This show, in particular, came out well because of...

2009-11-29T20:26:23.794-05:00

This show, in particular, came out well because of the different spaces we had, or had to work. I think Nancy said that there were over 50 pieces in, and still there was ample enough room for each work to speak. And speak I think the whole exhibition did, though getting there was much like how an individual work sometimes gets forged at stages, with a pitch fork and siren.
The serene, the charge, the bright and the active were the result of, well, 9 artists jostling with the assistant curator who almost had a heart attack, at 23.
And then it all was done, in a fraction of the time allotted. And Jarrett (he being the assisting curator) was pardoned, and will live to enjoy his 24th.

Some interesting notes*

Leonhard Hurzlmeier walked around exploring some of the more unusual places in which to install his art. He did this in general quietness, while others, including me, with things in hands, would walk past and pause… say, ‘That works, Leo!’

Nancy White's quiet but authoritative tiny painted sculptures had to have presence.
Nancy always thinks of herself last. But this time these pieces went up first. Subtle urges of color plane play between flat and relief. Depending on where you stand you would swear it was the other way. She has been busy ever since with inquires.
In an interview with Mel Prest earlier this year she talked about mistakes being accentuated, borrowing this from the Japanese tradition of repairing broken ceramics with gold. Mel writes, “The feeling is that a repaired tea bowl becomes more beautiful with its imperfection." Two of these paintings were on the second floor. The first time I could see them.

Kasarian Dane came down from upstate NY later. His pieces were the last to get the clear. Downstairs a large painting opened the room and breathed. He had to paint it again, because the bolts came off in the travel. Upstairs the quiet of the smaller pieces could have worked, though had to work with other pieces with not so much space to spare. The solution was to go with full impact, triple up, and hang them tight. And it worked. Two flew off to new owners on the opening night.

Robin McDonnell, Nancy White, and Mel Prest did much of, or all, the organizing for this show. And there was a lot of background things that had to have constant attention. Grants covered a few. These three girls worked with other members who worked with other agencies/schools to eventually cobble together enough to allow all 9 artists to come out and attend. That was great work!
It was a great surprise, too, to meet Stephen Beal, president of California College of the Arts (CCA). Stephen moderated the panel discussion in such an intuitive and sensitive way that I almost just wanted to listen, to watch how he was able to pull different threads into comparison, or access them.

And the show was reviewed, which you have posted here.
Sharon, thank you!

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This show, in particular, came out well because of...