Working In Print
Kathleen Kucka & Tara Geer
Opening Saturday, April 22, 5-7 PM
292 Manhattan Avenue (on Devoe St. next to church), Brooklyn NY 11211
Graham Avenue L stop
Indiana University Center of Art and Design
310 Jackson Street Columbus, IN 47201
EXHIBITION: In Conversation March 31 - May 27, 2017
Kathy Butterly, Hermine Ford, Tara Geer, Jacqueline Gourevitch, Michelle Jaffé, Joyce Kozloff, Kathleen Kucka, Melissa Meyer, Luisa Rabbia, Jennifer Riley, Ursula von Rydingsvard, Kate Shepherd, Kiki Smith, Leslie Wayne.
Reception and Panel Discussion: Friday, March 31, 5.30 - 8.30 PM
The group exhibition IN CONVERSATION is inspired by a series of interviews with female artists, which were conducted by the art historian Stephanie Buhmann between January 2013 and December 2015. Looking for an approach beyond the mainstream media coverage of the art market, Buhmann visited the artists in their studios. The conversations she conducted in these intimate spaces of artistic practices focus on process, philosophy, personal history, art historic contexts and aesthetics among others.
IN CONVERSATION is sparked by these interviews and helps to illustrate them. Though all of the artists featured are based in New York, they are working in different media and styles, reflecting some of the eclectic concerns and methods found in the city’s contemporary art world today. Buhmann notes: “In our fast-paced world, we often only glance at people and objects. In fact, most of us tend to make quick assessments based on our tastes and experiences. However, I believe that looking at art should continue to defy this trend as it takes true personal engagement. No matter how different, each conversation reveals just how much thought, emotion, work and resilience goes into making an object of art.” In addition, the exhibition is complemented by a selection of photographs by Frankfurt based artist Laura J. Gerlach, who portrayed both the artists and their studios in February 2015.
This will be the third variation of IN CONVERSATION, which was formerly hosted by the Shirley Fiterman Art Center at Borough of Manhattan Community College, New York (205) and the Macy Art Gallery at Teachers College, Columbia University, New York (2016).
For the Women's Marches on January 21, 2017, the artist's collective, Victory Garden, printed and distributed over one thousand Suffragette sashes to women in cities all over the country. We were honored that these sashes are now included in the collections of the New York Historical Society, the Beinecke Library, and the Metropolitan Museum of Art. The sashes and our story will be archived and included in their collection of original Suffragette sashes. For those of you interested in purchasing additional sashes, please click here
Planthouse is pleased to present Victory Garden—a salon style exhibition scheduled to run from December 8, 2016 through January 13, 2017. During World War I and II, victory gardens were planted next to private homes and in public parks throughout North America, Europe and Australia. Designed to reduce pressure on the food supply, the gardens were also considered to be morale-boosting symbols of solidarity. Government-led campaigns were mounted, with lithographic posters targeting urban and rural dwellers alike and inspiring them to plant fruits and vegetables. Citizens felt empowered by their contributions to the war effort and rewarded by the produce grown. Today, our world is again in political and environmental turmoil and we are similarly in need of nourishment and unification at the community level, this time in the form of collective political engagement. The show will feature small paintings, prints, and works on paper, with the goal of initiating conversation and action.
Installation shot of one wall of the Black & White: Contemporary & Modern Positions
41 East 57th Street • New York 10022, 11th floor • 212.319.1996 • www.jasonmccoyinc.com
BLACK & WHITE: MODERN & CONTEMPORARY POSITIONS September 14 - October 22, 2016
Reception for the Artists: Wednesday, September 14, 6-8 PM
This event will coincide with the Fuller Building Gallery Night.
Tara Geer, fluent in darkness 40"x 30" charcoal, pastel, pencil
Ferenc Berko, Debbie Fleming Caffery, Joanne Dugan, Yvonne Estrada, Richard Fleishner,
Oliver Gagliani, Tara Geer, Jacqueline Gourevitch, André Gregory, Judy Glantzman,
Peter Heywood, Virva Hinnemo, Marc Hom, Kenneth Josephson, Lee Krasner, Nick Lamia, Jungjin Lee, Christiane Löhr, Lisbeth McCoy, Robert Motherwell, Keiko Narahashi, George Negroponte, Jackson Pollock, Ryan Sawyer, Hunt Slonem, Bob Thompson, Tamara Zahaykevich.
“Black and white may at first suggest a contrast of light and dark. But light and dark are so variable and infinite in possibility, so tender and nuanced, that they surely belong to an entirely different realm from the severe extremes of black and white. Black seems nonnegotiable. Either it is or it isn’t. However, a great many whites can pass as white, especially where black is present.” --Jacqueline Gourevitch
August, 2016, I'll be teaching at John Ashberry's poetry school, the home School in Hudson.
This conference coincided with the In Conversation exhibition at Columbia
I was in a panel of women artists not agreeing about the issues of women making art
SMALL IS BEAUTIFUL 2015 exhibition at Flowers Gallery 529 West 20th street, NYC
Nov. 19 through Jan. 2, 2016; below are their 2 drawings from the spider airport,
click on images for links to Flowers gallery site
Columbia university, Macy Gallery exhibition, In Conversation, curated by Stephanie Buhmann
Silas Marder Gallery, Bridgehampton, NY; The Big show summer 2015
These I drew for a part of a Rilke poem:
My eyes already touch the sunny hill.
going far ahead of the road I have begun.
So we are grasped by what we cannot grasp;
it has inner light, even from a distance-
and charges us, even if we do not reach it,
into something else, which, hardly sensing it,
we already are; a gesture waves us on
answering our own wave...
but what we feel is the wind in our faces.
This exhibition marks the 10th anniversary of the Morgan Library & Museum's pivotal decision to collect and exhibit modern and contemporary drawings. Long noted for its holdings of Old Master drawings, the Morgan over the last decade has been able to acquire hundreds of exceptional works by some of the greatest artists of our time. The show will include more than one hundred drawings created between 1900 and 2013 by artists from Matisse, Mondrian, and Schiele to Pollock, Warhol, Lichtenstein, Twombly, and—more recently—Kippenberger and Dumas.
Curated by Isabelle Dervaux, who has guided the Morgan's acquisitions and exhibition program in this area since her appointment as the first curator of modern and contemporary drawings at the Morgan in 2005, the show will propose a reflection on twentieth-century drawing, looking notably at the characteristics that define its modernity in relation to the historical tradition.
Roy Lichtenstein (1923–1997), No Thank You! (Study), 1964, graphite and colored pencil on wove paper, The Morgan Library & Museum. Gift of James and Katherine Goodman, 2011.40. Photography by Graham S. Haber, 2013. © Estate of Roy Lichtenstein."Embracing Modernism: Ten years of Drawings Acquisitions" at The Morgan Library & Museum
The exhibition is great-- unexpected and thoughtful and moving. This is my drawing that I am so excited and proud to have in the show, (thanks to the Taub Foundation purchasing it for the Morgan):
Stephanie Buhmann curated her exhibitions of NY women artists, In conversation, twice, for two different galleries, Spring of 2015, and Spring of 2016.
Up now through January 10, 2015, the 40th annual small is beautiful show, where everything is roughly half a standard printer page, (and reasonably priced)
These are the 2 drawings in my studio with a ruler... at the gallery they are framed.
The first purchases for the Louis-Dreyfus Family Collection were
made in the early 1960s. Today, the Louis-Dreyfus Family Collection
consists of more than 3,500 paintings, sculptures and works on
paper primarily from the contemporary period.
The collection is made up of works owned by the Louis-Dreyfus
family and its foundation established with the intention
of promoting public awareness of the works represented and to
benefit specific educational purposes. Hopefully these works will
assist the Harlem Children's Zone in its educational mission.
a link to my work in the The Louis-Dreyfus Family Collection
see Tara Geer & her drawings in the documentary GENEROSITY OF EYE: It is the surprising story of a major art collection transforming into education for African American kids in the Harlem Children's Zone. A personal tale of actress Julia Louis-Dreyfus discovering how her father William's passions for art, justice and education connect in a single act of generosity. The Louis-Dreyus Family Collection -- more than three thousand paintings, drawings and sculptures will be sold to create an endowment for Geoffrey Canada's Harlem Children's Zone.
I'm in this documentary as André's drawing teacher: here's the link:http://www.beforeandafterdinner.com/index.html
"An indelible, gripping documentary. Gregory is a spellbinding raconteur." Stephen Holden THE NEW YORK TIMES
"Thoroughly delightful. Gregory's tale-spinning fluency dazzles just as much as it did in Louis Malle's My Dinner With Andre." Ronnie Scheib, VARIETY
"..Her drawings are often large and kinetic charcoal universes, neither bodies nor landscapes but microcosmic resolutions of form and psyche. Sometimes they are exploding webs of cells and scaffolding, thumbprints and scrawl, while other times they are more figurative, familiar, discrete... Be they spindly or sure, dissolved or obtuse, Tara’s marks are inarguably alive.
Tara Geer, André Gregory, Rachel Cohen
This companion edition to Tara Geer’s first East Coast solo exhibition of drawings, Carrying Silence — held at our East Hampton gallery from August 3 through September 3, 2013 — is wonderfully augmented by new texts written specifically for the book by two celebrated writers: theater director André Gregory, and art critic and author Rachel Cohen.
For over a decade, drawing and its methodology have been both subject and object of Tara Geer’s artwork. She draws in pursuit of unmediated looking, to see the world and to question how we see it. She is interested in how drawing can mine the glossed over moments – the things we might not otherwise visually absorb. From observation, Tara explores life’s quiet details, the heft of an object, the spaces between close parts, the feel of a thing – externally informed but internally impelled.
In considering Geer’s work, Gregory — co-author and star of My Dinner with André — notes, “these mysterious meditations – elegant, disturbing, quite unlike anything else I have known. What are they? Where do they come from? Totally original, they are, for me, coded messages from the innermost, distant, topography of the psyche... her drawings, while inhabited by a ferocious knowledge of the way things are, are also amazingly calm. They have a dignified peace to them. They are the darkness and the light... her work reaches us from a place we don’t yet know, or can’t yet recognize.”
Cohen, author of the critically acclaimed A Chance Meeting and the forthcoming Bernard Berenson: A Life in the Picture Trade, describes Geer’s process in intimate detail: “What she is drawing is not fruit in a bowl or a reclining nude but the folds in her backpack, the tar stains on the roof of her studio building, the lean of the city buses parked in the lot across from 133rd Street. Over and over until something about line, space, shade, resonance seems telling, and then that caught stroke over and over, inverted, stretched, combined with other elements, until it has its own rightness.”
250 copies, the entire edition:
200 in wrappers: $125
45 in cloth, numbered and signed by both authors and the artist: $450
5 in cloth, numbered and signed by both authors and the artist, accompanied by an original artwork in a specially designed slipcase: $3,500
To order, please call either 212-691-9100 or 631-324-5511, or email email@example.com info at: http://www.glennhorowitz.com/catalogues
vision-less drawing experiments:
Speaking about, What is it we do when we draw, and running a drawing excercise at
Ink Practices Workshop
Friday May 18 5:00-7:00 & Saturday 1030-1:00
Talks from 2011 Drawing and Cognition conference were pubished, pdf link here.
Tara Geer, What We Illustrate When We Draw: Normative Visual Processing in Beginner Drawings and the Capacity to Observe Detail. p.45.
Also images of drawings (including cover) and an artists statement p.50
Round table discussion with artists and neuroscientists
Thursday, March 29, 7pm
A spell at the MacDowell Colony is one of the best perks an artist can get. Tara Geer, a visual artist, went twice to work on her drawings. She also interviewed a MacDowell legend, lunch delivery man Blake Tewksbury. But the whole time, she ...
culture stories I produced or was in: