beachler, Chuck Close, Jenny Holzer, Zhang Huan, Jeff Koons, Glenn Ligon, Brice Marden, Yoko Ono, Ed Ruscha, Cindy Sherman, Sarah Sze, Juergen Tellerm and more.

Click here for the updated list of participating artists.

All proceeds from ARTWALK NY help us provide a safety net for the thousands of New Yorkers who arrive at our doorstep every month.

New Work


IMPERMANENCE