Poetry Inspired by Kimberly Brooks Paintings in New Book

Brazen, A Painting and Poetry Collection
Hardcover Linen, Gold Foil, Dust Jacket
122 pages
5 x 8 inches
24 Illustrations
ISBN 978-0-9993153-3-0

Available to the public Spring 2018


Four Los Angeles-based poets write and perform original poems inspired by the recent exhibition of Los Angeles based artist Kimberly Brooks.  Brendan Constantine, Rich Ferguson, Luivette Resto and Marie Marandola will be performing at the Zevitas Marcus Gallery at 2:00 PM Sunday Oct 29th where advance reader copies will be available for guests.  The book will be available for release in the spring of 2018.

Brendan Constantine
Brendan Constantine’s work has appeared in Prairie Schooner, FIELD, Ploughshares, Virginia Quarterly, and Ninth Letter, among other journalsHis most recent collection is ‘Dementia, My Darling (2016 Red Hen Press). He has received grants and commissions from the Getty Museum, James Irvine Foundation, and the National Endowment for the Arts. He currently teaches poetry at the Windward School and regularly offers classes to hospitals, foster homes, veterans, and the elderly.

Rich Ferguson
Pushcart-nominated poet Rich Ferguson has shared the stage with Patti Smith, Wanda Coleman, Moby, and other esteemed artists. He is a featured performer in the film What About Me? His poetry has been widely published, and his spoken word videos have appeared in international film festivals. His poetry collection 8th & Agony is out on Punk Hostage Press. His debut novel, New Jersey Me, is available through Rare Bird Books.

Marie Marandola
Marie Marandola is a badass feminist poet who received her MFA from Sarah Lawrence College. She is an editor for the literary press Meow Meow Pow Pow, and the former poetry editor of Lumina Journal. Her work has appeared in Poetry International, Fairy Tale Review, Lunch Ticket, and Dressing Room Poetry Journal, amongst others, and her poem “Poet Groupie” won the Academy of American Poets University Prize for Sarah Lawrence College in 2016. She now lives in San Diego, where she remains in the habit of picking up fallen bits of trees and giving them to people.

Luivette Resto
Luivette Resto, a mother, teacher, poet, and Wonder Woman fanatic, was born in Aguas Buenas, Puerto Rico but proudly raised in the Bronx. Her two books of poetry Unfinished Portrait and Ascension have been published by Tia Chucha Press. She is a CantoMundo fellow and has served as a contributing poetry editor for Kweli Journal. Some of her latest work can be read in Entropy MagazineCoiled Serpent anthology, Altadena Anthology 2015 & 2016, and an anthology of Afro-Latino poetry titled ¡Manteca! published by Arte Público Press. Currently, she lives in the Los Angeles area with her three children.

Keith Martin
Keith Martin is a community organizer and long time supporter of the LA literary community. He served on the Los Angeles poet laureate selection committee. He was appointed by Los Angeles Mayor Eric Garcetti to the LA County Metropolitan Transit Authority Citizens Advisory Council. He serves on the Clinica Romero executive executive board as fundraising chair and homeless patient advocate. He is the Chairperson of the Golden State Bonsai Federation committee at the Huntington Library and Gardens bonsai pavillion. He volunteers as a Crossing Angel for CicLAvia and also at Beyond Baroque literary center in Venice.

Kimberly Brooks
Los Angeles based artist Kimberly Brooks integrates figuration and abstraction to explore a variety of subjects dealing with history, memory and identity.  Brooks has solo exhibitions throughout the United States and her work has been showcased in juried exhibitions including curators from the Whitney Museum of American Art, The Museum of Modern Art, Los Angeles County Museum of Art. Brooks received her BA at UC Berkeley and studied painting at Otis and UCLA. www.kimberlybrooks.com.


Red Sugar Blue Smoke
The Second Ovation Study
It’s been Thursday for two weeks
Just Moments After Eternity’s Musicians Had
Taken a Break to Retune Their Instruments
Side Effects
When Wilhelm Röntgen Visits the Farm
A World of Things
In Advance of the Sage Smudge
If a Poet Writes About Herself in the Bathtub, and No One is Around to Care,
Can She Still Call It a Poem?
The Myth of the Cave

Art & Feminism: Kimberly Brooks Speaking & Moderating Panel at the ACE Hotel Saturday Feb 18, 2017, 2:30 PM

2:30-3:45 PM
Ace Hotel
Art+Feminism is an international public project established in 2013 in response to the gender gap on Wikipedia. A DIY project, A+F developed materials and methods so that anyone can organize in-person, communal editing events on content pertaining to women and the arts. Since the first Art+Feminism Wikipedia Edit-a-thon in March, 2014, 4,600 participants have gathered at 280+ events worldwide, creating and improving 4,600 articles. A+F is based in New York at The Museum of Modern Art. You can learn more on the project website: Art+Feminism

Moderator: Kimberly Brooks, artist
Jacqueline Mabey, independent curator and co-founder, Art+Feminism
Michael Mandiberg, artist and co-founder, Art+Feminism
Stacey Allan, co-founder & executive editor at East of Borneo
Kai Alexis Smith, Academic Research Librarian, Cal Poly Pomona

Click here for more info and sign up/RSVP >

You are invited to join us at Ace Hotel for Wikipedia Day Los Angeles 2017, a Wikipedia celebration and mini-conference as part of the project’s global 16th birthday festivities. In addition to the party, the event will be a participatory unconference, with plenary panels, lightning talks, and of course, open space sessions.

Art + Culture Print Exhibition, NY, NY

"Portrait of Layla" "Portrait of Arjun" Limited Edition Prints

Art+Culture Projects
51 7th Ave (between 13th and 14th Streets)

We are delighted to introduce work by Kimberly Brooks in our new exhibition, curated by Kathy Battista, I’ll Be Your Mirror, featuring new limited edition prints by Betty Tompkins, Cheryl Donegan, Cindy Hinant, Lucy Liu and Narcissister.

Kimberly Brooks prints are from her exhibition “I Notice People Disappear”. Brooks is an American painter who blends figuration and abstraction to focus on a variety of subjects dealing with memory, history and identity. Born in New York she now lives and works in LA where she studied painting at UCLA. Solo exhibitions include: Thread and Bone, The Cooper Building, Los Angeles (2015); I Have a King Who Does Not Speak, Roosevelt Library, TX (2014); I Notice People Disappear, ArtHouse429, FL (2014); Thread, Taylor de Cordoba, Los Angeles (2011); The Stylist Project: Los Angeles, Taylor de Cordoba, Los Angeles (2010); Technicolor Summer, Taylor de Cordoba, Los Angeles (2008); Mom’s Friends, Taylor de Cordoba, Los Angeles (2007); and The Whole Story, RiskPress Gallery, Los Angeles (2006). Group shows include: Mirroring: Refraction Through the Female Gaze, Mirus Gallery, San Francisco (2013); Forest from the Trees, White Box Gallery, San Diego (2013); Sense and Sensibility, Mt. San Antonio College, CA (2013); Incognito, Santa Monica Museum of Art, CA (2010); Women of Women: The Female Form, Taylor de Cordoba, Los Angeles (2010); ArtHaus: Los Angeles | Berlin, Reiss-Engelhorn-Museen, CA (2009); and Made in California: Eight Artists, Santa Monica, CA (2009).

We will also be showing limited edition artwork by Sarah Cain, Anna Sew Hoy, Betty Tompkins, Monica Majoli, Ruby Sky Stiler, Virginia Poundstone, Liam Gillick, Scott Reeder, Alejandro Diaz, Tony Tasset and Yinka Shonibare. Proceeds from the sale of these works will benefit our cultural partners MCA Chicago, RISD Museum, Los Angeles Nomadic Division, Contemporary Art Museum St. Louis, The Aldrich Contemporary Art Museum and Artadia.

Art+Culture Projects is a publisher of print editions and multiples produced in partnership with artists, curators, cultural institutions, non-profits, museums and commercial galleries. Our mission is to broaden awareness of the artists who are shaping our cultural legacy while creating a sustainable source of income for both artists and the programs – whether non-profit or commercial – that are showcasing innovative artistic practice.

All artworks are available to view and purchase now at artandculture.com. To purchase prints click here. For further information please contact helen@artandculture.com

LOS ANGELES TIMES: Q&A Kimberly Brooks: Fashionable sculpture for historic Cooper building


June 11, 2015

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The historic Cooper building sits in the heart of downtown L.A.’s fashion district, and now a new sculpture hangs in the heart of that heart: The Cooper announced Wednesday it has permanently acquired artist Kimberly Brooks’ 8-foot-tall uncoated steel pendant “The Ephemerality of Manner,” which evokes a Victorian-era hoop skirt housing a woman’s muscled legs kicking outward.

The piece, the first art to be permanently added to the 1927 building, is part of Brooks’ site-specific installation “Thread and Bone,” which can be seen through July 24. It stitches together video, collage work, textile pieces, performance and the welded steel sculpture, the centerpiece. As it dangles from the lobby ceiling, casting shapes and shadows in the windows, the sculpture is shot through with subtle complexities and contradictions traversing fashion, feminism, architecture and art history.

Brooks, who teaches painting at Otis College of Art and Design in L.A., recently attended the Museum of Contemporary Art’s rocking gala, joined by her husband, the actor Albert Brooks. But more work lies ahead: She is creating four new sculptures for other fashion district buildings. “Thread and Bone,” commissioned by the Cooper, was a co-production of the Do Art nonprofit public art foundation and the Sage Projects consultancy. A closing performance will take place later this summer, after which the sculptural element will remain. “It just looks like it belongs here,” Brooks said during a recent conversation.

This is such a site-specific work. How did the space inform the piece?

The Cooper had asked me to do a painting show. But I walked in and instantly saw an installation with this gigantic sculpture and a video. The walls are so high that a bunch of paintings, with these giant cement pillars, would just feel dwarfed. I felt like you needed something to anchor the space on a big level, and you needed textile because this is the fashion district. I knew I wanted tall, dramatic drapes to soften the cement pillars. So in addition to the steel sculpture and the video, I bought bolts of this gray linen in the fabric mart to make the 20-foot-tall curtains around the room and used the same material to stage a performance piece the night of the opening.

How did the people in the Cooper building, and fashion itself, factor in as you were conceptualizing the piece?

This room, the lobby, was completely white and bare but the people were these walking works of art. So I sat down and just watched. All these people walking around here are so hipster fabulous, they’re very stylish. I began thinking: What makes fashion interesting other than being a language within painting? And that is: It sort of binds us and frees us at the same time. I kept going back to this time in history when fashion was sort of at its most exaggerated with these crinoline, large forms — they were undergarments made of wire — so I started scouring for imagery that evoked this form.

I took my paintings from my The Stylist Project. I have very high-resolution images of them — they were oil paintings — and I literally cut out the fabric that I had painted and draped it over the forms. I created these digital prints of collages integrating photography and painting.

The centerpiece of your installation, the metal sculpture, is both abstract and narrative at once, casting geometric reflections in the building’s windows and nodding to fashion history. Can you tell us about it?

It’s welded steel, 8 feet tall and 6 feet wide. I worked with a fabricator to create it. But before that stage, I used metal sheets of copper that I cut into thin strips to create these little maquettes to work with when designing the sculpture. They’re amazing to work with, different than wire. That’s how I created the thickness and the legs and the angles I wanted them to be at. I wanted the legs to be muscular, not dainty. I wanted it to be sort of fierce. Fashion so much expresses the state of the rights of women at the time, and I wanted to tilt on its head your recollections of this era, in the late 1800s, when women didn’t even vote.

What were you trying to say with the title of the piece?

I called it, initially, “The Ephemerality of Style.” Because I loved the fact that it would last forever — the material, itself, is so permanent and brutal, uncoated steel. Then I thought “style” isn’t quite the right word. I renamed it “The Ephemerality of Manner.” I wanted to remind people walking through the building that right now X, Y and Z is in fashion in their minds, but it comes and goes quickly. I wanted to show something that is totally out of fashion now — a Victorian undergarment — but that will be here forever, both ephemeral and permanent at the same time. And this was all before I knew they’d be keeping it in the building as a permanent sculpture.

The video portion of the installation — black-and-white imagery depicting giant scissors in tiny hands working through ripples of gray silk — is this sort of textured, almost sensual counterpoint to the steel sculpture that hangs opposite it. Why add the video?

This is a historic building, the heart of the fashion district. People come here from all over the country. The video of sewing and cutting is about the root of what goes on in this building. It’s a 2 minute, 18 second video piece called “Labor.” I shot it on my iPhone. Those are my daughter’s and a bunch her friends’ hands. I bought gray and black fabric because I wanted to get that reflective quality, and I used big, thick needles and thread so you could really see it.

We’re so removed from how things are made now. We’re constantly looking at our devices, and I wanted to just kind of go back to the roots of the beginning of how things are made when you talk about fashion: somebody cutting and sewing. And that provides a juxtaposition to the outcome of what walks back and forth through this building, all these people wearing all this stuff — and they get to see that.

What are you envisioning for the new fashion district sculptures — and what inspires you about the downtown L.A. landscape?

Members of the Downtown L.A. fashion district BID [Business Improvement District] saw the Cooper installation and are now commissioning me to do four new sculptures at four different locations on Broadway including in front of the Ace Hotel. It’s a project in partnership with the Think Tank Gallery.

I’m envisioning a combination of steel and a weather-tolerant fabric that will provide shade, even a sanctuary. What inspires me about the downtown landscape is the streamlined and curved lines of the Art Deco architecture with the rush of modern bohemia that has transformed the entire area in the last decade.

You’re also working on a book?

I’m working on a coffee table book, a catalogue raisonne so to speak, that comes out in February. And I’m also writing a book about painting. I think there’s a book that’s missing in all the books that you buy about painting. This one is more about artists. It’s about being a painter and the kinds of things that you have to work with beyond just the practical techniques in the studio, but also as they relate to the world and your mind and the whole process of making art.

Is there another meme you’re plumbing, beyond fashion, for future art works? And how is that taking shape, practically?

I’ve been exploring memory as something really fluid that you can have as your own or tap into other peoples’, even people who have died. Even this piece — dipping into another era to articulate something today, the swirling of memory, history, identity, fashion, everything. As an artist, you’re building a vocabulary, always. So every language that you perfect becomes like a player on a stage in your mind. I’d explored portraiture really deeply, and that was like a character in my mind; I explored my own past, my distant past; then I explored fashion. Now memory. All of these things start to build and that’s why as artists, we keep hopefully getting better and our work evolves.

In my studio, I’ve been working on paper lately. I’m fascinated by the way that working on paper — with ink and wash and watercolor, even oil — forces you to be in the moment. You can’t go in and change it if you don’t like it. You can’t scrub it away like you can on canvas or even linen. So I think where I’m going with my artwork, is about exploring collage and paper and painting as they come together with technology.

But to me, really, the world we live in, everything, is fodder for making art, whether it’s fashion or the wheels of a car. Everything on some level holds fascination for an artist.



SOLD OUT: 1 Week Summer Painting Workshop ANDERSON RANCH ARTS Center in CO, July 6 – 10, 2015



Kimberly Brooks

DATES: July 6 – 10, 2015


CONCEPT: If painting is a grand mansion with the foyer being realism, we walk through the door, and explore the surrounding rooms of figuration to abstraction. Students are exposed to practical techniques involving building different types of grounds, color mixing, and when to employ tightness vs. looseness. We look at techniques for keeping ones’ work as fresh as possible, simultaneously the scaffolding to create bodies of work for an exhibition.

MEDIA & TECHNIQUES: With an emphasis on safe studio practices, students learn techniques for oil painting (used by Rembrandt and Velasquez) that minimize exposure to toxic chemicals. As modern technology is a painter’s powerful ally, computer technologies will be incorporated for students who are interested in integrating digital tools with their practice.

ACTIVITIES: We will begin with initial technical instruction and demonstrations and then move on to produce multiple paintings from beginning to end over the course of the week.

FACULTY: Kimberly Brooks is a contemporary American painter that blends figuration and abstraction to explore a variety of subjects dealing with memory, history and identity. Kimberly exhibits nationally. Her work has been showcased in numerous publications and exhibitions. www.kimberlybrooks.com

Tuition: $920 OR Tuition + Studio Support Donation: $1120
Studio Fee: $75

Workshop Registration begins January 2, 2015


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