REVIEW: WhiteHot Magazine by Daniel Maidman

whitehot1

When I was in film school, before the millennium, we were instructed always to reserve some time at the end of shooting in each room. During this time, we were to record several minutes of silence in the room. This “room tone” could then be seamlessly woven in wherever sound editing called for dialogue shot in that space to pause. 

The point of room tone was that the ear can hear a mismatch if two different silences are welded together in the editing. No two silences are alike. Silence is full of timbre. Each room has a personality which comes to the fore in the quiet that falls after its occupants have left.

This concept comes to mind when considering many of the paintings in Kimberly Brooks’s solo show Brazen, at Zevitas Marcus in Los Angeles.

Painting is sight, but some painters naturally summon other senses in service of their imagery. Brooks summons sound, and yet she does not imply noises. She is a painter of silence, of the full, textured silence of room tone. The rooms she depicts are stately and filled with luxurious objects. People have perpetually just vacated them. Their conversations or laughter have fallen away. There is a stuffy close quality to the air. It is trapped and moves only in tiny currents. The personality of these rooms comes into focus now that they are empty.

Read more >

REVIEW: Art Scene by Andy Brumer

artscenelogo by Andy Brumer

Los Angeles-based artist Kimberly Brooks offers a strong showing of mostly oil on linen paintings. The title of the show, “Brazen,” offers a an insightful clue to its contents. Brooks spoke to this writer of the need she felt to move her paintings in a new direction. Towards that end she took leave of (for now, at least) the style of landscape paintings and figurative works (of mostly fashionably attired women), as well as the emotionally charged symbolic colors with which she painted them, and for which she has used exuberantly in previous work.

"Talitha" Oil on Linen 2017

“Talitha” Oil on Linen 2017

Using the word “Brazen” as a  mantra to free her paint brush to wander where it would, allowing the paintings to find new shapes, feelings and themes, the artist set to work. This rather extensive exhibition of large and small works attests to the fact that she met, if not exceeded her goal. It’s not that the figure and the landscape subjects of earlier paintings have vanished, far from it. Rather Brooks this time coaxes forth their visual DNA in a different manner.

Take, for example, the face-on portrait titled “Talitha.” Whereas previously Brooks would infuse her portraits of women with a blend of sultriness and luscious full-bodied curves, she now presents “Talitha” with a thoroughly flat, austere and almost featureless visage. The artist sets the face in an oval of sky blue reminiscent of a Victorian era pin or brooch that augments the piece’s sense of restraint. The painting’s primitive style adds an element of flourish and relief. A geometrically complex patchwork garment clings tight against the figure’s chest and neck.

Kimberly Brooks 'Blue Forest' Oil on lInen 2017

Kimberly Brooks ‘Blue Forest’ Oil on lInen 2017

This relative restraint finds its free-wheeling, sensual counterpart in a dreamy landscape painting titled “Blue Forest.” Here the artist uses a muted palette of earthy browns, yellows, greenish tans and pinks that run ubiquitously through this show, in this work to configure a dreamscape of plants, tree limbs and other organic forms. The bottom half of the painting presents a row of brighter red shapes that both pop forward visually and dot the canvas with a breezy grace.

"Gods and Mountains" Oil on Linen 2017

“Gods and Mountains” Oil on Linen 2017

Brooks’ undergraduate training in Literature (at UC Berkeley) makes itself known in this show as well. For example, in the narrative approach to “Gods and Mountains,” a group of angular El Greco-like figures kneel and huddle under a ray of teeming expressionist brushstrokes that pour out of a rather Old Testament looking cloud capping a mountain. “Angel/Mother/Goddess” then shifts into more of a New Testament mode, with a Virgin Mary-like figure spreading cloaked wings to embrace a flock of daubed cream-colored faces that have snuggled safely within their span.

"Portrait Hall", Oill on linen 2017

“Portrait Hall”, Oill on linen 2017

artscenelogo
“Portrait Hall” is a slightly eccentric rendering of a Baroque, Palace of Versailles-like interior that introduces an architectural motif that relates most readily to Brooks’ previous style. However, rather than plumb straight corners and realistically rendered walls, this room shimmers in and out of focus in a kind of fun-house buzz. Loosely stroked and smudgy images of tall portrait paintings hang from the walls and add a note of hilarity to this highly skilled painting.

While Brooks may have corralled her muse’s willpower to produce these works, the paintings themselves in the manner in which they nourish the eye and nurture the soul feel anything but audacious, this is to say “brazen” at all.

BlouinArtInfo Review

LandingPage

Continuing her tense on-going battle between abstraction and literal representation, Kimberly Brooks’ latest selection of oil paintings are being displayed in Los Angeles at the Zevitas Marcus gallery.

Brooks explores the theme of human gestures, pillaging the imagery of well-known historical events to reproduce an entirely new story within that very same context. Her work is an amalgamation of figures, landscapes, still life and interiors. She blends into it her own personal experiences that go on to create a skilful fusion of historical and contemporary perspectives. As an artist Brooks has depended on the abstract, but never completely embraced it, though one can sense an on-going tension between representation and abstraction in her works. The recent paintings seem to tilt towards abstraction in many ways. Brooks uses it to divide the materiality of history, like in ‘Museum Wall’. She then invites viewers to dive inside the frame to experience the history as it happened and her depiction of it, which she does in ‘Blue Angels’. The works may have their sources in known historical events, but Brooks has no intention of reporting about them per say, instead she accesses her honed ability of painting that can directly construct meaning. The grand interiors, ornamentation and religious icons in her works are deconstructed from their traditional forms and are aligned within our contemporary culture with a renewed range of meaning.

Kimberly Brooks is a graduate from UC Berkeley in Literature and worked as a writer before choosing the brush over the pen. Brooks studied Painting at UCLA and OTIS. Her work has been the focus of several solo and group exhibitions organized by curators from Whitney Museum of American Art, Museum of Modern Art, California Institute of the Arts and Los Angeles County Museum of Art. She lives and works in Los Angeles where this exhibition will take place. Zevitas Marcus is located in Los Angeles’ gallery district, Culver City.

The exhibition will be on view through September 9 – October 21, 2017 at Zevitas Marcus 2754 S La Cienega Blvd, Los Angeles, California 90034

Article >

Group Exhibition “Instalarity” Curated by F. Scott Hess

lodhigardensiinight_8x10_kimberlybrooks

Santa Ana, Ca-  Kimberly Brooks will have three works featured in the group exhibition “Instalarity” curated by F. Scott Hess at the Q Art Salon,  November 5-28, 2016 Opening night November 5th 6:00 – 8:00 PM

Participating artists include: Alonsa Guevara, Kimberly Brooks, Charles Antolin, Damian Chavez,Daniel Maidman, Danny Galieote,Dina Brodsky, Felicia Forte, F Scott Hess, George Dawnay, Guno Park, James Thistlethwaite, Jihae Christine Lee,John Brosio, Justin Matthew Tecson, Lola Gil, Marc Dalessio, Marc Trujillo, Maria Kreyn, Michelle Doll, Natalia Fabia, Nina Ulett, Taylor Jade Phillips,Shannon Fody, Stephen Wright, Valerie Pobjoy, Joseph Rivera, William Wray, Yalda Sepahpour, Zoey Frank.  F. Scott Hess published an article about the exhibition here.

Q Art Salon, 205 N Sycamore St, Santa Ana, CA 92701.714-835-8833

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

ART INSTALLATION March 19 – July 28, The Cooper Building, Los Angeles, CA

sculpture2

FOR IMMEDIATE RELEASE

KIMBERLY BROOKS: Thread and Bone
MARCH 19 –  extended to July 24th**
Opening Reception: March 19, 5-7 PM

GATEWAY GALLERY at the COOPER DESIGN SPACE
860 S LOS ANGELES STREET
LOS ANGELES, CA 90014
310.663.1737 info@SAGE-PROJECTS.COM

SAGE Projects and the Do Art Foundation are pleased to present “Thread & Bone”, an installation by Los Angeles – based artist Kimberly Brooks, which examines the intersection of structure and fashion within an architectural space at the historic Cooper Design Building in Downtown Los Angeles’ fashion district.

This site-specific installation transforms the grand entryway of the Cooper Design Building into a spectacle of accoutrement. The giant steel hanging pendant, which was created specifically for this installation, will now be on permanent display. Floor-to-ceiling burlap draperies and industrial concrete columns marry the rawness of the space with the material chosen.  A video piece, and collaged panels integrating memento mori symbology with elements from vintage undergarments, communicate excerpts from Brooks’ portrait series “The Stylist Project.”

This work explores the crescendos and accents that are apparent through layers of paint, and shapes the contours of a complete body of artwork.  Brooks’ installation invites the viewer to examine the artist and her work, by both undressing and zooming in on the most  intimate of details.

Against the backdrop of this large public space, Brooks explores the ever present relationship between fashion and structure through an intimate lens.  Through an examination of paintings from her “Stylist” series, a body of work exploring concepts of fine art and applied art, we journey alongside the artist as her steady microscope selects impressions from her work where the colors, patterns, and gestures, framed independently, are exquisite moments of abstraction.  From the traces of the hand, to the fibers of the brush, skin and bone of the underpainting are gradually unveiled.

Kimberly Brooks is an American Painter who blends figuration and abstraction to focus on a variety of subjects dealing with memory, history and identity.   Her work has been showcased in numerous juried exhibitions including curators from Whitney Museum of American Art, Museum of Modern Art, California Institute of the Arts and Los Angeles County Museum of Art. Brooks received her B.A. from UC Berkeley and studied painting at UCLA and OTIS. Born in New York, Brooks lives and works in Los Angeles.

This installation is on view through July 24th at Gateway Gallery inside the Cooper Design Space, Downtown Los Angeles, seven days a week. For further information or for press enquiries, please contact Heidi Johnson at 323.204.7246 or heidi@thinkhijinx.   

View Full Installation Here

# # #

I Have A King Who Does Not Speak: Kimberly Brooks’ Solo Exhibition, Roosevelt Library, San Antonio, TX

ROOSEVELT LIBRARY
311 Roosevelt Avenue
San Antonio, TX 78210

Presents
A Solo Painting Exhibition

K I M B E R L Y    B R O O K S
“I Have a King Who Does Not Speak”

Nov 20, 2014 – Jan 14, 2015

Artist Reception:
Nov 20, Thurs 6:00- 8:00 PM

FOR IMMEDIATE RELEASE

San Antonio, TX — The Roosevelt Library and Alice Carrington Foultz are pleased to present “I Have a King Who Does Not Speak”, a solo exhibition of by Los Angeles-based artist Kimberly Brooks. The exhibit will run from Nov 20, 2014 – Jan 14, 2015. The Gallery will host a reception for the artist on Thursday, Nov 20 from 6:00 – 8:00 PM.

In Brooks’ latest paintings series the viewer encounters a miasmic world of visual pleasures, from opulent clothing and architecture to hazy landscapes and portraits, all seen through her seductively decadent yet playfully loose brushwork. In keeping with her previous exhibition “I Notice People Disappear,” underlying this evocative imagery one encounters the psychology of desire, loss, and the uncanny.

In “I Have a King Who Does Not Speak” Brooks conjures and resurrects scenes and passages from a foreign place and time. Borrowing ancient imagery used to document presentations of wealth, historical events, Brooks twists images to appear at once familiar and strange. The viewer finds him or herself in an alternate universe. Scenes seems to come from a fever dream, as rooms careen out of control and ghostlike figures disintegrate into the backgrounds. Abstraction runs throughout the works, bending spaces, interrupting scenes with non sequitur brush marks, and transforming emblems of power into smaller paintings, as seen in “Family Tree” and “The Memory of Banquet”. As each painting teeters between abstraction and representation, going in and out of lucidity, Brooks’ work touches on her own understanding of how painters see and process the visual remnants of history. She uses this model as a keyhole to an alternate reality altogether. The challenge of this particular exhibition comes in part from confronting orientalism and the imagery of empire with the added filter and gaze of the contemporary artist. By warping familiar historical imagery in this manner, Brooks employs the remaining vessel as a means of accessing a subliminal past and in doing so opens a door to a world of her own creation.

Kimberly Brooks work has been showcased in numerous juried exhibitions including curators from Whitney Museum of American Art, Museum of Modern Art, California Institute of the Arts and Los Angeles County Museum of Art. Brooks received her B.A. from UC Berkeley and Studied Painting at UCLA and OTIS. Born in New York, Brooks lives in Los Angeles and maintains her studio in Venice, CA. Curator Alice Carrington Foultz has been advising clients through her art advisory for over thirty years and stages exhibitions throughout the country.

Image: “Portrait of Forgotten Ancestor” 32 x 40 in. Oil on Linen 2013 Kimberly Brooks

# # #

SOLO EXHIBITION: “I Notice People Disappear” ArtHouse 429, West Palm Beach, FL, EXTENDED to MARCH 15, 2014

ARTHOUSE429LOGO2

Harem24x30OIlonLinen_KimberlyBrooks

PRESS RELEASE
FOR IMMEDIATE RELEASE

KIMBERLY BROOKS
“I Notice People Disappear”
February 6 – March 6, 2014
Opening Reception: Thurs, 6:30- 8:30 PM

ArtHouse 429 is pleased to present “I Notice People Disappear”, a solo exhibition of new work by Los Angeles-based artist Kimberly Brooks.  The exhibit will run from February 6 – March 6, 2013.  The Gallery will host a reception for the artist on Thursday, Feb 6 from 6:30 – 8:30 PM.

In Brooks’ latest paintings the viewer encounters a miasmic world of guilty visual pleasures, from opulent clothing and architecture to hazy landscapes and portraits, all seen through her seductively decadent yet playfully loose brushwork.   In keeping with previous exhibitions “Mom’s Friends” and “The Stylist Project,” underlying this evocative at times lavish imagery one encounters the psychology of desire, loss, and the uncanny.

In “I Notice People Disappear” Brooks begins each piece against the backdrop of 18th Century British India.   Borrowing from sources originally used to document historical events, presentations of wealth, and the grandeur of ancestry she twists these images to appear at once familiar and strange.  The viewer finds him or herself in an alternate universe from the Merchant Ivory aesthetic so often associated with this material; Brooks’ perspective of the British Empire seems to come from a fever dream, as rooms careen out of control and ghostlike figures disintegrate into the backgrounds.  Abstraction runs throughout the works, bending spaces, interrupting scenes with non sequitur brush marks, and transforming emblems of power into odd smaller paintings, as seen in “Family Tree” and “The Memory of Banquet”.

As each painting teeters between abstraction and representation, going in and out of lucidity, Brooks’ work touches on her own understanding of how painters see and process the visual remnants of history.  She uses this model as a keyhole to an alternate reality altogether.  The challenge of this particular exhibition comes in part from confronting orientalism and the imagery of empire with the added filter and gaze of the contemporary artist.  By warping familiar historical imagery in this manner, Brooks employs the remaining vessel as a means of accessing a subliminal past and in doing so opens a door to a world of her own creation.

Kimberly Brooks work has been showcased in numerous juried exhibitions including curators from Whitney Museum of American Art, Museum of Modern Art, California Institute of the Arts and Los Angeles County Museum of Art.  Brooks received her B.A. from UC Berkeley and Studied Painting at UCLA and OTIS. Born in New York, Brooks lives in Los Angeles and maintains her studio in Venice, CA.  Founded by William Halliday in January 2013, Arthouse 429 is dedicated to featuring the best contemporary art to the West Palm Beach area.  Curator Bruce Helander is artistic director and the former founding editor of the Art Economist where he featured Brooks as an “Artist to Watch in 2012”.

For more information, contact Mary Coyle at manager@arthouse429.com or tel: 561.231.0429.

Exhibition Catalogue

KIMBERLY BROOKS | I Notice People Disappear

‘”A Womanhouse…” Curated by Mira Schor, A.I.R Gallery, New York, January 9 – February 2, 2014

KimberlyBrooks_HelenFrankenthaler

Opening Reception: Thursday, January 9th, 2014, 6-9pm Video Screening: Saturday, January 18th, 2014, 3-5pm Panel Discussion: Saturday, February 1st, 2014, 4-6pm

A.I.R. Gallery is pleased to announce A “Womanhouse” or a Roaming House? “A Room of One’s Own” Today, an exhibition curated by painter/writer Mira Schor as part of A.I.R. Gallery’s CURRENTS Series of innovative exhibitions that address contemporary issues warranting critical attention. This exhibition will be on view from January 9th – February 2nd, 2014.

The original Womanhouse Project in Los Angeles in 1972 was one of the
most important and famous art projects in feminist art history. It
included some of the first major instances of installation art and of
feminist performance art in the United States. The artists included in A
“Womanhouse” or a Roaming House? “A Room of One’s Own” Today
address questions similar to those posited by the original exhibition, but through a contemporary lens: What is the space necessary for an artist to make art in and for whom? Rather than a “Womanhouse” ought we now to envision a Rooming House or a Roaming House? What are the implications of the gendering of space, who owns domestic space, and is creativity more a private pursuit or a public one?

The exhibition includes forty artists working in all media: video, photography, photographed performance, painting, sculpture and installation, and opens up a discourse, sometimes overt, sometimes oblique about what the home means now for the woman artist and for women at all economic levels of society.

Irina Arnaut, Sharon Louise Barnes, Kimberly Brooks, Pauline Chernichaw, Jacintha Clark, Marcia Cooper, Laura Crosby, Amy Finkbeiner, Parisa Ghaderi, Marita Gootee, Marcie Hancock, Nancy Grace Horton, Sara Jiminez, Jeanne Jo, Natanya Kashan, Alex McQuilkin, Lucy Meskill, Megan Mette, Dawn Nye, Kalena Patton, Dominique Paul, Katarzyna Randall, Kaitlynn Redell, Kara Rooney, Caitlin Rueter, Julie Schenkelberg, Hayley Severns, Virginia Sprance, M. Louise Stanley, Evelin Stermitz, Robin Tewes, Gwenn Thomas, Marianne Van Den Bergh, Rebecca Volinsky, Angela Rose Voulgarelis, Jen Waters, Sasha Wortzel, Jayoung Yoon, Nancy Youdelman, Lu Zhang

About the Curator: Mira Schor is a painter and writer living in New York City. Her paintings combine visual pleasure and painterly craft with philosophical, existential, and political concerns within intimate painterly cartoons, furthering her interest in narrativity and autobiography within a political and conceptual field. She received her MFA from CalArts and has been the recipient of awards in painting from the Guggenheim, Marie Walsh Sharpe, and Pollock-Krasner Foundations, as well as the College Art Association’s Frank Jewett Mather Award for Art Criticism and a Creative Capital / Warhol Foundation Arts Writers Grant. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life and the blog A Year of Positive Thinking, as well as the author of Wet: On Painting, Feminism, and Art Culture and the co-editor, with Susan Bee, of M/E/A/N/I/N/G.

A.I.R. Gallery is located at 111 Front Street, #228 in the DUMBO neighborhood of Brooklyn. Gallery hours: Wed. – Sun., 11am to 6pm. For directions please visit www.airgallery.org. For more information please contact the Interim Director, JoAnne McFarland at 212-255-6651 or info@airgallery.org.

Image: Kimberly Brooks, “Helen Frankenthaler in her Studio”, 1957, Oil on Linen, 2013
A.I.R. Gallery – Celebrating over 40 years of advocating for women in the visual arts

Cat Art Show LA, Curated by Susan Michals, Los Angeles

'Pumpkin' Courtesy Grace Coddington

101 Exhibit is pleased to present CAT ART SHOW LOS ANGELES, curated by Susan Michals, featuring over seventy artists, the largest exhibition of its kind.

Opening Reception on Saturday, January 25th, 2014, 7-10pm
101/exhibit, 6205 Santa Monica Boulevard, Los Angeles, CA 90038

Artists Include: 
C215
FAILE
Gary Baseman
Guy Denning
Jill Greenberg
Jonathan Yeo
Kimberly Brooks
Marc Dennis
Marion Peck
Martin Eder
Natalia Fabia
Noel Fielding
Ray Caesar
Shepard Fairey
Tim Biskup
Tracey Emin

CatPromo1

This exhibition is both a meditation and a celebration of the feline form. This exhibition goes beyond heralding felines as domesticated companion, and instead explores their role as muse and inspiration. Cats have been part of our lexicon (not to mention our home life) for thousands of years. The Egyptians frequently aligned them with the gods, like Bastet, the goddess of warfare. Later, great artists like Pierre-Auguste Renoir, Utagawa Kuniyoshi, and Pablo Picasso all created masterpieces centered around cats, sometimes showcasing them as companion, sometimes around something much deeper symbolically.

Partners include 101/exhibitPicMonkeyPerrierPeroni Beer, and The Walker Arts Center’s Internet Cat Video Festival. All artwork will be for sale, and a portion of the proceeds will go to the Stray Cat Alliance of Los Angeles.

Hours:
Saturday, January 25th: 7pm – 10pm
Sunday, January 26th: 12pm – 5pm
Saturday, February 1st: 12pm – 5pm
Sunday, February 2nd: 12pm – 5pm

SUSAN MICHALS,  CURATOR
Susan Michals has written about art and culture in such publications Vanity FairThe Wall Street Journal and The Huffington Post. She is an art consultant for clients in North America and Europe.

SENSE & SENSIBILITY, Mt. SAC, CA 2013 Curated by Fatemeh Burnes

"A Soul Selects Her Own Society" Kimberly Brooks

“Sense & Sensibility” Mt. San Antonio College, Curated by Fatemeh Burnes, Sept 2013
Artist Panel: Sunday Sept 15, 3:00 – 4:00 pm
Artist Reception: Sunday Sept 15, 4:00 – 6:00 pm

CARL BERG KIMBERLY BROOKS SCOTT CANTY SETH CURCIO SHANA NYS DAMBROT AMIR FALLAH PETER FRANK JULIE HENSON MARGARET LAZZARI DAVID MICHAEL LEE MATTHEW MAY MICHAEL MILLER CHRISTOPHER PATE KATHRYN POINDEXTER MAX PRESNEILL JOHN SEED HK ZAMANI

Gallery Director & Exhibition Curator: Fatemeh Burnes
Gallery Staff: Cynthia Orr, David McIntosh
General Information (909) 594-5611, ext. 4328
Gallery Hours: Tuesday – Thurs, 11:00 am – 2:00 pm
Tuesday, 5:00 – 7:30 pm
Exhibition Catalog Avail
Art Gallery Admission: Free

Mt. San Antonio College
Art Gallery
1100 N. Grand Avenue
Walnut, CA 91789

IMAGE: “A Soul Selects Her Own Society” Kimberly Brooks

FOREST FROM THE TREES, White Box Contemporary, San Diego, CA 2013

"Her Majesty" 20 x 16 in. Oil on LInen

WHITEBOX CONTEMPORARY
is pleased to present
“The Forest from the Trees”
Curated by Chris Trueman and Joshua Dildine
August 10, 2013 – September 10, 2013

Reception: August 10, 6:00 pm – 8:00 pm

White Box Contemporary
1040 7th Avenue
San Diego, CA 92101
619-237-8813

Kimberly Brooks
Kathleen Melian
Elizabeth Anne Sobieski
Erica Stallones

www.whiteboxcontemporary.com/forest

SAN DIEGO, CA– White Box Contemporary is pleased to present The Forest From the Trees, an exhibition of four figurative painters from Los Angeles co-curated by Chris Trueman and Joshua Dildine. The Exhibit will run from August 10 – Sept 10, 2013. The Gallery will host a reception August 10, 7-10 PM.

The artists, Kimberly Brooks, Anne-Elizabeth Sobieski, Kathleen Melian and Erica Ryan Stallones, predominant figure painters –but not in the strict tradition of portrait or academic studies– depict characters which are defined as much by their pictorial environment as the very physicality and treatment of paint that defines their presence within the painting.

The impetus for this exhibition came originally from a conversation between the artist/curators Chris Trueman and Joshua Dildine that began with the questions: What if two primarily abstract artists curated an exhibition of figurative paintings and what would they seek in such work? The answer to these questions turned out to be art and artists who are acutely attentive to the application of the paint and manipulation of materials, and whose choice of subjects were specific and at times extremely personal.

There are several common threads running between the work of these artists. The first is that the application of paint is integral to the content of the work. Much the way abstraction relies on reference, paint application, and material usage to situate the work within an art-historical framework, these artists’ handle paint from precise rendering to loose painterly mark making. The molten passages of Brooks’ and Melian’s lush paintings suggest the intangibility of an image remembered. The clarity of a seemingly insignificant detail in Stallones’ intimate gatherings suggests a clue that defies the photographic reality and blurs the details outside of the focus. Sobieski’s brushwork determines the position in a narrative dichotomy between the domesticated and the wild. By selecting freely from historical styles while presenting intimate subject matter, these artists dissociate the artwork from being strictly representational and tap into larger and broader themes.

The specificity of the depicted subject offers the second main theme that runs among the work of these four artists, particularly in terms of the intimacy of the subjects. Many of the artworks in this exhibition are based on family, friends, home, and pets. Although the subjects of many of these artworks are extremely personal, this is not artwork as documentation, portraiture, or painting as personal therapy. These are artworks about themes such as fragility of home, reconciling personal and cultural narratives, insider and outsider group dynamics, story telling, and the cinematic. It is necessary when viewing this work to examine the whole of the object, the paint, and the style as much as the image and content when deciphering these provocative works.

For more information, contact: Andrew Salazar
salazar@whiteboxcontemporary.com

www.whiteboxcontemporary.com/forest

###

INCOGNITO, Santa Monica Museum of Art, May 2013

Incognito1KimberlyBrooks

Untitled 8 x 10″ Oil on Paper. Kimberly Brooks 2013

SANTA MONICA, CA–INCOGNITO Santa Monica Museum of Art’s highly anticipated annual exhibition and benefit art sale, will return for its ninth year on Saturday, May 11, 2013, accompanied by the second annual PRECOGNITO Gala Dinner and Art Preview event on Thursday, May 9, 2013. Tickets for both events go on sale March 1.  Kimberly Brooks submitted two pieces to the event.

SMOAIncognito2013
The PRECOGNITO gala dinner and preview on May 9 honors gallerist Margo Leavin (introduced by John Baldessari) and opera and theater director Peter Sellars (introduced by Bill Viola).   In its ninth year, INCOGNITO—SMMoA’s distinctive art sale and exhibition—features original artworks by contemporary artists and music by DJ Eddie Ruscha.  Each 8″ x 10″ artwork is signed on the back and artist identities are revealed only after purchase.

INCOGNITO, Southern California’s legendary annual benefit art sale, now in its ninth year, will feature more than 600 original artworks by more than 500 leading, mid-career, and emerging contemporary artists. INCOGNITO 2013 participating artists include Edgar Arceneaux, John Baldessari, Kimberly Brooks, Mark Bradford, Lynda Benglis, Marco Brambilla, Judy Chicago, Luis Gispert, Mary Kelly, Sharon Lockhart, Kim MacConnel, Rodney McMillian, Catherine Opie, Raymond Pettibon, William Pope.L, Ed Ruscha, Betye Saar, Julião Sarmento, and many, many more. A preliminary list of the fabulous array of artists participating in INCOGNITO 2013 will be available when tickets go on sale March 1 at smmoa.org.

All INCOGNITO artworks are the same 8″x10″ size and available for only $350 plus tax. This highly energized evening encourages attendees–from sophisticated art patrons to first-time collectors–to trust their instincts in selecting the works, as each piece is signed on the back and the artists’ identities are revealed only after purchase.

The element of surprise that underlies INCOGNITO reflects the essence of discovery that inspires SMMoA’s exhibitions, education, and outreach programs. One hundred percent of the proceeds from PRECOGNITO/INCOGNITO directly support the Museum.

The Queen 8x10 " oil on paper Kimberly Brooks 2013

The Queen 8×10 ” oil on paper Kimberly Brooks 2013

The Queen 8×10 ” oil on paper Kimberly Brooks 2013

2013 “The Looking Glass: Refraction Through the Female Gaze” Mirus Gallery, San Francisco

Kimberly Brooks Mirus Gallery ARtist

The Looking Glass: Refracting and the Female Gaze. Kimberly Brooks participating in Group Exhibition at Mirus Gallery in San Francisco. Opening night is February 9th, 2013

FOR IMMEDIATE RELEASE

Media Contact: Danielle Grant | A&O PR
(P) 415.860.0767 | (E) danielle@aopublic.com

Mirus Gallery Presents:

The Looking Glass
Refraction through the Female Gaze

Claire Pestaille, Stargate (III), Collage, 2012

Opening Reception: February 9th, 2013 | 6pm – 10pm
Exhibition Dates: February 9 – March 2, 2013

Mirus Gallery | 540 Howard Street | San Francisco, CA

SAN FRANCISCO, January 22, 2013 — Mirus Gallery is pleased to announce The Looking Glass: Refraction through the Female Gaze, a group exhibition featuring works by Kimberly Brooks, Sandra Chevrier, Naja Conrad-Hansen, Mercedes Helnwein, Alexandra Levasseur, Jen Mann, Sari Maxfield, Alyssa Monks, Jennifer Nehrbass, Casey O’Connell, Claire Pestaille, Rachel Walker, Janelle Wisehart and Christine Wu. The Looking Glass is the third exhibition to be presented by the newly opened Mirus Gallery, and will examine contemporary representations of the female form. The Looking Glass reinterprets the presentation of women’s bodies through a variety of mediums and practices unified by subject matter and a solely female perspective.

The artists featured in the The Looking Glass challenge the preconceived notion that the female form in art represents a sense of delicacy and untouchable beauty. Creating a new discourse and exploring the woman’s role in artistic context, The Looking Glass is a celebration of the female form that ultimately transcends objectification through the artist’s examination or association with their subjects. Rather than using the female body as an agenda to reinforce societal norms or assert dominance, the artists are able to identify with and explore the spectrum of their subject’s humanity, often as an exercise in self-examination and exploration. The works of art featured in this show are a contemporary examination of the psychology of art practice and explore alternative realms in which the female body is represented.

Kimberly Brooks investigates the role of women as both artists and subjects of the gaze. By inverting the artist-model relationship her practice aims to breakdown the traditional role of spectator, allowing her model the agency to look out from the canvas and stare back at the viewer. In examining contemporary fashion and style, Brooks addresses the role that women themselves play in the perpetuation of certain cultural tropes, and the significance of appearance in depictions of women in art and media.

The work of Rachel Walker borders upon the abstract and the illustrative, presenting the previously marginalized perspectives of female and queer artists. Her works in gouache support an immediacy and honesty in her subject matter, the rapidness required by the medium lends itself to an art practice based upon intuition and chance. The use of feminine cultural figures, fashion and historical imagery assists in her exploration of depictions of race, gender, sexuality and identity.

Mercedes Helnwein examines the myth of the “normal” through her drawings of women and girls outside of the mass media lexicon. With an outsider’s attention to the seemingly banal, Helnwein draws out the eccentricities, oddities and cultural mash up she finds thriving in the backwaters of American life. The exactness of emotion allowed by her use of pencil bring to surface some of the inner struggles and temptations masked by her female subject’s need to “be good”.

Claire Pestaille’s collages challenge a consumer culture that dictates the relentless pursuit of perfection by examining how advertising, Hollywood and other media inform women’s self image. By focusing on the female form, Pestaille is able to bring awareness to women’s experience outside of standardized art historical portrayals. In promoting self acceptance and understanding, she allows her female subjects to be storytellers for themselves, liberated from societal standards and stereotypes.

Approaching her practice as a dialog between her adolescent self, and the woman she is now, Casey O’Connell paints in acrylic and oil stain as a scrapbook of her life and emotions. Her use of female characters lends itself to greater intimacy and relevance to her personal experience, with imagery meeting somewhere between fantasy and honesty.

Mirus Gallery is a dynamic exhibition space established by entrepreneur, Paul Hemming. The gallery features a program of contemporary artwork by emerging and mid-career artists in both solo and thematically organized group shows. Mirus Gallery will highlight work that emphasizes skill and process and aims to engage viewers on a sentient, emotional and evocative level.

In 2013, the initiation of an artist-in-residency program will pursue the gallery’s values of community and collaboration by providing a live-in/on-site studio space for artists to make and exhibit work in a supportive environment, conducive to creativity.

Gallery Hours
Tuesday – Saturday 10-6

Location
540 Howard Street
San Francisco, CA
94105

Gallery Contact
monica@mirusgallery.com

Media Contact
Danielle Grant
danielle@aopublic.com
415.860.0767

PENNSYLVANIA ACADEMY OF FINE ART, Forum on Race and Gender, February

logo

1437

PAFA’s Samuel M. V. Hamilton Building
128 N. Broad Street, Philadelphia
FREE Admission, REGISTER NOW

Panelists:
Ken Johnson,The New York Times, Art Critic
Kimberly Brooks, Artist and Founding Editor of Huffington Post Arts
Njideka Akunyili, Artist
Joyce Kozloff, Artist
Gwendolyn DuBois Shaw (moderator), University of Pennsylvania Associate Professor of American Art

A New York Times preview of PAFA’s current exhibition The Female Gaze: Women Artists Making Their World, written by art critic Ken Johnson, sparked a debate around gender and race in regards to art criticism. An open letter, which focuses on this preview, as well as Johnson’s article about the exhibition Now Dig This!: Art and Black Los Angeles 1960-1980 (at MoMA PS1), was signed by many artists, art historians, curators and others.

PAFA’s forum brings together members of the art community and the public for a lively debate around these questions:

What role does identity politics play in the contemporary art world?

How do gender and race play into the art we make, the art we collect and exhibit, and the way we talk about the merits of a work of art?

Join the conversation! REGISTER NOW.

NEW AMERICAN PAINTINGS Must-See Painting Exhibitions

The art world comes alive again in September, as galleries reopen and collectors return from far flung locations. We reviewed upcoming September exhibitions at more than 400 galleries around the country, and there will be a lot of painting on view.

As is typical, many galleries are bringing out the big guns for the new season – from Agnes Martin at The Pace Gallery in New York to a well structured survey of Bay Area figurative painter, Nathan Oliveira, at John Berggruen Gallery in San Francisco. Among the shows opening by emerging artists, it is hard to ignore the trend towards abstract painting that has swept over the art world.

Kimberly Brooks | “The Passage”  40 x 30 in. Oil on Linen 2011

Kimberly Brooks “Thread” * Editors Pick
Taylor De Cordoba Sept 10 – Oct 22
Read whole article >

LACMA “Art, Fame & Fashion” Presentation

photo by Aleji Tenutta

Art Bistro- Review
by Emily Waldorf

The Stylist Project Asks, “Is Fashion Art?”

On Wednesday, April 21, LACMA’s Costume Council featured a brilliant presentation by artist Kimberly Brooks, “Art, Fame, and Fashion.” Brooks recently completed the Los Angeles component of the The Stylist Project, a series of oil paintings that will eventually be turned into a book. The Stylist Project hones in on today’s fashion influences and explores the delicate question of whether fashion is art and whether stylists are artists.

Brooks is represented by Taylor de Cordoba Gallery and her work has been featured in the Los Angeles Times, Art Ltd., The Huffington Post, Vanity Fair, Elle, C Magazine, as well as at juried shows at the Whitney and MoMA. For The Stylist Project, Brooks researched who today’s top trendsetters are, and asked them to sit for her in her studio in their own clothes. Her creative process includes taking hundreds of images of her subjects and then creating a maquette to work from. She lists the work of Henri Matisse and David Hockney as inspiration, which is clear through the sun-drenched colors and formal composition of her gorgeous paintings.

Brooks’ subjects include bold-faced L.A. fashion luminary names including Elizabeth Stewart, Liz Goldywn, Katherine Ross, Jeremy Scott, Jeanne Yang, Andrea Lieberman, and Rachel Zoe, among others. Part 2 of The Stylist Project is focused on New York’s haute fashionistas and will debut in Spring 2011. During her presentation, Brooks challenged the hierarchy of fine art versus applied arts and asked why hanging something on your wall is different than hanging something in your closet. She concluded that paintings can last hundreds of years but fashion is ephemeral by nature, so stylists are “artists of the everyday.”

Brooks’ presentation concluded with a roundtable discussion with two fashion stylistswho posed for her for The Stylist Project, Jeanne Yang and Elizabeth Stewart.

“Coming Together”: Group Show

KIMBERLY BROOKS
ANDREW FOSTER
RIVES GRANADE
SYDNEY LITTENBERG
SEAN P. MCGAUGHERTY
ANNE-ELIZABETH SOBIESKI

COMING TOGETHER
A POP UP PAINTING EXHIBITION

FEBRUARY 3 – 18, 2012
OPENING: FRIDAY, FEBRUARY 3, 7 – 10 PM

PRESENTED BY SONNY RUSCHA BOJRNSON
& LAURA GROVER
HOSTED BY FABIEN FRYNS FINE ART
314 N. CRESCENT HEIGHTS BLVD.
LOS ANGELES, CA 90048
WWW.FABIENFRYNS.COM
323.998.6236 INFO@FABIENFRYNS.COM

James Scarborough: Irretrievable Beauty

Kimberly Brooks’s “Thread” at Taylor De Cordoba is neither about fashion nor the women who bring it to life but about how fashion lives but for the moment it’s worn. It’s about the expectations that clothes elicit, and once those expectations are met, memories of the occasion create attempts to rekindle the irretrievable beauty of, say, a “Sunset Boulevard” Gloria Swanson. As such, the show offers a metaphor of aging: we do, style does, and, as is the case here, specific time spent in the particular clothes does.

The show waxes lugubrious, the result of waiting for something or someone that doesn’t arrive. The faces are bland and featureless. Some appear in shadows and, in certain instances, are shadows. Some appear waxen as if at a wake, their wake, while others appear as if at a macabre masquerade ball. The overall effect is that of a post-apocalyptic fashion show (a nice image for looking back on one’s youth), with art direction by Tim Burton, refracted through Goya or Velazquez, and scripted by Cormac McCarthy.

Not so much feminine as asexual, the farthest thing imaginable from elegant or chic, the women may strike a conscious pose – they know their likeness is being captured – but they all look shrink-wrapped. Their model’s hardly-modeled face epitomizes blah, a state of couture obsolescence and personal irrelevance. The woman in Highrise clearly articulates, while the rest allude to alienation, not just from their clothes, their environment, but from themselves. Hardly comfortable in their clothes, they are even less comfortable in their skin, much less their lives.

Kimberly Brooks | “Highrise” 12 x 16 oil on linen 2011

The portraits feel cartoonish; this strikes a nice dynamic between high fashion and lowbrow culture. The women in The Confidant and Punk History have heads that look as if they’re about to be teleported to another solar system, giving them a sci-fi sense. Though their titles (Punk History, The Victorian) suggest specific eras, these two women in particular and the rest of them in general are not of that time and place or any time or place. They seem like re-imaginings of better days that were never better in the first place and thus have a treacly feeling, a Francis Bacon feeling, as if they’re disintegrating at an atomic level, from the inside out. A female version of Edvard Munch’s The Scream in a Stella McCartney dress wouldn’t feel out of place here.



Kimberly Brooks | “The Victorian” 50 x 30 in. Oil on Linen 2011

Perhaps failed romance brings the women to this state of alienation. The posture of the woman in Bing Theatre suggests that she’s been spurned. The red seatback behind the woman in Soho House suggests a heart, as does the blue shape behind the man in The Passage. The Passage could conceivably be a marriage portrait, if it didn’t look as if someone tried to rub out the image of the man (and which could conceivably have led to the solitary woman in the claustrophobic Edward Hopperesque “Highrise”).

 

Kimberly Brooks | “The Passage” 40 x 30 in. Oil on Linen 2011

The exhibition reads like a designer’s preliminary sketch laid out on a storyboard, ready to be fleshed out. It offers a keen and incisive commentary on the user-end expectations of fashion: to be escorted by a man, to turn heads at galas, theaters, and commemorative portraits, all of which in retrospect result either in prettified mummies or else in sitters who are a lot more lonely than their attire and setting would suggest.

Review Link

Vanity Fair: Kimberly Brooks Shows Her Oil Paintings at Taylor De Cordoba Gallery in L.A.

….Brooks’ latest oeuvre abandons the Hockney-like light-saturated planes of color and the Matisse-like flat decorative patterning that she deployed so skillfully in my portrait. Driven and prolific, the artist within a year has moved on to a darker, more deconstructed mood, to a Bacon-like paring down to ripened, abstracted essences. The new oil paintings—you can almost smell the fresh pigment, even in reproduction—are on exhibit from September 10 to October 22 at the Taylor De Cordoba gallery in Los Angeles. The show’s title, “Thread,” explains Kimberly (who loves fashion as much as paint), alludes “to the thread we use to weave, to adorn us in our clothing and what also connects us together, regardless of time period or culture.”

Read whole article >

LA Weekly: Events

Someday, art lovers will have the technology to attend 50 receptions across as many square miles in the space of two hours — but not this Saturday, when what seems like half the galleris in L.A. simultaneously present blockbuster season-openers.  Culver City makes this Hobson’s choice [of which exhibition to attend] a bit easier, offering a density of must-see exhibitions within a walkable geography….Kimberly Brooks returns to Taylor De Cordoba with haunting, fashion-forward portraiture.” – Shana Nys Dambrot

Naked Summer Newsletter 2011

In an interview with artist Ethan Murrow, I depicted a spectrum I call “The Nudist and The Chemist”. On one side, there is “The Chemist”, who works in a pristine lab with a Bunsen Burner and the thinnest of pipette; on the other, there is “The Nudist”, who slathers paint with a spatula in one hand, a glass of wine in the other, all- while naked. While every artist’s approach is different, I’m leaning towards “The Nudist”.  I think of the elder Matisse, who worked in bed into his eighties with yards of fabric, a big pair of scissors and sunglasses that the doctor prescribed he wear for fear the colors might get him too excited.

For this recent show I’ve been painting directly on oil primed linen, stapling it to the wall and then stretching it afterwards. All the themes I’ve been working on as a painter — portraiture, narrative, the language of costume– have melted into one another the way meat falls off the bone after it’s been roasting for a long time– no longer recognizable in its former incarnation, but more succulent. Whereas my previous exhibitions revolved around specific subjects, including people wearing specific types of styles (“Mom’s Friends”) or people who wield style altogether (“The Stylist Project”), I now let folds and patterns serve as a vehicle for a kind of abstraction.  I’ve created a series of “unportraits” where the figure no longer serves a purpose like telling a story. It’s a shape, a part of the painting.

Thread by Kimberly Brooks at Taylor De Cordoba


Kimberly Brooks “Punk History” Oil on Linen 40 x 36 in.

PDF

PRESS RELEASE – For Immediate Release
Kimberly Brooks: “Thread”, September 10 – October 22, 2011 Opening Reception: Saturday September 10, 2011 6pm – 8pm

Taylor De Cordoba is pleased to present “Thread”, a solo exhibition of new oil paintings by Los Angeles-based artist Kimberly Brooks. The exhibition will run from September 10 – October 22. The gallery will host an opening reception for the artist on Saturday, September 10 from 6pm-8pm.

In her latest body of work, Kimberly Brooks continues to explore portraiture, specifically the complexities of representations of female identities. While in her previous series, including Mom’s Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape. And while earlier portraits boasted an uncanny likenesses to their subjects, Brooks’ style has shifted into something that is simultaneously looser and richer. Facial features have been abstracted and bodies distorted. Fashion and costume, a longtime theme for Brooks, is also deconstructed. Once painstakingly rendered folds and drapes have been reduced to their essential shapes and color fields. In these sumptuous new images, Brooks continues to addresses questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistic touchstone.   Taken as a whole, the new paintings create a meta-narrative that contemplates “threads” that define, unite and separate us across different cultures and eras.

Kimberly Brooksʼ work has been featured in numerous juried exhibitions organized by curators from the Whitney Museum of American Art and the Museum of Modern Art. Her work has been featured in numerous including the Los Angeles Times, Art Ltd., Daily Serving, The Huffington Post, Vanity Fair, Vogue, among other publications.

For additional information and images, please contact Heather Taylor at 310-559-9156 or heather@taylordecordoba.com. Taylor De Cordoba is located at 2660 South La Cienega Blvd in Los Angeles, CA. The gallery is open from Tuesday – Saturday, 11AM – 6PM.

Exhibition: Kimberly Brooks Miniatures, April, 2011

“Ginnifer Study” 6 x 8″ Oil on linen 2010 Kimberly Brooks

FOR IMMEDIATE RELEASE

Taylor De Cordoba is pleased to present new works by Kimberly Brooks as a part of their 5 Year Anniversary Exhibition.   For years Brooks has painted tiny canvases before creating larger paintings as an excersize in palette and composition.  The resulting loose brushwork and abstractions provide an embrionic view of later paintings but are works in their own right.  The exhibition will run from April 9 – May 14, 2011, with a reception on Saturday, April 9 from 6 – 8pm.   In addition to the miniatures, the gallery will feature one new piece by each represented artist, whose visions have shaped the face of the gallery including Sasha Bezzubov, Kyle Field, Timothy Hull, Charlene Liu, Melissa Manfull, Danielle Nelson Mourning, Chris Natrop, Claire Oswalt, Jeana Sohn, Frohawk Two Feathers.

Taylor De Cordoba opened its doors to the public on April 15, 2006. Since then, the gallery has mounted over thirty exhibitions, participated in numerous art fairs, and launched a lauded bi-monthly reading series. Taylor De Cordoba and gallery represented artists have been featured in local and international publications, including: Frieze, Art in America, Artforum, Artweek, Art LTD, V Magazine, Elle, Vanity Fair, W Magazine, Los Angeles Times, The New York Times, LA Weekly, Beautiful Decay, C Magazine, Whitewall, The Huffington Post, LA Confidential, Angeleno and more. Los Angeles natives Heather Taylor and Alex de Cordoba co-own the gallery. Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open to the public Tuesday – Saturday, 11am-6pm. For additional press information, please contact Heather Taylor at heather@taylordecordoba.com or (310) 559-9156.  www.taylordecordoba.com

INCOGNITO Santa Monica Museum of Art

Santa Monica Art Museum:
INCOGNITO Exhibition and Art Sale
Saturday, April 30, 2011, 7 to 10:00 p.m.

Kimberly Brooks will have a piece in INCOGNITO, an art exhibition and sale at the Santa Monica Museum of Art featuring works by hundreds of acclaimed artists from Los Angeles and across the globe in an 8” x 10″ format. “Trust Your Instincts” to guide your selections, as everything is signed on the back, and artist identities are revealed only after purchase. Proceeds directly support the Museum.  Participating atists include John Baldessari, Laura Owens, Ed Ruscha, Barbara Kruger.  INCOGNITO includes a festive reception.  http://www.smmoa.org

New American Paintings #103

Kimberly Brooks’ work is featured in the recent Pacific Coast Edition of New American Paintings, Juried Exhibitions in Print.

PastedGraphic-3

New American Paintings is the most prestigious Print Exhibitions in North America, Distributed Internationally and receives over five thousand submissions annually. You can pick it up at your local newsstand or order one online here: http://www.newamericanpaintings.com

PastedGraphic-9

INCOGNITO Exhibition and Art Sale


Santa Monica Art Museum:
INCOGNITO Exhibition and Art Sale
Saturday, May 1, 7 to 10:00 p.m.

Kimberly Brooks will have a piece in INCOGNITO, an art exhibition and sale at the Santa Monica Museum of Art featuring works by hundreds of acclaimed artists from Los Angeles and across the globe in an 8” x 10″ format. All are on sale for $300 each. “Trust Your Instincts” to guide your selections, as everything is signed on the back, and artist identities are revealed only after purchase. Proceeds directly support the Museum.  Participating atists include John Baldessari, Laura Owens, Ed Ruscha, Barbara Kruger.  INCOGNITO includes a festive reception.

Allison Gibson: The Stylist Project

KIMBERLY BROOKS: The Stylist Project

The history of portraiture is in many ways a history of influence. Most portrait subjects held a certain degree of influence over the church, the state, and the cultural climates of their times—fashion trends of course among the latter. From monarchs to wealthy arts patrons to courtesans lying languidly on chaise lounges, the figures rendered by painters throughout the history of art have served as veritable cover models. To view their portraits hanging on the walls of the Academy was not only to behold the work of the masters but also to check out the latest style trends.

Maybe it’s a stretch to think of the Academy as a proto-Vogue, but the art world has certainly maintained an open flirtation with the fashion industry since long before even Andy Warhol trotted his wacky wigs around Studio 54 with the likes of Diane von Fürstenberg. And while these days there is more collaboration between the two fields than ever before, the most compelling form for illustrating this interplay remains portraiture.

 

With The Stylist Project, Los Angeles-based artist Kimberly Brooks gives us the contemporary answer to this portrayal by painting the those whose newly minted power holds great influence on today’s fashion culture: the stylists.

In her series of oil painted portraits, Brooks shines a spotlight not on fashion’s cover girls but on the industry’s most iconic tastemakers. These are women and men who, while famous by name, rarely find themselves in the limelight: after all, theirs too is the work of the artist rather than the sitter, styling models and celebrities for editorial spreads in high fashion glossies and prepping them for flashbulbs that fire at red carpets. At the end of the day, they influence the trends because they control the fashion world’s visual message.

An avid student of form, Brooks’s work draws heavily on the historical tradition of fine art portraiture. The regal positions of some of her sitters call to mind Renaissance royals, and the sprawled poses of others, such as Emmy Award winning Mad Men Costume Designer Janie Bryant, can’t help but conjure the seductive early Modernist masterpieces of Manet. In this way, The Stylist Project creates a dialog between the editorial and the art historical, between what Brooks calls “the ephemeral nature of the fashion cycle” and the enduring power of oil paintings.

While glamorous on the surface, Brooks’s work also captures an underlying tension that exists between the luxuriousness of the world where these stylists and creative directors work and the suggestion of at least a few of the figures’ unease at being thrust for the first time into starring roles.

In the case of longtime Vogue Creative Director Grace Coddington—whose face has recently become as familiar to the public as it’s long been to fashion industry insiders thanks to the popular documentary “The September Issue” and her own recently released memoir—the allure of the portraits lies in their intimacy. Here we have Grace Coddington, not of Condé Nast’s frenzied 12th floor, but as a quiet creative. Painted in her own Prada, she appears as unembellished as she does in the raw photographs that Brooks captured during their one-on-one session at Ms. Coddington’s apartment.

In every piece, Brooks handles the paint with generosity and with restraint. There are moments of vivid realism: the texture of the leopard print rug upon which Grace Coddington lays is as richly rendered as any luxury textile, and the colors are as vibrant as any seen on Fashion Week runways. Other details she’s chosen to soften to an almost impressionistic gesture—especially her handling of this subject’s famous and otherwise unruly red hair.

Each subject in the series has styled herself. And each poses not in the artist’s studio but in the comfort of her own home, taking a cue from the Northern Renaissance trend toward depicting a more authentic tableau. In the same way, each object on the sitters’ bookshelves and console tables reflects the iconography of our time, so that the wedding photo behind New York Times fashion editor turned top celebrity stylist Elizabeth Stewart informs her portrait as much as the ankle wrap sandals she has chosen to wear. The result is an honest look at a fleeting moment in the life of somebody who traffics in the equally as fleeting fashion industry.

Brooks conceived the idea while working on her series Mom’s Friends — an intensely personal project about her mother and her mother’s friends in the 70s.  Pursuing fashion as a language within portraiture, she attended lecture at LACMA about the influence of Coco Chanel and Elsa Schiaparelli’s fashions on the paintings of Matisse.  Surrounded by unimaginely dressed women of the costume council, it occurred to Brooks to explore fashion’s influence as a subject in and of itself and the people who influence fashion from the top.

As it has developed, The Stylist Project has become both a celebration of, and a study in, the influences that fashion and art continue to have on one another. The work is a time-stamped look at the fashions and tastemakers of the moment, and it is also an addition to the timeless tradition of portraiture.

 

Huffington Post: Kimberly Brooks’ The Stylist Project Debuts in Los Angeles

March 2, 2010 | Ellen Caldwell

In Victor Bockris’ biography on Andy Warhol, Warhol describes his dream of attending one of his famed parties and mingling with all of his paintings’ subjects who have magically come to life around him.

Last night, painter Kimberly Brooks got to live out Warhol’s dream. Brooks’ current solo show “The Stylist Project” opened Saturday at Culver City gallery Taylor De Cordoba and last night, Vanity Fair, Dior, and Taylor de Cordoba came together to throw a one-night-only soiree benefiting P.S. Arts .

Rose Apodaca in front of “Rose Apodoca” Oil on Linen

Kimberly’s endeavor is lofty — she has gathered stylists and fashion icons who function somewhat like the Wizard of Oz, working behind the scenes to shape current trends and styles. One by one, she has asked these trend-shapers to style themselves and sit for her in the comfort of their own homes, closets, apartments, or backyards. The effect is at once compelling and inviting. Brooks turns the camera and canvas onto those who are more accustomed to being behind them, but in doing so, she establishes a level of comfort with the stylists that is not only recognizable in the portraits, but also felt at the crowded event.

Weaving in and out of the gallery’s rooms, attendees could see Brooks’ jewel-toned portraits intermingled with the portrayed stylists themselves, including Janie Bryant, Nancy Steiner, Rose Apodaca, Cameron Silver, Jessica Paster, and Arianne Philips – to name a few. What was extraordinary about the night is that here you had an event with 15 portraits of unique people who aren’t necessarily famous or immediately recognizable, but they were all in the room with you and with their art. Imagine if you went to a museum, and all the people in the paintings were alive and interactive. That’s exactly what happened Monday and it was fascinating — taking the night out of the realm of static art show, and making it a real happening.

Ginnifer Goodwin

Actor Ginnifer Goodwin sat for her portrait two weeks before the show and her portrait was promptly sold with 100% of the proceeds gone to benefit P.S. Arts, a nonprofit organization dedicated to improving children’s lives by bringing arts education to under-served schools and their communities.

Notable attendees included Michael Govan, Norman Lear, Arianna Huffington, Abbie Cornish, Nia Vardalos, Ginnifer Goodwin, James Van Der Beek, Tracee Ellis Ross, Jordana Brewster, Marisa Tomei, Perrey Reeves and Christina Hendricks.

“The Stylist Project” runs at Taylor De Cordoba 2660 S. La Cienega Blvd., through April 3, 2010.

944: ArtForm


Kimberly Brooks’ The Stylist Project is a series of portraits that focuses on the professional stylist and fashion-industry insider as its subjects.  The Los Angeles exhibition features paintings of some of the world’s most influential style-makers, including owner A + R and former WWD Bureau Chief Rose Apodaca; Madonna’s personal stylist Arianne Phillips; New York Times Magazine stylist Elizabeth Stewart; Mad Men costume designer Janie Bryant; and stylist to the stars Rachel Zoe, among others.
By bringing these behind the scenes players on canvas, The Stylist Project comments on fashion and those responsible for setting the trends.  As Brooks says, “It’s great to contribute to a conversation about fashion and art — about fashion in art.”
Shortly after her successful 2007 exhibit Mom’s Friends, which focused Brooks’ brush on the personal relationships of her mother, as seen from Brooks’s childhood perspective, the artist found inspiration in the influence of Coco Chanel on the works of Henri Matisse.  However, whereas Matisse’s work was influenced indirectly, Brooks sought to make fashion and style the subject of a series while reflecting the personality within a portrait.  Apodaca adds, “I decided to wear the dress I was married in just the year before.  That, the vintage horn chair, the rush of color… it all just seems very personal when I look at it.”
Stewart was also impressed by the artist’s dedication to a soulful rendering, saying, “She came into my home and worked with me on the setting… it was very important to her that it reflected me and my style.”
Fashion, more than any other art form, is temporal; it shifts from season to season. Although there is a hyper-articulate niche in society that directly engages in a dialogue about fashion-as-an-art, it is most commonly a passive interaction.  Brooks is conscious of this fleeting nature, saying, “Someone will get dressed up only for a moment — for a movie, a TV show, a red carpet – and it comes and it goes.  I wonder – what will theses portraits look like in a hundred years?”
Check out The Stylist Project, on exhibition at the Taylor de Cordoba Gallery, Tuesday thru Staurday, 11 am. – 5:30 pm, until April 3
by Panagiotis Giokas

Peter Clothier- The Buddah Diaries

Excerpt from The Buddah Diaries Sunday March 6, 2010
“….So let’s take a look at Kimberly’s work. She’s a proficient painter, mostly pictures of people in environments that could be called “genre paintings,” and she has been concentrating recently on portraiture in what she identifies as “The Stylist Project.” They are portraits, mostly, of women, presumably themselves stylists for the movies, advertising, or the fashion industry. I have to confess ignorance on this score. But they are, we sense, comfortable enough in the material aspect of their lives and for the most part in themselves, for who they are. They are in touch with their own sensuality, with the physical world, and clearly enjoy the pleasures of clothing, jewelry, shoes, ranging from high-end designer to art-world eccentric.
There is, in these portraits, certainly, a celebration of the feminine, a delight in the “style” these women create for themselves and project. At the same time, there is an awareness of the inherent paradox of “style”–that, while glamorous, it carries with it the seeds of its own superficiality, its attachment to outward appearances–which is implicit in what I take to be a hint of satire in these paintings. In making a “project” of the series, I’m assuming that the artist is wanting to discover, in the paintings, something about what these people share in common, how their passion for style is reflected in the way in which they present themselves to the world. What she arrives at is an observation of our culture that suggests a fascinating surface–and a disturbing depth.”

The Examiner- Los Angeles, Kimberly Brooks Paints Masterful Artworks for The Stylist Project

March 3, 11:50 AM LA Women’s Style Examiner Laurie Brucker

As we all know, fashion is an art form. Designers essentially create living breathing works of art that grace our the runways. Haute Couture, of course being the finest and highest of this art form. Well what about stylists? Are the wildly creative fashion visions that stylist’s create, considered art too? I would say, yes! It takes a deeper sense of creativity to put looks together like stylists do. For film and music, for editorials, and especially for our rising starlets, those creations do not come easy. Well artist Kimberly Brooks, absolutely sees the work of stylists as art and is now immortalizing them and their art, as… ART! Welcome to the “The Stylist Project” almost two years in the making Kimberly Brooks painted portraits of Los Angeles’ top stylists, editors and fashion tastemakers. Debuting this past weekend at the Taylor De Cordoba Gallery on La Cienega. I went in for a first look and glimpse into the artists that are now art.

Each portrait is brilliant and fascinating. The colors are vivid, juxtaposing, strategic and give you glimpse into the essence of each subject. The details are intricate. There is life in each portrait. Movement. And with the stylists, styling themselves, with each portrait Kimberly Brooks brought to light, not only her internal creative process, but the creative process of each subject. All very different and all very defining. All very very fabulous.

Plus there is something so telling about Kimberly’s choices of portrait subjects. Truly, this is a presentation of the influences of today. From the famous and infamous Rachel Zoe, to Madonna’s very incognito costumer Arianne phillips (who happen to also do the costumes for my favorite movie…Hedwig and the Angry Inch), to designer Jeremy Scott, to Janie Bryant, costumer for the hit TV show Madmen, to fashion journalist Rose Apodaca, to vintage connoisseur and Decades owner Cameron Silver and finally to celebrity stylists Jessica Paster, Elizabeth Stewart, Jeanne Yang, and Katherine Ross. These are the people calling the fashion shots. They are top influencers who live most of their lives behind the scenes (…sans Rachel Zoe), and are now being brought to the forefront.  I can only imagine that  being immortalized in a Kimberly Brooks portrait must be the best reward for all the uncredited work these talented fashion tastemakers have created and I am sure, subconciously influenced us all.

You can see Kimberly Brooks, “The Stylist Project” now through April 3rd at the Taylor De Cordoba Gallery.

The Stylist Project – Press Release

FOR IMMEDIATE RELEASE

“KIMBERLY BROOKS: THE STYLIST PROJECT”

February 27 – April 3, 2010 Opening Reception: Saturday February 27th, 2010 6pm – 8pm

Taylor De Cordoba is pleased to present The Stylist Project, a solo exhibition of new oil paintings by Los Angeles-based artist Kimberly Brooks. The exhibition will run from February 27 – April 3. The gallery will host an opening reception for the artist on Saturday, February 27th from 6pm-8pm.

The Stylist Project is the first in a series of portraits of renowned stylists and fashion industry insiders who have styled themselves and posed for the artist. After delving into deeply personal subject matter for her last two exhibitions – “Momʼs Friends” in 2007 and “Technicolor Summer” in 2008 – Brooks shifts her focus outward with this new body of work. Here, she broaches the red-hot themes of fashion, style and those omnisciently responsible for setting the trends.

This exhibition features portraits of LAʼs most influential style-makers including celebrity stylist Rachel Zoe; costume designer and Madonnaʼs personal stylist Arianne Phillips; New York Times stylist Elizabeth Stewart and Mad Men costume designer Janie Bryant, among others. While many of the stylists are unknown to the general public, this work turns the spotlight on them, raising questions about who is really in charge of what wear and how we choose to present ourselves. Brooksʼ paintings portray a dynamic exchange between two artists: the painter and the stylists — both of whom use various props, settings, lighting, fashion and accessories to set the canvasʼ stage.

Kimberly Brooksʼ work has been featured in numerous juried exhibitions organized by curators from the Whitney Museum of American Art and the Museum of Modern Art. Her work has been featured in the Los Angeles Times, Art Ltd., The Huffington Post, Vanity Fair, Elle, C Magazine among other publications.

For additional information and images, please contact Heather Taylor at 310-559-9156 or heather@taylordecordoba.com. Taylor De Cordoba is located at 2660 South La Cienega Blvd in Los Angeles, CA. The gallery is open from Tuesday – Saturday, 11AM – 6PM.

Upcoming 2010 Los Angeles Exhibition

A New Series of Oil Portraits by

K I M B E R L Y   B R O O K S
“The Stylist Project”

February 27 – April 3, 2010

TAYLOR DE CORDOBA
2660 S. La Cienega Blvd., Los Angeles, CA 90034  |  tel: 310.559.9156
Artist Reception: Sat, February 27, 6 – 8 pm

elizabethstewartbykimberlybrooks

“Elizabeth Stewart”  (Stylist for New York Times Magazine and Harper’s Bazaar) The Stylist Project, Oil on Linen by Kimberly Brooks

About The Stylist Project

The Los Angeles installment of “The Stylist Project” at Taylor De Cordoba, debuts a series of portraits of people with extraordinary style, focusing on major  Los Angeles-based stylists, style-makers and fashion editors, styling themselves.  The New York Exhibition with New York Style-makers will be Spring 2011.

I have often painted women and figures based around a theme. During my 2007 solo exhibition “Mom’s Friends” about my mother and her friends in 1970s Marin County, I embraced the idea of fashion as a language within painting.  For this show, I sought a way to make fashion the subject itself and to bring to life the people, often a mystery to the public, who wield fashion just as I do my paint and brush.   Each portrait is very different.  It is a collaboration between two artists.

In my research I learned that there is a very hierarchical ecosystem of people considered style-makers and that “stylist” is actually a misnomer.  The project encompasses a range of professions including costume designers, magazine creative directors, fashion editors, celebrity stylists, and style icons. For this reason I use the term “stylist” a bit loosely.

Related Writings: Michelle Obama: Master Colorist.

The Women of Women: The Female Form


PRESS RELEASE FOR IMMEDIATE RELEASE

“Valentino, Cartier and Rachel Zoe” Oil on Linen by Kimberly Brooks

The Women of Women: The Female Form, curated by Yasmine Mohseni January 16, 2010 – February 20, 2010 Opening reception: Saturday January 16, 2010 from 6-8PM

Taylor De Cordoba is pleased to present The Women of Women: The Female Form, a group exhibition curated by Yasmine Mohseni. The multi-media exhibition examines women artists depicting the female form. In the history of art, the male gaze has traditionally determined how the female is portrayed. Male artists have long painted the female form for a male audience, therefore assuming control of how the woman is depicted. Contemporary female artists have broken the passive mold once associated with representations of women by seizing control of the gaze. These emerging artists focus on the portrayal of the female in a multitude of incarnations.

LA-based artist Kimberly Brooks previews a painting from her new portrait series, depicting celebrated fashion stylists in her signature saturated Hockney-inspired style. Susan Anderson spent over two years traveling the country to photograph child beauty pageant contestants in extravagant costumes and poses. The result is the portrayal    of very young girls looking back at the viewer with a bold gaze one would expect to see from a mature woman. Alika Cooper approaches portraits as though they were landscapes. Her quick and instinctive hand is visible in her work, capturing emotion and narrative with just a few sparse lines.

Photographers Danielle Mourning and Roya Falahi turn the gaze onto themselves through self-portraiture. In her new series, Falahi intertwines her Iranian heritage with her love of American punk rock by photographing herself wearing a rousari, a traditional Iranian headscarf, that she has meticulously covered in silver studs. Falahi re-appropriates symbols traditionally associated with imposed submission and rebelliousness, respectively, and imbues them with new meaning, reflecting the artist!s complex and multicultural identity. Meanwhile, Mourning!s reflexive work looks more to poetry than prose. Her ethereal photographs revisit her early childhood in the Northern California, fulfilling her objective to imagine history as it once was and question how it is fixed within the present.

Yasmine Mohseni is a Los Angeles-based arts writer and independent curator. Her articles have been published in Beautiful/Decay, BlackBook, Canvas, ForYourArt.com, Newsweek, and Whitewall. She covers contemporary art and culture for magazines, with an emphasis on contemporary Middle Eastern art. Past curatorial projects include exhibitions at the Tarryn Teresa Gallery and POVevolving in Los Angeles.

Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open from Tuesday – Saturday, 11am-6pm. For additional press information, contact Heather Taylor at heather@taylordecordoba.com or (310) 559-9156.

Aqua Art Miami – Wynwood 2009

AquaWynwardKimberlyBrooksAQUA ART MIAMI – WYNWOOD 2009

KIMBERLY BROOKS
KYLE FIELD
CHARLENE LIU
CHRIS NATROP
CLAIRE OSWALT
JEANA SOHN
FROHAWK TWO FEATHERS

Taylor De Cordoba – Booth # 29

December 3 – 6, 2009.
42 NE 25th St.
Miami FL 33137 (at N Miami Ave)
Aqua Art Miami

If you are planning to attend the fair, please contact the gallery for a limited supply of complimentary passes.

Taylor De Cordoba
2660 S La Cienega Blvd.
Los Angeles, CA 90034

Image Details: Kimberly Brooks, “The Stylist Project”, Grace Coddington, Study, 2009, oil on linen, 16″ x 12″ ; Chris Natrop, Gleaming Without Us – Moss, 2008, ultrachrome print and machined cast acrylic, 23”x31”x1 1/8”

Made in California

FOR IMMEDIATE RELEASE

Made in California
Kimberly Brooks will be participating in a Group Show in Santa Monica featuring California Artists “Made in California” June 25th to July 12th

Peter Alexander
Stan Bitters
Kimberly Brooks
Jamie Daughters
Laddie John Dill
Ed Moses
Samuel Moyers
Daniel Wheeler

“Made in California”

Thursday evening June 25th to celebrate our Golden State with California artists and friends Peter Alexander, Stan Bitters, Kimberly Brooks, Jamie Daughters, Laddie John Dill, Ed Moses, Samuel Moyers and Daniel Wheeler. Special guest Eames Demetrios, pop-up store by our own Trina Turk. A portion of the evening proceeds to PS Arts.

THE GOLDEN STATE proudly features California- based designers including Amahlia Stevens, Ash Francomb, Calleen Cordero, Clare Vivier, Melanie Apple, Michelle Jonas, Rebecca Norman, Staci Woo, Trina Turk and products that reflect our lifestyle and culture. Opens June 2nd.

waitingkimberlybrooks.jpg

Exhibition: All Under One Roof: A Selection of LA Artists

kb-technicolor.jpg

tarryn-teresa-gallery.jpg

FOR IMMEDIATE RELEASE CONTACT: ELIZABETH WILLIAMS
(213) 627-5100
Exhibition: All Under One Roof: A Selection of LA Artists.
Guest curator: Yasmine Mohseni
Dates: April 10-May 8, 2009
Reception: April 10, 2009, 7-11pm
Location: Tarryn Teresa Gallery, 1820 Industrial St, #230, Los Angeles, CA 90021
Monday-Friday 11:00am-5:00pm, Saturday 11:00am-4:00pm

Tarryn Teresa Gallery is pleased to present a group exhibition by guest curator Yasmine Mohseni. The themed exhibition examines interpretations and representations of homelands. Adopted homes. Native lands. New homes. Temporary homes. The 10 exhibiting artists of varying ages and backgrounds examine this personal theme in different media and aesthetics. Where we are and where we are from are inextricably linked to our identity and the way we see the world. And all these artists live under one roof, the city of LA.

Roya Falahi, an Iranian-American photographer working in downtown LA, draws upon unique facets of identity and culture. In her technically stunning portrait series, Camo Tactics (Smells Like Blood), Roya adopts military tactics of camouflage to create phantasmagorical scenes. The disguised and veiled woman is further obscured by the all-red composition; all vestiges of her individual identity are removed. The viewer is left wondering if this woman is a victim of religious fundamentalism or if she’s toying with the portrayal of Iranian contemporary culture by western news media. In Irving Greines’ Working Girls photos, there is no veiling or obscuring; the mannequins’ faces are wholly visible. Irving has humanized these inanimate objects and pulls the viewer into their sad world. The layers of meaning attached to these 2 photos reflect the dichotomies of the artist’s native LA. At the height of their glory, these women may have graced the windows of high fashion stores on Rodeo Drive. Now they are old and broken with flaking skin. Found in the boutiques of Central LA, these working girls are not your typical mannequins: they raise issues of gentrification and class disparity in this decentralized sprawling city. Evoking differences between rich and poor, youth and aging, they suggest the often overlooked beauty that can be found amidst urban blight and ugliness.

Venice-based painter Kimberly Brooks’s representations of LA focus on the light and color of landscape. In her series Technicolor Summer, she melds compositional and thematic influences from David Hockney’s Los Angeles with the bold and decorative style of French Nabis artists like Pierre Bonnard and Edouard Vuillard. Kimberly paints scenes from a summer experienced in high definition. California becomes a living and breathing entity pulsing with vivid color, where the human figure is secondary to the landscape it inhabits. It is a life lived in technicolor. Multi-media artist Kristin Jai Klosterman captures a different aspect of California landscape. Images of oil jack pumps and windmills underscore a harnessing of Southern California’s natural resources. Kristin’s application of oxidized iron to the canvas heightens her work’s industrial aesthetic. And, while her subject matter deals with heavy industry, she
unearths an unexpected rhythmic grace and beauty from the machinery that dots the Southern California landscape from the coastline to the wind farms of Palm Springs.

A recurrent theme in Culver City-based artist Amir H. Fallah’s work is transient homes. In his series, I Put You on a Pedestal, he draws inspiration from diverse sources such as tree houses, tent cities, Al Qaeda bunkers and refugee camps. In these multi-media works on paper, the child-like innocence of the tree house coexists with ominous Al Qaeda bunkers. Tent cities and refugee camps address a nomadic existence, for both the willing and the unwilling participant. His theme is inclusive in that transience is a reality for a large part of the world’s population. Yet, his compositions seem to focus on the individual within the greater collective. In all 3 works, a single structure climbs vertically up the paper as though to reflect an individual’s solitary trajectory. Conceptual artist Gabriela Anastasio broaches a similar topic in a very different way. With her two monumental installations Cubiculum and Archetype, Gabriela considers the concepts of the individual and the collective. In her flagship piece, Cubiculum, the New York transplant handcrafted 402 individual wood cubes which she stacks and balances differently each time, depending on the space it inhabits. A process she documents in short tightly edited videos that demonstrate the delicate process of balancing and stacking each cube. Cubiculum bring to mind dichotomies of the individual and its place within a greater collectivity. Furthermore, the uniformity of the cubes emphasizes the notion of one among many. Her second installation, the monumental Archetype, explores the individual. This delicate skeletal armature is reinforced by bands of knotted cloth, the structure’s skin. Through its inanimate forms, the restrained elegance of Archetype emanates visual cues of human individuality. Archetype is an exploration of the individual within the greater context of Cubiculum’s collectivity.

About the Guest Curator

Yasmine Mohseni is a Los Angeles-based arts writer and independent curator. Her articles have beenpublished in magazines such as BlackBook, Discover, Newsweek, and Whitewall. She is the U.S.correspondant for the Dubai-based arts magazine Canvas and is a contributing writer at Artworks andForYourArt.com. Yasmine has an M.A. in Art and Design History from the Bard Graduate Center in NewYork City, a B.A. in Art History from Occidental College in Los Angeles, and a diploma from Christie’sEducation in Paris. She has worked at the Metropolitan Museum of Art in New York, Christie’s NewYork, and the Musée d’Orsay in Paris.

About Tarryn Teresa Gallery

Tarryn Teresa Gallery is a contemporary gallery dedicated to exhibiting conceptual art in all media. Thegallery seeks to recognize artists whose statement reflects a refined and perfected process in the service oflarger conceptual framework. Tarryn Teresa Gallery is committed to pursuing public art projects and installations.

artHAUS 2009

Group exhibition on Main Street in Venice for artHAUS. The exhibition features twenty five artists from Berlin and Los Angeles. The curator, Thomas Shirmboeck, flew in Wednesday from Germany to hang the show. Here are the details:The Opening Reception is Saturday Jan 24th at 5 PMAddress is 700 Main Street in Venice (Valet avail)It’s open during this weekend from 12-4 Saturday and Sunday, then by apt only. Www.arthaus.usartHAUS Banner

PRESS RELEASE

artHAUS 2009

los angeles | berlin

www.arthaus.us

FOR IMMEDIATE RELEASE

Exhibition: artHAUS 2009 Los Angeles – Berlin25 Artists 9 LoftsJan 24- Feb 24Reception: Sat June 24, 2009 5:00 pmOpening Weekend Sat/Sun 12:00-4:00Location: Dogtown Station700 Main StreetVenice, CAVenice, CA–artHAUS is a group show featuring twenty five artists from Los Angeles to Berlin curated by Thomas Schirmböck of Zephyr Gallery and the Reiss-Engelhorn-Museen in Mannheim, Germany. The works consist of photography, painting, sculpture and video and are spread throughout nine Manhattan-style lofts at Dogtown Station 700 Main Street in Venice, California. There will be a reception for the artists Saturday January 24, at 5:00 pm.

The theme of the show, Confrontation:Collaboration, portrays “…how two related but often enough misunderstood parts of the world meet in a fest for art” says Thomas Schirmboeck, Curator. “Abstract painting is confronted with self reflecting photography, sculptures which give us the idea to understand the world of creatures meet aerial photography; falling artists meet in video art the false beauty of the Oktoberfest. Art is always about the world and how to see her, transform her. This show brings splinters from different kinds of art together and lays them out like a mosaic in which colors, techniques and materials stand together.”

About artHAUS

ArtHAUS is a roaming international exhibition that integrates contemporary art and architecture by engaging world class curators to showcase cutting edge artwork– photography, video, sculpture and painting– in newly renovated, unfurnished residences that celebrate the newest local architecture of the host city.The ArtistsFeatured artists include painters Charles Arnoldi, Edith Baumann, Kimberly Brooks, Craig Butler and Myriam Holme; photographers, Douglas Busch, Ford Gilbreath, Werner Huthmacher, Ruth Hutter, E.F. Kitchen, Jenny Tall Kroftova, Robert Mack, Jurgen Nogai, Marc Raeder, Florian Reischauer, Stefanie Schneider, Bill Sosin, Joachim Seinfeld, Marvin Wax, Al Weber and Sascha Weidner; and sculptors Tom Chapin, Gwynn Murrill. Roughly half of the artists are based in Southern California and the other half from Germany.

About Thomas Schirmböck, artHAUS 2009

CuratorThomas Schirmboeck is the director of the Zephyr Gallery and curater for the contemporary photography for the Reiss-Engelhorn-Museen in Mannheim, Germany. Mr. Schirmboeck has produced eighty four shows internationally ranging from photography, painting and installation. From 1996 – 2004 he was founding manager of “Fotogalerie Alte Feuerwache”, a public space for photography and related media as one of the leading art spaces for contemporary media in Southern Germany. Before this he lectured in art history at the Manheim University. He is and was a member of several public commissions including Germaine-Krull-Foundation, Wetzlar, Germany, Welde-KunstPreis, Schwetzingen, and senior member of the board City Gallery of Mannheim. He studied art history, archaeology and political sciences at Heidelberg University. As an editor he has published numerous catalogues and written essays for book publishers.For more information about the event go to www.arthaus.usPress Inquiries contact Deborah Campbell using our contact form or call 310.457.5477###

Kimberly Brooks Aqua Winward Booth #5

Finally– the election loosened its grip of my mind and the paint, which had been reduced to a trickle, is now flowing in rivers for my next show, a special series of portraits. I’ll be debuting the new work at Aqua Wynward Miami during the Miami Basel Fair where I’ll be from Dec 2-6. The opening night preview is Dec 2nd, the fair runs Dec 3-7 and it’s at my gallery Taylor De Cordoba’s Booth #5. rose

I hope to see you in there ~

Technicolor Summer Exhibition Tonite

Hi Everyone~

My Solo Exhibition “Technicolor Summer” opens tonite in Los Angeles May 10th 6 – 9 PM in Culver City– press release below. The show is based on a personal experience that I had last summer.  Also, here’s the press release.  Hope to see you there!  In Art, Kimberly

kb-canondr.jpg

Kimberly Brooks: TECHNICOLOR SUMMER
May 10th – June 14th, 2008
Opening Reception: Saturday May 10th, 2008, 6-9pm

Taylor De Cordoba is pleased to present Technicolor Summer, a solo exhibition by Los Angeles-based artist Kimberly Brooks. The exhibition will run from May 10 – June 14. The gallery will host an opening reception for the artist on Saturday May 10th from 6pm-9pm. This is the artist’s second solo show with the gallery.

In her new series of oil paintings, Brooks explores the relationship between human and nature. Using the sweeping California landscape as a backdrop, from the forests of Yosemite to the bewildering expanse of the Pacific Ocean, she introduces characters that are unified by the mutual awe for their surroundings. Based on her personal experience, Brooks focuses on a family grappling with illness, where the prospect of death renders every moment vivid, and each meal and sunset matters. The scenes are from a summer experienced in high definition; where every leaf on a tree becomes visible simultaneously, and life is lived in Technicolor.

Kimberly Brooks work has been featured in numerous juried exhibitions including curators from Whitney Museum of American Art, MOMA, California Institute of the Arts. Brooks maintains her studio in Venice, CA.

Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open Tuesday thru Saturday, 11am-5:30pm. For additional information, contact Heather Taylor at heather@taylordecordoba.com or (310) 559-9156.

Technicolor Summer Solo Show, Los Angeles


presents

K I M B E R L Y   B R O O K S
“Technicolor Summer”

May 10th – June 14th, 2008
Opening Reception: Saturday May 10th, 2008, 6-9pm


Taylor De Cordoba is pleased to present Technicolor Summer, a solo exhibition by Los Angeles-based artist Kimberly Brooks. The exhibition will run from May 10 – June 14. The gallery will host an opening reception for the artist on Saturday May 10th from 6pm-9pm. This is the artist’s second solo show with the gallery.

In her new series of oil paintings, Brooks explores the relationship between human and nature. Using the sweeping California landscape as a backdrop, from the forests of Yosemite to the bewildering expanse of the Pacific Ocean, she introduces characters that are unified by the mutual awe for their surroundings. Based on her personal experience, Brooks focuses on a family grappling with illness, where the prospect of death renders every moment vivid, and each meal and sunset matters. The scenes are from a summer experienced in high definition; where every leaf on a tree becomes visible simultaneously, and life is lived in Technicolor.

Taylor De Cordoba is located at 2660 S La Cienega Blvd in Los Angeles, CA and is open Tuesday thru Saturday, 11am-5:30pm. For additional information, contact Heather Taylor at heather@taylordecordoba.com or (310) 559-9156.

Preparing for Mom’s Friends

Liz Goldwyn was kind enough to pose for me in authentic 70s clothing from The Way We Wore on La Brea. (Not only is she luminous but also author of the magnificent book, Pretty Things)lizgoldwyn.jpg

I’m gathering old magazines from the 70s

farrah.jpg

collecting textiles and hanging them all over the studio
pattern1.jpg

looking at 70s fashion on ebay…

70sebay2.jpg

raiding all the old family photo albums

goldengatepark.jpg

kbchild1.jpg

(the artist at eight!)
It means making gouaches to work out palettes and compositions for the oil paintings.

gouaches.jpg

Leah Lehmbeck: Mom’s Friends

hotfaucetkimberlybrooks.jpg

The F-Word (“Feminism”) in Art by Leah Lehmbeck
On New Paintings by Kimberly Brooks

With Nancy Pelosi having taken her historic position at the rostrum and Hillary Clinton hitting the presidential campaign trail, we have undoubtedly entered a new era of feminism. The F-word is once again being bandied about, as is that perennial question, “Can we have it all?” And it is thus no surprise to find that in her latest series, “Mom’s Friends,” the artist Kimberly Brooks adds a new voice to the debate. In making her starting point her childhood in Marin County in the 1970s, Brooks concentrates on women who are, according to her, “endlessly fascinating and mysterious . . . particularly because they were in such a state of transition.” While Brooks explores the theme of womanhood through the imagery of female liberation some thirty years ago, she is also able to investigate to the complex relationship between reality, memory and representation.

The “woman question” has been continually up for discussion since the inception of modern feminism in the late 1960s. As universal as this topic is Brooks was specifically inspired by her role as the mother of a young daughter, saying in her artist statement: “Now that I am a mother with a daughter of my own, I see the way she studies me and my friends, how she imitates the way I walk and talk or wants to traipse in my heels”. Recalling how she used to do the same, Brooks turned to her own mother for inspiration, using photographs from the 1970s of her mother and her mother’s friends (actual, and recreated with friends in vintage clothing) as the basis for her work. By presenting women who migrated to California from the Midwest and East Coast and consequently “melted their inhibitions, heated up their styles and . . . shed previous notions of themselves,” Brooks’s paintings fix us at a significant time and place vis-à-vis the role of women. Indeed, beginning in the 1970s many of the women of that generation sought, for the first time, to forge their identities apart from their husbands and families. And it is this feature–their newfound autonomy–that Brooks presents, and inevitably positions, against the current state of feminism in her work.

Read whole review >

Scope Fair New York

scope.jpg
Taylor de Cordoba is pleased to be presenting new work by Kimberly Brooks at the Scope art fair in New York City next week. We hope you will come visit us at Booth 45.

SCOPE NEW YORK

The Scope Pavilion
Lincoln Center
Damrosch Park,
Corner of 62 Street and 10th Avenue
Upcoming Solo Exhibition “Mom’s Friends”
March 3 – April 7, 2007
Taylor De Cordoba Gallery

Mom’s Friends

momsfriends.jpg

When I was a young girl, I remember my mother and her friends, their clothes, their dinner parties and their laughter, as a distinctly as a perfume.

 

redhat.jpg
These women were not fifties housewives who stayed home and marvelled at the new technology of the dishwasher.

 

geodesicdomemillvalley.jpg
This was Marin County in the 1970s, when love songs oozed from the radio, a geodesic dome spung from the lawn in our backyard and my mother put rhinestones on everything.

Now that I am a mother with a daughter of my own, I see the way she studies me and my friends, how she imitates the way I walk and talk or wants to traipse in my heels. While the imagery of women I paint in this series is unique to this time and place, the group itself is universal. In this series, investigate young mothers as a powerful subtribe around which everything evolves.

Whitney Curator selects LA Artist Kimberly Brooks for NY Group Exhibition

Whitney Curator selects LA Artist Kimberly Brooks for NY Exhibition
“Remote Viewing: Invented Worlds in Recent Painting and Drawing”
24th Juried Annual Exhibition at Pleiades Gallery in Chelsea, New York,
June 29th-July 27th, 2006

Los Angeles – Two paintings by LA artist Kimberly Brooks were selected this week by the curator of the Whitney Museum of Modern Art, Elisabeth Sussman, for inclusion in the 24th Annual Juried Exhibition at the Pleiades Gallery in New York City. Twenty artists were selected from sixteen hundred submissions in an international outreach.

groupshowwhitneykb.jpg

The Whole Story, Solo Exhibition

wholestory_kimberlybrooks.jpg

In my series of paintings, “The Whole Story”, I investigate the roles of woman as artists and subjects of the. I appropriate erotic imagery of women in the early twentieth century to target a historical moment when the artist-model relationship was surrounded with sexual myths and Bohemian fantasies. I reverses roles and offer another way of viewing the female body, other than the assumption that such images are directed only to a male spectator. This includes recreating poses using myself and contemporary women as models. Fragmentation reflects the historical glorification of women’s body parts into elected zones of pleasure, while simultaneously interrupting the fluid trajectory of the male gaze. By assuming the role of the artist (and model) and recontextualizing these images, I place women as spectator, resituating control over the female image within a feminist representation.

I strive to advance the process; to explore the way viewing itself reinstates female power, becoming objects of her own vision. When even today there exists cultures who cover their women from head to toe, and others where flaunting is a right, notions of voyeurism, objectification and empowerment become even more relevant.

Group Show in Chelsea, Curator Jordan Cantor MOMA

I thought i’d give you some snapshots of the trip to NY this past week. Arrived with my dear friend Karen at the 60 thompson hotel in SoHo…
0160thompsonny.jpg
We ordered martinis on the rooftop when thunder clouds started forming. We machinated about how much we could squeeze into the next 48 hours.
02balthazar.jpg
We walked up the street in the rain and had a late dinner at Balthazar.
All I could think about was the exhibition the next night.

The next day we went gallery hopping in Chelsea. My favorite exhibit was Jenny Seville at the Gagosian, Michael Steinberg Gallery and Remy Toledo. There were some surprises at the smaller galleries with excellent paintings. But the mood was very much photography and video installations over all.

* * * The Exhibition * * *

Opted for the assasin/vixen look to ward off evil.

03shoe.jpg


Wore killer assymetrical As4 dress with single spiral zipper that starts at my shoulder and goes all the way around my waste below my knees;
smokey eyes/pale lipstick…

04smokeyeyes.jpg

Since there were twenty artists with their friends and families, it couldn’t help but to resemble the joint (x20) bar mitzvah celebration of an overly ambitious temple. There were a lot of parents and friends of the winners so it was heavily packed with people who, perhaps, don’t often attend art shows. During the curator’s lecture, one lady in the back, in a strong brooklyn accent, asked, “I thought this was a juried show so where are the eleven members of the jury?” Hilarious. It was very cool to be selected as the curator, Jordan Kantor of MOMA, chose only 20 works of 1800 submissions. The work ranged from a megaphone sliced in half with marcaroni alphabet pasta — spray painted in black across the floor, 

megaspill.jpg
to a beaded maniquin’s head,

06beadhead.jpg
to four stacks of black construction paper two feet high with blue paint streaked on the top…and the rest photographs and paintings. Jordan gave a talk during which he singled mine out as masterfully executed and being a “a modern riff on a 30s style”. He placed my painting next to a photograph of a rapper in the same position “all arms and lips” he said. Here’s the piece again below:
momsfriendkimberlybrooks.jpg
After three hours in those shoes, we went to the Chelsea Hotel for tapas and cocktails for an “After Party”. Then we had a great sushi dinner but i’ll spare you a picture of raw fish.

08chelseahotel.jpg

Now back home and into the studio~09studio.jpg

MOMA Curator Selects Brooks for Group Exhibition

FOR IMMEDIATE RELEASE
May 31, 2005

MOMA Curator selects LA Artist Kimberly Brooks for NY Exhibition
23th Juried Annual Exhibition at Pleiades Gallery in Chelsea, New York,
June 29th-July 27th, 2005

Los Angeles – A painting by Los Angeles-based artist Kimberly Brooks was selected this week by the curator of the Museum of Modern Art, New York, Jordan Kantor, for inclusion in the 23th Annual Juried Exhibition at the Pleiades Gallery in New York City. Forty Artists were selected from sixteen hundred submissions in an international outreach.

The recognition of Brooks’ artwork comes while she prepares for her first solo exhibition, ‘The Whole Story’  The show will be at the Risk Press Gallery, an alternative space for emerging artists on Melrose Avenue in Los Angeles.

The show’s focus on viewing is strongly connected to the themes in my recent exploration and modern recontexutalization of women figures’ says Brooks from the Venice, California studio where she works.

The Paintings

Brooks’ pieces for this exhibition are “Enid” and “Bluenote”, both paintings of women using oil on linen and a cool palette, but with strikingly different brush strokes and moods. In ‘Enid’, the eyes peer above the canvas and out of sight, beyond the viewer, prideful and uninhibited. The strokes are loose and free. While in ‘Bluenot’, the nude curls inward, the flesh and hair is polished, while her porcelain pallor evokes both a shiny stillness and study in contrast.

About the Artist

Kimberly Brooks works in oil painting and mixed media. Her work has been featured in numerous juried exhibitions whose jurors include Jordan Kantor of MOMA, Joan Hugo of the California Institute of the Arts and Chris Burden. Brooks earned a Bachelor of Arts degree from UC Berkeley and studied painting at Otis Art Institute and UCLA with artists Franklyn Leigel and Liat Yossifer, respectively.

CONTACT: To speak with Kimberly Brooks, for more information contact Heather Taylor at 310.559.9156 at Taylor De Cordoba.

groupshowwhitneykb.jpg