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Last edited by MSGJ (talk | contribs) 4 days ago. (Update) |
Comment: More inappropriate subjective commentary incudes *“Padded and essentially wrapped, the cubes acquired an inside or at least the lure of an inside and thus a paradoxical suggestion of depth. But the interior was never accessible or even fully present, impelling one's gaze away from the sculptures by replicating their surroundings. Her mirrors force the viewer to look inside the box to see not only the duplicated surroundings but also the perceiving subject, thus providing the elusive "content." Her method in the 1980s strove to be inclusive rather than exclusive.”*”strongly illustrative of this invitation to plumb unassailable depths in series based on photographs, evoking cut up and hand colored "secrets" perversely covered by thickly pebbled glass”*”Her sculptures in wax share in a tale of disruption and playful decrepitude. She describes her practice as blunt but joyfully humorous. Her current subjects are unfixed, drifting between ambiguity and the actual, drawing on unsettling juxtapositions of materials and metaphors”*”Her current work embraces the dysfunctional and unwanted, forms that invoke the archeology of urbanism, industry, and the failed environment.Please remove/re-write in plain dry neutral tone. Theroadislong (talk) 16:33, 23 April 2024 (UTC)
- Comment: Please remove subjective commentary like "Visibility is low, so low that if images are discerned at all, they are reduced to a wavering generality. The image inside the clean white box, reminiscent of medicine cabinets, can be read as banal or sinister, or just mysterious." If this is a quote then it needs a source if it is your own opinion it should be removed as original research. Theroadislong (talk) 15:09, 23 April 2024 (UTC)
- Comment: Please provide sources for the public collections, notability hinges on this. Theroadislong (talk) 21:12, 22 April 2024 (UTC)
- Comment: You are also editing the sane draft here User:Gaw54/sandbox please only edit one version! Theroadislong (talk) 20:38, 22 April 2024 (UTC)
- Comment: Rychlak would have to pass the criteria at WP:NARTIST and it's not clear how they would yet? Theroadislong (talk) 15:37, 20 April 2024 (UTC)
Bonnie Rychlak (born 1951) is an American artist, curator, and writer. Her work has been featured in various solo and group exhibitions in the United States, Europe, and Japan and is in collections in the United States, Europe and Asia. She is a leading authority on Isamu Noguchi, having curated numerous international exhibitions and authored more than a dozen key publications on his art.
Education and early life and career edit
Rychlak was born in Venice, California and attended Venice High School. As an undergraduate, she attended Santa Monica College and the University of California at Los Angeles, graduating with a Bachelor of Arts degree. Rychlak received a Master of Fine Arts degree in sculpture in 1976 at the University of Massachusetts, Amherst. She married the artist Brian Gaman in 1973; together they built a notable modernist art retreat in Springs, Long Island not far from the Pollock-Krasner House and Study Center.[1] Rychlak's inclusion in Selections from the Artist Files at Artist Space in 1986[2] on the heels of New Uses, a consequential group show at White Columns,[3] helped establish her artistic recognition.
Art career edit
In the 1980s, Rychlak created parodies from the minimalist agenda. As a feminist response to the creative restrictions posed by Donald Judd and other leading figures of the minimalist art scene, her sculptures converted primary structures into upholstered, pillowed, buttoned, and bowed boxes.[4] Padded and essentially wrapped, the cubes acquired an inside or at least the lure of an inside and thus a paradoxical suggestion of depth. But the interior was never accessible or even fully present, impelling one's gaze away from the sculptures by replicating their surroundings. Her mirrors force the viewer to look inside the box to see not only the duplicated surroundings but also the perceiving subject, thus providing the elusive "content." Her method in the 1980s strove to be inclusive rather than exclusive.[5]
Rychlak's work for the past thirty years is strongly illustrative of this invitation to plumb unassailable depths in series based on photographs, evoking cut up and hand colored "secrets" perversely covered by thickly pebbled glass.[6] The image inside the clean white box, reminiscent of medicine cabinets, can be read as banal or sinister, or just mysterious.
Along with these "photo narratives," as Rychlak refers to them, her sculptures in wax have been a constant enterprise throughout her forty-year artistic career. Experimenting with colored resin[7] in the early 2000s, she opted for the more direct carving of wax.[8] Her sculptures in wax share in a tale of disruption and playful decrepitude. She describes her practice as blunt but joyfully humorous. Her current subjects are unfixed, drifting between ambiguity and the actual, drawing on unsettling juxtapositions of materials and metaphors.
Her current work embraces the dysfunctional and unwanted, forms that invoke the archeology of urbanism, industry, and the failed environment. Her process is labor-intensive and transformative, using mutable materials such as beeswax and paraffin.[9]
Rychlak's work is in important private collections in Japan, United Kingdom, Verona, Italy, New York and East Hampton, New York, Los Angeles and San Francisco, California. Public collections showcasing her work include Department of Art at Harvard University, Columbia Presbyterian Hospital, and Department of Art at New York University of California at Los Angeles. In Japan, her work is in the collections of Shizuoka-ken Prefectural Museum of Art and Tokyo International Forum Art Work Project.
Selected exhibitions edit
SOLO
2009
● Memory and Oblivion. The Viewing Room. April 1-29. 55 West 21st Street New York, New York 10011
2006
● Cutting Holes in Water. ASK? Art Space Kimura. September 19 – September 30. Tokyo
1994
● Screen Memories. February 10 - March 5. Gallery Three Zero. 30 Bond Street, New York, New York 10012
1993
● Role Models/Disparate Narratives. November 9 – December 1. The Sculpture Center. NYC
1991
● New Works. Shoshanna Wayne Gallery. January 19 –February 28. Santa Monica, CA
1988
● Objects as Sculpture. Rastovsky Gallery. January. NYC
GROUP
2023
● Down and Dirty: Bonnie Rychlak and Jeanne Silverthorne (3rd iteration). January 19 to February 28. Project ArtSpace, NYC.
2021
● Down and Dirty: Bonnie Rychlak and Jeanne Silverthorne, Lupin Foundation Gallery, University of Georgia, January 15 – February 26; Arts Center at Duck Creek · East Hampton, NY, 1 May – 6 June [2]
2020
● Consummate Plush, 17 March – 19 April. Patchogue Arts Council, MoCA, Patchogue, NY
2018
● Desire in the Bangles. July 27-Labor Day. R.E. Steele Antiques, East Hampton, NY
● Black and White and Re(a)d All Over: Part III. Curated by Peter Hopkins. Critical Kunst, okk/raum traveled from: Galleria Huuto Jatkasarri, May 5 – May 27, Helsinki, Finland
● No Longer Supported. March 24 – April 19. Sara Nightengale Gallery, Sag Harbor, NY
● A Radical Voice: 23 Women. February 17 – March 25. Curated by Janet Goleas. Southampton Arts Center, Southampton, NY
2017
● R & R Mari Rantanen and Bonnie Rychlak, October 7 - October 23. Ille Arts, Amagansett, NY
● The Unreliable Narrator. March 3-26. ArtHelix Gallery, Bushwick, NYC
● Deferred Vision. March 28 – March 6. Curated by Romanov Grave for Spring Break, NYC
2016
● Fish Tank. September 16 – October 31. Long Island University, Brooklyn Campus NY
● Black and White and Re(a)d All Over: Part II. September 16 – October 16. ArtHelix, Bushwick, NY
● Diminishing Intervals. March 25 - April 17. Curated by Jackie Cantwell.Shim at ArtHelix, Bushwick, NY
2015
● Reinventing the Helm: Self-Styled Nautical Activists Pirate the Canon of Maritime Art. June 6 - August 3. Sara Nightingale Gallery, Water Mill, NY
● Comedies and Tragedies. April 30 – June 27. Hudson Guild Gallery, NYC
2014
● Redacted. Curated by Janet Goleas. April 13 - June 1. Islip Art Museum, East Islip, NY
2013
● Physical Property. November 15 - December 5. Brian Morris Gallery, NYC
● The Moby Project. September 27 - October 5. Installation at Mulford Farms, East Hampton
● Skin Trade. June 27 - July 26. P.P.O.W., NYC.
● Slight of Hand. June 26 - July 27. Brian Morris Gallery, NYC
● Modest Sublime. April 12 - May 4. ArtHelix, Bushwick, NY
2012-2013
● "Sculpture Key West." December 1, 2012– March 23, 2013, Zachary Taylor Historic State Park, Key West, Florida
2012
● Kathryn Markel Fine Arts. June 2 – 30, Bridgehampton, NY
2011
● Twin Twin. Curated by Matt Freedman. Pierogi Gallery, Brooklyn, New York
2008
● Thresholds of Visibility, August 2 - August 24, 2008. Surface Library Gallery, East Hampton, NY
2007
● So This Is How It All Began… September 27 - November 26. Hudson Guild Guild Gallery, NYC
● Wrapped. June 9 - July 9. Surface Library Gallery. 845 Springs Fireplace Road, East Hampton, NY
2002-2004
● H2O. Traveling Exhibition. Curated by JoAnna Isaak. October 9, 2002, at Western Washington University, Bellingham, WA; Elaine L. Jacob Gallery, Wayne State University, Detroit, MI; Houghton House Gallery Hobart and William Smith College, Geneva; Renato Danese Gallery, New York, New York; June 2003. Santa Fe Art Institute, October 2003-January 2004
2002
● Strength In Numbers. Curated by Lincoln C. Caplan. October 10. Williamsburg Art & Historical Center, Brooklyn, NY
2001
● Parrish Art Museum, October 6-November 11. 25 Jobs Lane, Southampton, NY
● The Language of Vision. May 12 –June 3rd. Williamsburg Art & Historical Center, Brooklyn, NY
2000
● Momenta Benefit Exhibition. April 22-May 2. Williamsburg, Brooklyn, NY
1999-2000
● Encaustic Works. December 4, 1999 - January 8, 2000. R&F Gallery. Kingston, NY
CURATORIAL CAREER [edit ]
As a curator, Rychlak worked for the Noguchi Museum for thirty years (1980-2010) beginning her association with the foundation as an assistant to Isamu Noguchi (1980-1988). As a leading authority on Isamu Noguchi and his œuvre, she was also managing editor of his catalog raisonne[10] Her numerous exhibitions and writings include a foreword to the reprint of Noguchi's 1968 autobiography, Isamu Noguchi: A Sculptor's World as well as other seminal essays that accompanied exhibitions.[11]
'Noguchi and the Figure was Rychlak's first international curatorial project. Organized for Museo de Arte Contemporaneo de Monterrey and the Museo Rufino Tamayo in Mexico City, it was the first critical analysis of Noguchi's sculptures in relation to the figure.[12] In all of her writings about Noguchi and his work, she examined his legacy through his process and strategies, allaying art history's tendency to mythologize him. Through some of her essays and exhibitions, she reflected on the popularized exemplification of his "spirituality"[13]as well as his understudied advances related to Japanese conventions of ceramics and furniture design.[14]
In 1981, Noguchi introduced Rychlak to thousands of negatives and notebook drawings connected to a world travel grant he received from the Bollingen Foundation in the 1950s that took him around the world over a six-year period. Noguchi had hoped to use the material for another autobiography and kept it private during his lifetime. Rychlak ultimately staged an exhibition of this project fifteen years after Noguchi's death, illustrating Noguchi's deep interest in other cultures and the journey's impact on his artistic evolution.[15]
During the Bollingen Journey exhibition at the Noguchi Museum, Elena Foster, founder and creative director of Ivory Press, visited the presentation and subsequently selected photographs from the thousands of images not employed in the exhibition. Rychlak advised and wrote the commentary for the editioned book produced by Ivory Press.[16]
After her employment at the Noguchi Museum, Rychlak organized On Display in Orange County: Modern and Contemporary Sculpture in 2011 as part of the Pacific Standard Time project in California.[17] She also worked as a curatorial consultant to art patron Henry Segerstrom until 2018, producing several exhibitions for him in South Coast Plaza, California, and authoring a monograph on him.[18] Simultaneously she taught at the Pratt Art Institute and sat on the exhibition committee for the LongHouse Reserve in East Hampton, New York. In 2012, she organized an outdoor sculpture exhibition for the LongHouse[19] as well as also participating as a curatorial partner with Peter Hopkins, director and founder of ArtHelix, a gallery in Brooklyn, helping to organize several exhibitions for the gallery.
Awards edit
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Bonnie Rychlak received a grant from the National Endowment for the Arts in 1976, a fellowship from the Rockefeller Foundation for a residency at the Bellagio Study Center in 1985, the Prix de Rome from the American Academy in Rome in 1990, and a residency at the Bogliasco Foundation in 2013 and 2020.
References edit
- ^ https://www.nytimes.com/2007/10/12/travel/escapes/12away.html
- ^ https://artistsspace.org/exhibitions/selections-from-the-artists-file
- ^ https://whitecolumns.org/exhibitions/new-uses/
- ^ Robert Morgan, "New York in Review Arts Magazine, May 1989, p.89 review of one-person exhibition at Rastovski Gallery, February 1988
- ^ Arlene Raven, "Well Healed: Three Shows Redefine Art, 'Restoration," Village Voice (March 1, 1994): 88.
- ^ Wyn Kramasky, ed., About Drawing: A N.Y. Collection at Work (New Haven: Yale University Press, 2007)
- ^ Rita Compère, "Bonnie Rychlak”, Decors: Architecture/Design/Interior, Kunstenaars in N.Y. and August/September/October, Belgium and Netherlands, 2005, 94-97.
- ^ Ephraim Birnbaum, “Bonnie Rychlak at the Viewing Room” (September 11, 2010). RomanovGrave.com
- ^ Deidre S. (February 13, 2018). “A Radical Voice Celebrates 23 Women Artists”, Special to Newsday, Long Island, N.Y.
- ^ The Isamu Noguchi Catalogue Raisonné
- ^ Isamu Noguchi, A Sculptor's World by Isamu Noguchi. Foreword by Bonnie Rychlak. (Gottingen: Steidl, April 2004) and Bonnie Rychlak, et al. Isamu Noguchi, Master Sculptor, Sitting Quietly: Isamu Noguchi and the Zen Aesthetic. Exhib. catalogue. October 28, 2004 – January 16, 2005, The Whitney Museum of American Art; February 10 – May 8, 2005, The Hirshhorn Museum (London: Scala Publishers, 2004).
- ^ Bonnie Rychlak, Foreword by Ian Buruma. Noguchi and the Figure. Exhibition. February – May, 1999, Museo de Arte Contemporaneo de Monterrey; and June – September 1999, The Museo Rufino Tamayo, Mexico, 1999.
- ^ Zen No Zen: Aspects of Noguchi's Sculptural Vision. The Noguchi Museum, Sunnyside, Queens, N.Y. February 2002 to June 2002
- ^ Bonnie Rychlak, “amakura,” Noguchi’s Romance with Ceramics. Exhibition cat. Fundacion ICO, Madrid, 2006 and Bonnie Rychlak "In Search of the Authentic" in Design: Isamu Noguchi and Isamu Kenmochi, Five Ties Publications, N.Y., 2007.
- ^ The Bollingen Journey: Photographs and Drawings. Exh. cat. The Noguchi Museum, Sunnyside, Queens, N.Y. February 2003 to October 2003.
- ^ Isamu Noguchi and The Bollingen Journey: Photographs and Drawings. Introduction by Bonnie Rychlak. Essay by Pico Iyer. Ivory Press, London, 2007
- ^ Julian Bermudez, "Eye on art: Pacific Standard Time Focuses on City's Museums," Press Telegram, November 11, 2011. [1]/
- ^ The Courage of Imagination: The Cultural Legacy of Henry T. Segerstrom. Assouline Publishers, New York and Paris, 2013.
- ^ Jennifer Landes, “Bonnie Rychlak: A Curator’s Work Is Never Done,” East Hampton Star (April 24, 2012)