Katy Schimert

Last updated
Katy Schimert
Born1963
Grand Island, New York, United States
Education Yale University, Philadelphia College of Art
Known forSculpture, drawing, installation art, film and video
Awards Guggenheim Fellowship, Joan Mitchell Foundation, Pollock-Krasner Foundation
Website Katy Schimert

Katy Schimert (born 1963) is an American artist known for exhibitions and installations that meld disparate media into cohesive formal and conceptual visual statements arising out of personal experience, myth and empirical knowledge. [1] [2] [3] She interweaves elements of fine and decorative arts, figuration and abstraction in densely layered drawings and sculpture that together suggest elliptical narratives or unfolding, cosmic events. [4] [5] [6] [7] Curator Heidi Zuckerman wrote that Schimert is inspired by "the places where the organized and the chaotic intersect—the scientific and the mythic, the known and the unknown, and the real and the imagined … she creates work that exists where, through fantasy, truth and beauty meet." [8]

Contents

Katy Schimert, Lurking Octopus, watercolor on paper, 51" x 99.5", 2014. Katy Schimert Lurking Octopus 2014.tif
Katy Schimert, Lurking Octopus, watercolor on paper, 51" x 99.5", 2014.

Schimert received a Guggenheim Fellowship in 2020, as well as awards from the Joan Mitchell Foundation and Pollock-Krasner Foundation, among others. [9] [10] Her work belongs to the public collections of institutions such as the Museum of Modern Art, Whitney Museum of American Art, Museum of Contemporary Art, Los Angeles (MOCA), and Walker Art Center. [11] [12] [13] [14] She lives and works in New York City and Rhode Island, and teaches at Rhode Island School of Design. [15] [16]

Early life and career

Schimert was born in 1963 in Grand Island, New York, a town northwest of Buffalo overlooking Lake Erie. [17] She studied sculpture at Philadelphia College of Art (BA, 1985), while also developing interests in performance and writing. [18] After graduating, she moved to New York City, where she worked as a studio assistant to artist Allan McCollum and joined the performance company, Bricolage, as a costume/set designer and performer in reworkings of Les Liaisons dangereuses and Dracula . [19] [18] [20] [21] After enrolling at Yale University (MFA, 1989) to study sculpture, she continued to make forays into other media, including photography and drawing. [22] [17]

In 1991, Schimert accepted a teaching position at University of California, Santa Barbara (UCSB), where she was influenced by the landscape and the school's facilities to pursue video/filmmaking and ceramics, respectively. Her first video, Ophelia (1991–1993), featured manipulated images of the tragic Hamlet character's drowning and explored the societal constraints she faced; the film installation Sir Lancelot (Celluloid Star) (1992–1994) directed a voyeuristic gaze on its male protagonist, reversing stereotypical gender spectatorship. [5] [23] [18] Schimert returned to New York in late 1994 to participate in the PS1 residency program, and after appearing in shows organized by PS1 and Artists Space, began receiving wider attention for diverse solo exhibitions at Janice Guy (1995), AC Project Room (1996) and the Renaissance Society (1997, Chicago). [5] [24] [25] [18] During that period, she was also selected for the 1996 São Paulo Art Biennial, the 1997 Whitney Biennial, and drawing surveys at MOCA Los Angeles and the San Francisco Museum of Modern Art. [26] [27] [28] [29]

Since then, she has had solo exhibitions at David Zwirner Gallery (New York, 1998–2008), [30] [7] Berkeley Art Museum (BAMPFA, 1999), [31] 1301PE (Los Angeles, 2000) and the University Museum of Contemporary Art at UMass-Amherst (2014), among others. [32] She also appeared in group shows at Tate Gallery, Pinakothek der Moderne (Munich), Brooklyn Academy of Music and Queens Museum of Art. [33] [34] [35] [32] In addition to her artmaking, Schimert has served as an associate professor of art and director and department head of ceramics at Rhode Island School of Design since 2011; prior to that she taught sculpture at New York University, Harvard University, UCSB and Yale. [16] [22]

Katy Schimert, Moon Rocks, terra-cotta with platinum luster, each piece approximately 7-10", 1994. Katy Schimert Moon Rocks 1994.jpg
Katy Schimert, Moon Rocks, terra-cotta with platinum luster, each piece approximately 7–10", 1994.

Work and reception

Schimert's work balances a post-minimalist formal concern for object-making, materials and processes with a strong narrative impulse invoking myth, intuition, scientific and social knowledge, and female bodily experience. [18] [8] [3] According to critics such as Roberta Smith, these elements in conjunction form elusive, sometimes visionary meanings operating "in a skipping, labyrinthine spiral" [1] or "poetic round-robin." [6] [2] [36] John Yau wrote, "Schimert isn’t satisfied by either an art that is purely visual … or by one that is essentially social in its concerns. The kind of seeing she is after connects looking outward with looking inward, the gaze merged with reflection." [3] Writers often cite the dynamic, varied topographies of her drawings as the fullest expression of the complexities and possibilities in her work. [37] [38] [2] [7] Critics such as Jan Avgikos and Ronald Jones placed Schimert's mid-1990s work amid a sensibility Avgikos termed "retro-Romantic," which emphasized elaborate narratives, "objecthood" and social themes over the era's didactic, theory-laden approach. [5] [39] [29] They connected her work to contemporaries Matthew Barney and Cindy Sherman, as well as to Symbolists such as Odilon Redon. [5] [39] [25] [1]

Katy Schimert, "Love on Lake Erie" exhibition, AC Project Room, New York, 1996. Katy Schimert Love on Lake Erie 1995.tif
Katy Schimert, "Love on Lake Erie" exhibition, AC Project Room, New York, 1996.

Early solo exhibitions

Schimert's early exhibitions offered circling, visionary narratives unfolding in confessional letters, mysterious objects, films and storyboard-like watercolors. They were unified by concerns for formal relationships, the artmaking process, and intersecting themes of tragic love, gothic horror, alienated sensuality and hero archetypes developed around figures such as Guinevere and Lancelot, Neil Armstrong, and Dracula. [40] [5] [6] [41]

The exhibition "Dear Mr. Armstrong" (Janice Guy, 1995) included letters of romantic longing from hyperfeminine characters that recalled Surrealist automatic writing and Concrete poetry—and were considered controversial by some feminist critics—alongside handwrought, iridescent, undulating ceramic sculptures titled Moon Rocks. [5] "Love on Lake Erie" (AC Project Room, 1996) combined the theme of love, notions of the Moon and its mythological connotations of the female, and imagery of the first lunar expedition. [25] [39] [24] Its work included an otherworldly, silvery wall sculpture (The Moon), porcelain biomorphic objects, and diagrammatic drawings of landscapes and astronauts alongside romantic text, all revolving around analogous, barren encounters of astronaut and Moon, male and female, viewed from different points in time, distance and fantasy; [25] [6] an ethereal video, Future Perfect, superimposed images of a woman's speaking lips and stomach in a pink circle with scenes of the Moon landing. [25] [6] [24] [1]

In the show "Oedipus Rex: The Drowned Man" (Renaissance Society, 1997) Schimert shifted to water imagery and softer materials such as tape, aluminum foil and clay, while exploring themes of blindness, oblivion or rapture, and fate. [18] [29] [41] Her semi-abstract drawings symbolically mapping Oedipus's travels (The Oedipal Blind Spot) constituted the cornerstone of the show; its works also included freestanding, biomorphic and vessel-like ceramic pieces, three-dimensional wall reliefs, and an underwater film of a man drowning in a sparkling blue sea. [29] [18] [42] Some of this work was reconfigured for installations at the 1997 Whitney Biennial and her 1999 BAMPFA exhibition, which included new drawings and a letter to Freud. [27] [42] [31] [8]

Later exhibitions (1998– )

In the first of four shows at David Zwirner, Icarus and the World Trade Center (1998), Schimert turned from the cooler, ethereal environs of the sea and Moon to the explosive, searing heat from the Sun, treated as a metaphor for the New York-defined arena of ambition, success and wealth. [30] [37] She was inspired by photographs of the Sun's surface and observations of its rays reflecting against, penetrating or compressed between the World Trade towers; the towers figured prominently throughout as mythical Stonehenge-like presences alongside the updated protagonist, a Wall Street trader. [37] [30] The show featured a blown-glass wall installation (The Sun), an array of terra-cotta flowering shapes glazed in fourteen-karat gold (Sun Spots), and intimate, cryptic watercolors delineating the story with spare images and notations; a Super-8 mm film depicted a striding young man eventually lost in sped-up, frantic trading floor scenes and blurred, tumbling shots of the towers, Sun and Hudson River. [37] [38] [30] New Art Examiner critic Katie Clifford compared the show's imagery and narrative to outsider-artist work by Henry Darger, writing that it "possesses both storybook sweetness and occult strangeness." [38]

Katy Schimert, Bent Leg (Egyptian), terra-cotta with black onyx luster, 18.5" x 16" x 8", 2001. Katy Schimert Bent Leg (Egyptian) 2001.jpg
Katy Schimert, Bent Leg (Egyptian), terra-cotta with black onyx luster, 18.5" x 16" x 8", 2001.

Schimert's next three shows focused on the body and the impact of emotional conflict and historical events such as war on human consciousness. "Body Parts" (2001) featured two sculpture installations connected by a room of ink-and-watercolor drawings. [43] [2] The first installation presented ceramic body parts and internal organs glazed with an opalescent, gunmetal-colored finish that were displayed on pedestals like specimens from a forensic medicine procedural or museum artifacts offered for contemplation. The second installation reconfigured these objects into a surreal ensemble: a pile of seventy mounded on a large, low square pedestal that suggested carnage (such as the recent Rwandan genocide), a mass grave or classical discards; the intervening drawings depicted a bloody landscape of death and violent passion populated with fighting and embracing figures. [43] [2] [44]

"War Landscape" (2006) included large watercolor drawings, a garden-like installation of head and tree forms, a life-size figurative sculpture and a bronze head titled after the Roman god of war, Mars . [7] [45] The large, egglike heads (made of cast-paper) and watercolors functioned like topographies, covered with otherworldly, cosmic figurative imagery that Roberta Smith described as violent or therapeutic (e.g., the laying of hands) scenes of "Blakean transformation"; the garden consisted of a barren landscape of large, truncated wire-mesh trees, in various metallic hues. [7] [45] Schimert's show, "The Monster" (2008), consisted of fourteen intricate watercolors tracing various stages of man-to-monster metamorphosis as well as inner states involving pain, anxiety and loss. Painted in a murky, bruised palette punctuated by vein-like tracks and ruptures of bright color, they recalled Géricault's studies of psychiatric patients, 19th-century gothic horror, science fiction and film noir. [46]

For "Camouflage, Ink and Silence" (UMass Amherst, 2014), Schimert presented a body of watercolors and glass and ceramic sculptures depicting a mythical, undersea (often transparent) octopus in a state of flux with the ocean. [36] [3] According to John Yau, she chose the octopus as a metaphor for artistic practice and the relationship to materials and processes, due to its to ability excrete ink and disappear into its surroundings (i.e., its medium). [3] Together, the works collapsed distinctions between two- and three-dimensional space and figure and ground; the eight large watercolors (influenced by 19th-century landscape painter Thomas Chambers) divide an ever-changing ocean into a series of tightly fit, subtly modulated striations, creating a play between surface patterning and depth of field (e.g., Lurking Octopus) and a sense of filtered light that read like pieces of colored or shattered glass. Schimert generated the scraggy sculptures, which evoke the ocean floor's terrain, using a three-dimensional computer program that translated each watercolor into molds, whose forms were glazed to create illusionary depth. [3] [36]

In 2019, ceramic works by Schimert were included in the Whitney Museum's survey of craft-related work in postwar U.S. art, "Making Knowing: Craft in Art 1950–2019", and her work The Moon (1995) appeared in the Moody Center for the Arts exhibition, "Moon Shot," commemorating the 50th anniversary of the Apollo 11 Moon landing. [4] [47] [48] In 2021, she completed a carpet design as part of a partnership between RISD professors and artists and the carpet firm Sahar Carpets to create a contemporary artists' rug collection. [49]

Awards and collections

Schimert has received a Guggenheim Fellowship (2020) and awards from the Joan Mitchell Foundation (2020, 1999), Pollock-Krasner Foundation (2001), PS1 (1994) and the Connecticut State Commission on the Arts (1991), among others. [15] [10] [50] Her work belongs to the public collections of the Museum of Modern Art, [11] Whitney Museum, [51] Museum of Contemporary Art, Los Angeles, [13] Walker Art Center, [14] Albright–Knox Art Gallery, [52] BAMPFA, [53] Fonds régional d'art contemporain (Haute-Normandie, France), Hammer Museum, [54] San Francisco Museum of Modern Art, [55] Tang Museum, [56] Wanås Foundation (Sweden), [50] and Williams College Museum of Art, [57] among others. [32]

Related Research Articles

<span class="mw-page-title-main">Amy Sillman</span> American painter

Amy Sillman is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."

<span class="mw-page-title-main">Carol Bove</span> American artist based in New York City

Carol Bove is an American artist based in New York City. She lives and works in Brooklyn.

Rachel Harrison is an American visual artist known for her sculpture, photography, and drawing. Her work often combines handmade forms with found objects or photographs, bringing art history, politics, and pop culture into dialogue with one another. She has been included in numerous exhibitions in Europe and the US, including the Venice Biennale, the Whitney Biennial and the Tate Triennial (2009). Her work is in the collections of major museums such as The Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Tate Modern, London; among others. She lives and works in New York.

Lisa Yuskavage is an American artist who lives and works in New York City. She is known for her figure paintings that challenge conventional understandings of the genre. While her painterly techniques evoke art historical precedents, her motifs are often inspired by popular culture, creating an underlying dichotomy between high and low and, by implication, sacred and profane, harmony and dissonance.

William Roger Welch is an American conceptual artist, installation artist and video artist.

<span class="mw-page-title-main">Michael Smith (performance artist)</span> American artist (born 1951)

Michael Smith is an American artist known for his performance, video and installation works. He emerged in the mid-1970s at a time when performance and narrative-based art was beginning to claim space in contemporary art. Included among the Pictures Generation artists, he also appropriated pop culture, using television conventions rather than tropes from static media. Since 1979, much of Smith's work has centered on an Everyman character, "Mike," that he has portrayed in various domestic, entrepreneurial and artistic endeavors. Writers have described his videos and immersive installations as "poker-faced parodies" that sit on the edge between art and entertainment, examining ideas, cultural shifts and absurdities involving the American dream, consumerism, the art world, and aging. Village Voice critic Jerry Saltz called Smith "a consummate explorer of the land of the loser … limning a fine line between reality and satire [in] a genre sometimes called installation verité."

Michelle Grabner is an artist, curator, and critic based in Wisconsin. She is the Crown Family Professor of Art at the School of the Art Institute of Chicago where she has taught since 1996. She has curated several important exhibitions, including the 2014 Whitney Biennial at the Whitney Museum of American Art along with Anthony Elms and Stuart Comer, and FRONT International, the 2016 Portland Biennial at the Oregon Contemporary, a triennial exhibition in Cleveland, Ohio in 2018. In 2014, Grabner was named one of the 100 most powerful women in art and in 2019, she was named a 2019 National Academy of Design's Academician, a lifetime honor. In 2021, Grabner was named a Guggenheim Fellow by The John Simon Guggenheim Memorial Foundation. In 2024 Grabner was inducted into the Wisconsin Academy of Art and Science.

<span class="mw-page-title-main">Jessica Stockholder</span> American artist

Jessica Stockholder is a Canadian-American artist known for site-specific installation works and sculptures that are often described as "paintings in space." She came to prominence in the early 1990s with monumental works that challenged boundaries between artwork and display environment as well as between pictorial and physical experience. Her art often presents a "barrage" of bold colors, textures and everyday objects, incorporating floors, walls and ceilings and sometimes spilling out of exhibition sites. Critics suggest that her work is informed by diverse artistic traditions, including abstract expressionism, color field painting, minimalism and Pop art. Since her early career, they have noted in her work an openness to spontaneity, accident and marginality and a rejection of permanency, monetization and disciplinary conventions that Stephen Westfall characterized as an "almost shocking sense of freedom."

<span class="mw-page-title-main">Jeanne Silverthorne</span> American sculptor

Jeanne Silverthorne is an American sculptor, known for cast-rubber sculptures and installations that explore the artist's studio as a metaphor for artistic practice, the human body and psyche, and mortality. She gained prominence in New York City in the 1990s, as one of several material-focused sculptors who critiqued the austere, male-dominated Minimalist movement by embracing humble, unorthodox media and hand-made, personal and ephemeral qualities championed by artists such as Eva Hesse and Louise Bourgeois. She treats the studio as a physical and conceptual site to be excavated, documented and inventoried, examining in the words of Sculpture's Jan Riley "the end of studio arts … and the impossibility of this mode of expression regaining its former creative validity and vitality in today’s world." Art in America critic Raphael Rubinstein wrote that, like the late studio paintings of Philip Guston, Silverthorne examines "deeply melancholic realms, enlivened by the occasional mordant joke, in which lowly objects are relentlessly and lovingly queried for a meaning they never seem quite ready to yield."

Dike Blair is a New York-based artist, writer and teacher. His art consists of two parallel bodies of work: intimate, photorealistic paintings and installation-like sculptures assembled from common objects—often exhibited together—which examine overlooked and unexceptional phenomena of daily existence in both a romantic and ironic manner. Blair emerged out of the late 1970s New York art scene, and his work relates to concurrent movements such as the Pictures Generation, Minimalism and conceptual art, while remaining distinct from and tangential to them. New York Times critic Roberta Smith places his sculpture in a "blurred category" crossing "Carl Andre with ikebana, formalist abstraction with sleek anonymous hotel rooms, talk-show sets with home furnishings showrooms." Cameron Martin writes in Artforum that the paintings are "rendered with a lucidity that extracts something metaphysical from the mundane."

<span class="mw-page-title-main">Nancy Davidson (artist)</span> American feminist artist

Nancy Davidson is an American artist best known for large-scale inflatable sculptures regarded as hyper-feminized abstractions of the human female form. Bulbous and flesh-like, the sculptures resemble buttocks and breasts and employ erotic cultural signifiers in their shape and decoration. Davidson's work spans art media but centers around sculpture. It is largely post-minimal in character and described by commentators as providing a feminist counterpoint to the male-dominated, minimalist sculpture of the 1960s, as well as to cultural tropes involving bodies that the works themselves invoke. Of particular note are Davidson's use of humor and a sense of absurdity to seemingly both celebrate and subvert these tropes, inviting their investigation but without the seriousness and moralism that often accompany critical works. Sculpture Magazine critic Robert Raczka wrote that "The confectionary color and oversize scale" of Davidson's sculpture creates a "playfully upbeat mood that allows feminist and gender issues to rise to the surface at irregular intervals, without didacticism." The New Art Examiner's Susan Canning described it as establishing "a context where all can revel in the transgressive and liberating power of the grotesque."

<span class="mw-page-title-main">Bonnie Collura</span> American artist

Bonnie Collura is an American artist known for figurative multi-media sculptures, textiles and installations created by processes of compositing and sampling. Her art oscillates between abstraction and figuration, mixing aesthetics from baroque sculpture, contemporary animation and quilting with iconic fragments from pop culture, art history and myth. She has embraced theatricality and excess, intertextuality and digital-age influences in her work, often exploring hybridized, disjointed bodies, surrogate characters and reconfigured literary tropes. Sculpture critic Ann Landi has written, "Collura incorporates wildly diverse materials and processes while also drawing on a wide array of references—everything from cartoons and movies like Star Wars to highbrow texts such as The Prince and Frankenstein ... Diffuse and open-ended, appealing to storytelling and world-making, her work continues to evolve, carrying on a feminist tradition in its materials and mythologies."

<span class="mw-page-title-main">Ree Morton</span> American visual artist (1933–1977)

Ree Morton was an American visual artist who was closely associated with the postminimalist and feminist art movements of the 1970s.

<span class="mw-page-title-main">Julianne Swartz</span> American artist

Julianne Swartz is a New York-based artist. She is known for immersive installations, architectural interventions and sculptures that bring sound, optics and kinetics into play to create alternative, multisensory experiences. She uses utilitarian materials to warp, reshape or deepen perception, generating unexpected, ephemeral and participatory experiences out of common situations. Critics suggest that her work inhabits liminal areas, both literally and conceptually, bridging the perceptible and evanescent, public and private, visual and embodied, affective and technical. Art in America critic Peter R. Kalb wrote, "Swartz appeals to the senses and emotions with a quiet lyricism, using unassuming materials and marshaling grand forces like wind and magnetism" to offer "a thoughtful excursion into sound, sight and psyche."

Charles Gaines is an American visual artist, whose work interrogates the discourse of aesthetics, politics, and philosophy. Taking the form of drawings, photographic series and video installations, the work consistently involves the use of systems, predominantly in the form of the grid, often in combination with photography. His work is rooted in conceptual art – in dialogue with artists such as Sol LeWitt, Lawrence Weiner and Mel Bochner – and Gaines is committed to its tenets of engaging cognition and language. As one of the only African-American conceptual artists working in the 1970s, a time when political expressionism was a prevailing concern among African-American artists, Gaines was an outlier in his pursuit of abstraction and non-didactic approach to race and politics. There is a strong musical thread running through much of Gaines' work, evident in his repeated use of musical scores as well in his engagement with the idea of indeterminacy, as similar to John Cage and Sol LeWitt. He lives in Los Angeles, California.

<span class="mw-page-title-main">Dona Nelson</span> American painter (born 1947)

Dona Nelson is an American painter, best known for immersive, gestural, primarily abstract works employing unorthodox materials, processes and formats to disrupt conventional notions of painting and viewership. A 2014 New Yorker review observed, "Nelson gives notice that she will do anything, short of burning down her house to bully painting into freshly spluttering eloquence." Since 2002, long before it became a more common practice, Nelson has produced free-standing, double-sided paintings that create a more complex, conscious viewing experience. According to New York Times critic Roberta Smith, Nelson has dodged the burden of a "superficially consistent style," sustained by "an adventuresome emphasis on materials" and an athletic approach to process that builds on the work of Jackson Pollock. Writers in Art in America and Artforum credit her experimentation with influencing a younger generation of painters exploring unconventional techniques with renewed interest. Discussing one of Nelson's visceral, process-driven works, curator Klaus Kertess wrote, the paint-soaked "muslin is at once the tool, the medium, and the made."

Daniel Wiener is an American sculptor currently living and working in New York. He is the recipient of a Guggenheim Fellowship and a New York Foundation for the Arts Grant.

<span class="mw-page-title-main">Elana Herzog</span> American artist

Elana Herzog is an American installation artist and sculptor based in New York City. She is most known for abstract, tactile works in which she disassembles, reconfigures and embeds second-hand textiles in walls, modular panels and architectural spaces with industrial-grade metal staples. Herzog has been recognized with a Guggenheim Fellowship, Anonymous Was a Woman Award and Louis Comfort Tiffany Foundation Award, among others. She has exhibited nationally and internationally, including at the Brooklyn Museum, Museum of Arts and Design (MAD), Tang Museum, Weatherspoon Art Museum, Sharjah Art Museum, and Reykjavik Art Museum.

<span class="mw-page-title-main">Harriet Korman</span> American painter

Harriet Korman is an American abstract painter based in New York City, who first gained attention in the early 1970s. She is known for work that embraces improvisation and experimentation within a framework of self-imposed limitations that include simplicity of means, purity of color, and a strict rejection of allusion, illusion, naturalistic light and space, or other translations of reality. Writer John Yau describes Korman as "a pure abstract artist, one who doesn’t rely on a visual hook, cultural association, or anything that smacks of essentialization or the spiritual," a position he suggests few post-Warhol painters have taken. While Korman's work may suggest early twentieth-century abstraction, critics such as Roberta Smith locate its roots among a cohort of early-1970s women artists who sought to reinvent painting using strategies from Process Art, then most associated with sculpture, installation art and performance. Since the 1990s, critics and curators have championed this early work as unjustifiably neglected by a male-dominated 1970s art market and deserving of rediscovery.

<span class="mw-page-title-main">Heide Fasnacht</span> American visual artist (born 1951)

Heide Fasnacht is a New York City-based artist who works in sculpture, drawing, painting and installation art. Her work explores states of flux, instability and transformation caused by human action and natural events. Since the mid-1990s, she has been known for sculptures and drawings that recreate momentary phenomena such as sneezes, geysers and demolitions—in sometimes abstract or cartoony form—that are temporally and spatially "frozen" for consideration of their aesthetic, perceptual, social or sensate qualities. In the late 2010s, she has expanded these themes in paintings that examine lost and neglected childhood sites, such as playgrounds and amusement parks. ARTnews critic Ken Shulman has described her work as "chart[ing] the fluid dialogue between second and third dimensions, motion and inertia, creation and ruin."

References

  1. 1 2 3 4 Smith, Roberta. "Kathleen Schimert," The New York Times, March 29, 1996, p. C25. Retrieved April 22, 2021.
  2. 1 2 3 4 5 Gookin, Kirby. "Katy Schimert," Artforum, Summer 2001, p. 185. Retrieved April 20, 2021.
  3. 1 2 3 4 5 6 Yau, John. "The Artist as Octopus," Camouflage Ink and Silence, Amherst, MA: University Museum of Contemporary Art, University of Massachusetts, 2014.
  4. 1 2 Murtha. Chris. "Crafting Art: 'Making Knowing' at The Whitney Museum of American Art," Mousse Magazine, 2020. Retrieved April 21, 2021.
  5. 1 2 3 4 5 6 7 Avgikos, Jan. "Openings: Kathleen Schimert," Artforum, September 1995. Retrieved April 22, 2021.
  6. 1 2 3 4 5 Schmerler, Sarah. "Kathleen Schimert, 'Love on Lake Erie,'" Time Out (New York), March 27, 1996, p. 24.
  7. 1 2 3 4 5 Smith, Roberta. "Katy Schimert," The New York Times, May 5, 2006, Sect. E, p. 35. Retrieved April 22, 2021.
  8. 1 2 3 Jacobson, Heidi Zuckerman. Katy Schimert/MATRIX 181 Oedipus, Berkeley, CA: University of California Berkeley Art Museum, 199.
  9. ↑ Artforum. "Sanford Biggers and Zoe Leonard Among 2020 Guggenheim Fellows," News. April 9, 2020. Retrieved April 21, 2021.
  10. 1 2 Artforum. "Joan Mitchell Foundation Names 2020 Artists-in-Residence," News. January 29, 2020. Retrieved April 21, 2021.
  11. 1 2 Museum of Modern Art. Katy Schimert, Artists. Retrieved April 21, 2021.
  12. ↑ Vogel, Carol. "Inside Art," The New York Times, June 6, 1997, Sect. C, p. 21. Retrieved April 22, 2021.
  13. 1 2 Museum of Contemporary Art, Los Angeles. Kathleen Schimert, Artists. Retrieved April 21, 2021.
  14. 1 2 Walker Art Center. Katy Schimert, Artists. Retrieved April 21, 2021.
  15. 1 2 John Simon Guggenheim Memorial Foundation. Katy Schimert, Fellows. Retrieved April 20, 2021.
  16. 1 2 McKeough, Tim. "Why Handmade Ceramics Are White Hot," The New York Times, December 16, 2015, Sect. E, p. 1. Retrieved April 22, 2021.
  17. 1 2 Butler, Cornelia H. The Power of Suggestion: Narrative and Notation in Contemporary Drawing, Los Angeles: Museum of Contemporary Art, 1996. Retrieved April 20, 2021.
  18. 1 2 3 4 5 6 7 Artner, Alan G. "She's So Literary," Chicago Tribune, March 16, 1997, Sect. 7, p. 6.
  19. ↑ Fisher, Eileen. "Legend as Real Life, History as Theater," High Performance, Issue #32, 1985, p. 88–9.
  20. ↑ Keating, Douglas J. "Theater: Dracula's tale retold," The Philadelphia Inquirer, May 17, 1986.
  21. ↑ Sheffler, David A. "A 'Quartet' of blood," After Dark, October 1, 1986.
  22. 1 2 Rhode Island School of Design. Katy Schimert, Faculty. Retrieved April 22, 2021.
  23. ↑ Santell, Aaron. "Poor Ophelia, She's Dead," Daily Nexus, February 25, 1993, p. 5A.
  24. 1 2 3 Zdanovics, Olga. "Kathleen Schimert," New Art Examiner, September 1996, p. 42.
  25. 1 2 3 4 5 Hucko, Leslie. "Kathleen Schimert," World Art, April 1996, p. 93.
  26. ↑ Salvioni, Daniela. "The Whitney Biennial," Flash Art, Summer 1997, p. 114–7.
  27. 1 2 Adams, Brooks. "Turtle Derby," Art in America, June 1997, p. 35–40.
  28. ↑ Knight, Christopher. "Drawing the Conventional Conceptualist’s Conclusions," Los Angeles Times, November 12, 1996. Retrieved April 20, 2021.
  29. 1 2 3 4 Cooke, Lynne. Katy Schimert, Oedipus Rex: The Drowned Man, Chicago: The Renaissance Society/University of Chicago, 1998.
  30. 1 2 3 4 Avgikos, Jan. "Katy Schimert," Artforum, December 1998, p. 129. Retrieved April 20, 2021.
  31. 1 2 Rickels, Laurence A. "Katy Schimert: Blind Spot and Insight," Artext, February–April 2000, p. 49-50.
  32. 1 2 3 UMass Amherst. "Katy Schimert: Camouflage, Ink and Silence," University Museum of Contemporary Art, 2014. Retrieved April 21, 2021.
  33. ↑ Riding, Alan. "A Light Look at the World in 'New Art' at the Tate," The New York Times, September 1, 1999, Sect. E, p. 1. Retrieved April 22, 2021.
  34. ↑ Lister, David. "Art at the cutting edge swaps the scalpel for surrealism," The Independent, November 20, 1998, p. 3.
  35. ↑ Lippincott, E.E. "QMA's 'Heart Of Glass' Runs Gamut From Moving to Tacky," Queens Chronicle, March 29, 2001. Retrieved April 21, 2021.
  36. 1 2 3 Yarlow, Loretta. Camouflage Ink and Silence, Amherst, MA: University Museum of Contemporary Art, University of Massachusetts, 2014.
  37. 1 2 3 4 Smith, Roberta. "Katy Schimert," The New York Times, October 2, 1998, Sect. E, p. 37. Retrieved April 22, 2021.
  38. 1 2 3 Clifford, Katie. "Katy Schimert," New Art Examiner, December 1998–January 1999, p. 57.
  39. 1 2 3 Jones, Ronald. "Kathleen Schimert," Frieze, July/August 1996, p. 82.
  40. ↑ Smith, Roberta. "Art, Film and Their Brilliant, Messy Union," The New York Times, April 7, 1996, Sect. 2, p. 33. Retrieved April 22, 2021.
  41. 1 2 Ritchie, Matthew. "Katy Schimert," Bomb, Winter 1998, p. 89–90.
  42. 1 2 Hayt, Elisabeth. "People Are Talking About," Vogue, September 1997, p. 464–8.
  43. 1 2 Amy, Michael. "Katy Schimert," Sculpture, September 2001, p. 76–7.
  44. ↑ Leffingwell, Edward. "Katy Schimert at David Zwirner," Art in America, October 2001, p. 156–7.
  45. 1 2 Yablonsky, Linda. "Happy Returns: New York," Artforum, April 12, 2006. Retrieved April 22, 2021.
  46. ↑ Miller, Jocelyn. "Katy Schimert: Veiny and Vulgar," New York Press, November 18, 2009.
  47. ↑ Maltz-Leca, Leora. "The Moon as Mirror," etc., Winter 2019, p. 10–1.
  48. ↑ Glentzer, Molly. "Moody Center show explores how Apollo 11 influenced art," The Houston Chronicle, November 15, 2019. Retrieved April 22, 2021.
  49. ↑ Fedderly, Eva. "This Colorful Rug Collaboration Was Made Possible Thanks to RISD Professors and Artists," Architectural Digest, April 23, 2021. Retrieved April 29, 2021.
  50. 1 2 Joan Mitchell Foundation. Katy Schimert, Supported Artists. Retrieved April 21, 2021.
  51. ↑ Whitney Museum of American Art. Katy Schimert, Artists. Retrieved April 21, 2021.
  52. ↑ Albright-Knox Art Gallery. Katy Schimert, Person. Retrieved April 21, 2021.
  53. ↑ Berkeley Art Museum and Pacific Film Archive. Schimert, Kathleen, Art Collection. Retrieved April 22, 2021.
  54. ↑ Hammer Museum. "Selections from the Hammer Contemporary Collection (2010)," Exhibitions. Retrieved April 21, 2021.
  55. ↑ San Francisco Museum of Modern Art. Katy Schimert, Artists. Retrieved April 21, 2021.
  56. ↑ Tang Museum. Armored Landscapes, Artworks. Retrieved April 21, 2021.
  57. ↑ Williams College Museum of Art. A Woman's Brain, Objects. Retrieved April 21, 2021.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.