During the month of November, I had a display in the Fishbowl II window of Blackfish Gallery facing NW 9th Avenue near the Pearl District. It was terrifying and weird, yet educational. When I came back to take down the exhibit, I was pleasantly surprised to find that I sold two paintings to an unknown buyer (World on Fire and Drones and Rain).
24 x 24 inches
mixed media on panel
I added new photographs and assemblages – all of them can be viewed here: https://sylviedakotahuhn.com/photographs/
The opening reception of my exhibit at the George R. White Library & Learning Center at Concordia University Portland went smoothly – much gratitude to the folks who came out (and to the catering table). My friend of a decade came up to visit, and I was gifted a cataloging rules book circa 1908 from my former exhibitor friend Amanda (Backstory Books) – I geeked out hard. The show will be up until the very end of August.
I’ve been messing around with collage/pinhole photo outtakes for the upcoming show (using a bit of acid-free “archival” glue).
On Sunday during my recent short trip to Los Angeles, I decided to opt out on paying the pricey admission to go inside LACMA (at the time I wasn’t feeling that keen about worshipping Picasso and Rivera, the two male titans). Instead, I dragged my poor sick sister to the nearby Craft & Folk Art Museum because they were having two exhibits that caught my interest (and the admission was far more affordable). The first exhibit was called Chapters: Book Arts in Southern California. Over 60 local artists were featured and the works (spanning two floors including the entrance) covered sculptural installations, interactive found-books (visitors could tear a piece out of a blank page for keeps or manipulate the printed words to form a sentence), zines and hand-printed/illustrated editions. The many themes ranged from conceptualism to feminism. Nothing gets me more excited than when words not only can be functional in visual art, but when they also can just exist as static matter. The second exhibit on the top floor was called Focus Iran 2: Contemporary Photography and Video. The juried exhibit was in collaboration with the Farhang Foundation, a non-profit that provides support for Iranian art in LA. My favorite section was the video/sound installation by the artists Elahe Moonesi, Maziar Moradi, and Farhood Yazdanpanah. I sat and watched goldfish, frozen in melting ice cubes, hanging by strings in the sun – and a young woman lying on her back, smothered in her white (wedding?) dress, as her fabric is getting violently sewn by other hands. It only reinforced my wish to someday venture back into video and sound.