Jay Bolotin's Exhibition at the University of Richmond Museums Posted on Art Daily

University of Richmond Museums opens 'Jay Bolotin: The Book of Only Enoch'
Jay Bolotin (American, born 1949), V. His Increasingly Wild Way, from the portfolio The Book of Only Enoch, 2015, woodcut and relief etching on Arches cover paper, 21 3/4 x 30 inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, funds from the Louis S. Booth Arts Fund, H2015.06.06 © Jay Bolotin, photograph by Tony Walsh. Share on emailShare on facebookShare on mailtoShare on printShare on tumblrMore Sharing Services4
RICHMOND, VA.- Jay Bolotin: The Book of Only Enoch is on view in the Harnett Museum of Art, October 14, 2015, through January 24, 2016. The art of Jay Bolotin (American, born 1949) crosses many disciplines, including visual art, theatre, film, literature, and music, but his true métier is storytelling. The University Museums presented a one-person exhibition Jay Bolotin: The Jackleg Testament Continues two years ago in the Harnett Museum of Art. One gallery of the exhibition was devoted to a work in progress, a preview of The Book of Only Enoch. Included were working proofs from the portfolio, process drawings for the animation, Kharmen, his prologue operatic animation, and the artist drew directly on the walls of the gallery, covering the walls by drawing images and writing lengthy passages of text. The installation was a preamble, and now the series of twenty prints is finished and this exhibition presents the complete portfolio The Book of Only Enoch. This is the latest episode in the artist’s ongoing Jackleg Testament, a multi-volume saga that is as all-encompassing for the viewer and reader as for the artist. In his new portfolio, Bolotin draws us into Only Enoch’s universe through text and imagery that engulfs our senses and imagination. Raised on a farm in rural Kentucky, Bolotin’s childhood was filled with storytelling and music, both of which influenced his artwork. He studied art at the Rhode Island School of Design and served as an apprentice to sculptor Robert Lamb. In the early 1970s, he pursued his interest in music, working as a songwriter with Kris Kristofferson, Merle Haggard, and Dan Fogleberg. The personal and narrative quality in Bolotin’s work as a musician is paralleled in his visual art. The viewer encounters characters embroiled in psychologically intricate dramas, and these characters appear – and reappear – in multiple pieces, created in a variety of media. This interdisciplinary approach to his art has provided the foundation for Bolotin’s multilayered, performance-based works that include plays, operas, films, and a music-theater-dance collaboration. In his art, he inter-weaves his Judeo-Christian creation stories and personal mythologies to better understand and to comment on the human condition. The story of Only Enoch is inspired by books of the Old Testament which are not included in the accepted version of the text. Enoch is a man “who went to Heaven and lived to tell the tale.” Bolotin renames this character “Only Enoch” who is the son of the only Jewish coal miner in Kentucky. In her essay for the exhibition catalogue, Dr. Kathleen Roberts Skerrett, Dean, School of Arts and Sciences, University of Richmond, states, “Bolotin’s work traces imagined stories that unfold in real time, contracting and expanding, like a jack-in-a-box. In Bolotin’s vision, imagination and reality are equally balanced, so that an impromptu gesture, however whimsical, is designed to stand up to the actual course of things.” Organized by the University of Richmond Museums, the exhibition was curated by Richard Waller, Executive Director, University Museums, in collaboration with the artist.

News from The John Coplans Trust

Museum of Contemporary Art San Diego Acquires John Coplans Frieze “Frieze, No. 2, Four Panels,” 1994, gelatin silver prints, 24 1/2 x 31 in., overall: 77 x 132 in. Courtesy of Joseph Bellows Gallery. © The John Coplans Trust.   A team of me, that is several of me, are exercising and rehearsing for some ancient game, say for example the Olympics, by building up our physique. This action can be taken for any period of time you wish, ancient or recent ... I’m photographing myself doing whatever athletes do to get into condition. —John Coplans, 2001 “Frieze, No. 2, Four Panels,” 1994, has been acquired by the Museum of Contemporary Art San Diego, courtesy of Joseph Bellows Gallery. The large scale frieze, measuring 77” x 132”, currently hangs in the foyer of MCASD (above). The frieze is part of an original 15-panel work from 1994 entitled "Self-Portrait, Frieze." It was exhibited at John Coplans' major PS1 MoMA retrospective in 1997 and is also held in the Tate Modern's permanent collection in London. Exhibiting works from 1950 to the present, the Museum of Contemporary Art San Diego is noted for its unique permanent collection, including many important California artists with whom Coplans worked with as a writer and senior curator at the Pasadena Art Museum. The MCASD collection holds works by esteemed Light, Space, and Surface artists who emerged from Venice Beach in the 1960’s and 1970’s whom Coplans exhibited: Craig Kauffman, James Turrell, John McCracken, Larry Bell, Robert Irwin, Bruce Nauman, and De Wain Valentine. Iconic artists Ellsworth Kelly and Andy Warhol are also included in MCASD’s permanent collection, whose works were also advocated through the curatorial and writing work of John Coplans. It is a fitting honor for the work of John Coplans to be included amongst the collection of artists who he championed as a museum director, curator, and art writer. The John Coplans Trust would like to thank Joseph Bellows Gallery for its important role in the acquisition. Copyright © 2015 The John Coplans Trust, All rights reserved. You are receiving this email because I thought you would be interested. Our mailing address is: The John Coplans Trust 5 Hanna Lane #5 Beacon, NY 12508 Add us to your address book   Connect with the John Coplans Trust on Facebook. Want to change how you receive these emails? You can update your preferences or unsubscribe from this list

Carl Solway Gallery's Fall Exhibitions Featured in Art Daily

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Three solo exhibitions of artwork open at Carl Solway Gallery Rachel Rampleman, Busby Berkeley 2.0, 2014. Projected video. Share on emailShare on mailtoShare on facebookShare on printShare on tumblrMore Sharing Services5    CINCINNATI, OH.- For the fall season, Carl Solway Gallery presents three solo exhibitions of artwork incorporating light, motion, video projection and various forms of technology. Erwin Redl’s exhibition, featuring work from 2010-2015, includes an installation composed of digitally controlled LED light sculptures, kinetic sculpture, drawings and prints. Pascal Dufaux builds kinetic sculptures incorporating video cameras, ceramic, metal and glass that he refers to as Alien Forms. Rachel Rampleman’s exhibition consists of two experimental projected videos: Busby Berkeley 2.0, from 2014 and Water/Light Study, from 2015 and another looped video on a traditional monitor. ERWIN REDL Erwin Redl, an Austrian-born artist based in Bowling Green, Ohio and New York City, is best known for large-scale light installations for art museums, public buildings and corporations. His work transforms the medium of light into immersive, tangible experiences for viewers. His architectural environments translate complex mathematical algorithms and other methods inspired by computer code into contemplative, minimalist spaces further activated by his use of motion and rhythmic sequencing. His exhibition at Carl Solway Gallery includes work in various media from the last five years. The light installation, Benchmark, composed of grids of LEDs, continuously changes density and color. Three new light sculptures titled Dial white-red, white-blue, a new edition published by Carl Solway Gallery, are being shown for the first time. The kinetic sculpture, Ascension (line 24), features glass tubes, LEDs and ping pong balls, creating a humorous sound and light event. Redl also produces two-dimensional work and the exhibition includes a suite of drawings and several prints from the series CNC Palimpsest. These prints are made by inking the horizontal bed of the CNC Router machine that the artist uses to fabricate much of his sculpture. Redl treats this machine bed much like a printmaker treats a lithographic stone or etching plate. The resulting prints trace the schematic evidence left behind by the machine’s milling path. Cincinnati viewers were introduced to Redl’s work In the Spring of 2015, when he developed the installation Cincinnati Swing for the Contemporary Arts Center. Composed of hundreds of swinging LED lamps, the installation covers the entire “urban carpet” of the Zaha Hadid building, from the lobby up to the sixth floor. His work is internationally exhibited and permanently installed in locations in San Francisco, New York City, West Hollywood, Seattle, St. Louis, Toronto and Istanbul, among others. His installation Matrix VI lit the face of the Whitney Museum of American Art during the Whitney Biennial 2002. Public collections include the Museum of Contemporary Art, San Diego; Milwaukee Art Museum; and Whitney Museum of American Art, New York. Erwin Redl was born in 1963 in Gföhl, Austria. He studied composition and electronic music at the Music Academy in Vienna. In 1993, he moved to the United States and in 1995 he earned an M.F.A. in Computer Art from the School of the Visual Arts in New York City. PASCAL DUFAUX Pascal Dufaux builds what he refers to as “Vision Machines”, rotating kinetic sculptures incorporating video cameras and projections. Their roving “eyes” record the world around them in real time and then project the imagery onto the surrounding walls. The exhibition includes Vision Machine #5: Probe, three pieces from the series Vanities and a group of small works titled Alien Forms. Vanities consist of video surveillance cameras enclosed in biomorphic sculptural forms. Glass and crystal chandelier parts hang in front of each camera lens. The point of view of the camera is then displayed on a mini flat screen. Mixed-media, small-scale sculptures comprise the series Alien Forms. They are displayed on a shelving unit, forming a cabinet of curiosities. Dufaux was born in France and resides in Montreal, Quebec, Canada. He studied set design and the visual arts. His work has been presented in venues across Canada, Mexico and Europe including the exhibition Paranoia, which was shown in Creteil, Maubeuge and Lille, France; Instants Video in Marseilles; Mapping Festival in Geneva; and the International Digital Arts Biennial in Montreal. RACHEL RAMPLEMAN Rachel Rampelman primarily works with time-based media and her videos explore subjects as varied as gender, artifice and spectacle. She frequently showcases strong female personalities, such as bodybuilders and women in hair metal tribute bands, who challenge common notions of femininity. From a series of videos titled Burlesques/Showgirl Studies, Busby Berkeley 2.0 transforms and abstracts the bird’s-eye views from an example of Busby Berkeley’s cinematic choreography. Water/Light Study focuses on the more reflective and contemplative side of her work. Many of her pieces exhibit a hypnotic quality characterized by repetitive motion and symmetrical patterning, such as with Bellmer Burlesque. This spring, CEPA (The Center for Exploratory and Perceptual Art) in Buffalo, New York presented a major survey of Rampleman’s work titled Baby’s on Fire. Her work has been shown and screened in numerous New York locations including the Brooklyn Academy of Music, Socrates Sculpture Park, the Governor’s Island Art Fair and The Samuel Dorsky Museum of Art. Internationally, her work has been shown at the Shanghai Biennale (Brooklyn Pavilion); JAM in Bangkok, Thailand; throughout Europe at Art Cinema OFFoff; and the Secret Cabinet in Berlin. She is a native Cincinnatian who holds a B.F.A. from the University of Cincinnati, College of Design, Architecture, Art and Planning and received an M.F.A from New York University. She currently lives and works in Brooklyn and Esopus, New York. In addition to her artwork, Rampleman is engaged in curatorlal projects in alternative spaces in the New York area.

Carl Solway Gallery's Fall Exhibitions Open this Friday, October 9

Erwin Redl Pascal Dufaux: Vision Machines Rachel Rampleman Opening reception this Friday, October 9 ERWIN REDL PASCAL DUFAUX: Vision Machines RACHEL RAMPLEMAN   October 9 – December 23, 2015 Opening reception Friday, October 9, 5:00 – 8:00 pm Erwin Redl and Rachel Rampleman in attendance   For the fall season, Carl Solway Gallery presents three solo exhibitions of artwork incorporating light, motion, video projection and various forms of technology.  Erwin Redl’s exhibition, featuring work from 2010-2015, will include an installation composed of digitally controlled LED light sculptures, kinetic sculpture, drawings and prints.  Rachel Rampleman’s exhibition will consist of two experimental projected videos: Busby Berkeley 2.0, from 2014 and Water/Light Study, from 2015 and another looped video on a traditional monitor.  Pascal Dufaux builds kinetic sculptures incorporating video cameras, ceramic, metal and glass that he refers to as Alien Forms. ERWIN REDL Erwin Redl, an Austrian-born artist based in Bowling Green, Ohio and New York City, is best known for large-scale light installations for art museums, public buildings and corporations. His work transforms the medium of light into immersive, tangible experiences for viewers.  His architectural environments translate complex mathematical algorithms and other methods inspired by computer code into contemplative, minimalist spaces further activated by his use of motion and rhythmic sequencing.  His exhibition at Carl Solway Gallery will include work in various media from the last five years.  The light installation, Benchmark, composed of grids of LEDs, continuously changes density and color.  Three new light sculptures titled Dial white-red, white-blue, a new edition published by Carl Solway Gallery, will be shown for the first time.  The kinetic sculpture, Ascension (line 24), features glass tubes, LEDs and ping pong balls, creating a humorous sound and light event.  Redl also produces two-dimensional work and the exhibition will include a suite of drawings and several prints from the series CNC Palimpsest.  These prints are made by inking the horizontal bed of the CNC Router machine that the artist uses to fabricate much of his sculpture.  Redl treats this machine bed much like a printmaker treats a lithographic stone or etching plate.  The resulting prints trace the schematic evidence left behind by the machine’s milling path. Cincinnati viewers were introduced to Redl’s work In the Spring of 2015, when he developed the installation Cincinnati Swing for the Contemporary Arts Center.  Composed of hundreds of swinging LED lamps, the installation covers the entire “urban carpet” of the Zaha Hadid building, from the lobby up to the sixth floor.  His work is internationally exhibited and permanently installed in locations in San Francisco, New York City, West Hollywood, Seattle, St. Louis, Toronto and Istanbul, among others.  His installationMatrix VI lit the face of the Whitney Museum of American Art during the Whitney Biennial 2002.  Public collections include the Museum of Contemporary Art, San Diego; Milwaukee Art Museum; and Whitney Museum of American Art, New York. Erwin Redl was born in 1963 in Gföhl, Austria.  He studied composition and electronic music at the Music Academy in Vienna.  In 1993, he moved to the United States and in 1995 he earned an M.F.A. in Computer Art from the School of the Visual Arts in New York City. PASCAL DUFAUX Pascal Dufaux builds what he refers to as “Vision Machines”, rotating kinetic sculptures incorporating video cameras and projections.  Their roving “eyes” record the world around them in real time and then project the imagery onto the surrounding walls.   The exhibition will include Vision Machine #5: Probe,three pieces from the series Vanities and a group of small works titled Alien Forms.  Vanities consist of video surveillance cameras enclosed in biomorphic sculptural forms.  Glass and crystal chandelier parts hang in front of each camera lens.  The point of view of the camera is then displayed on a mini flat screen.  Mixed-media, small-scale sculptures comprise the series Alien Forms.  They are displayed on a shelving unit, forming a cabinet of curiosities. Dufaux was born in France and resides in Montreal, Quebec, Canada.  He studied set design and the visual arts.  His work has been presented in venues across Canada, Mexico and Europe including the exhibition Paranoia, which was shown in Creteil, Maubeuge and Lille, France; Instants Video in Marseilles; Mapping Festival in Geneva; and the International Digital Arts Biennial in Montreal. RACHEL RAMPLEMAN Rachel Rampelman primarily works with time-based media and her videos explore subjects as varied as gender, artifice and spectacle.  She frequently showcases strong female personalities, such as bodybuilders and women in hair metal tribute bands, who challenge common notions of femininity.  From a series of videos titled Burlesques/Showgirl Studies, Busby Berkeley 2.0 transforms and abstracts the bird’s-eye views from an example of Busby Berkeley’s cinematic choreography. Water/Light Study focuses on the more reflective and contemplative side of her work.   Many of her pieces exhibit a hypnotic quality characterized by repetitive motion and symmetrical patterning, such as with Bellmer Burlesque. This spring, CEPA (The Center for Exploratory and Perceptual Art) in Buffalo, New York presented a major survey of Rampleman’s work titled Baby’s on Fire.  Her work has been shown and screened in numerous New York locations including the Brooklyn Academy of Music, Socrates Sculpture Park, the Governor’s Island Art Fair and The Samuel Dorsky Museum of Art.  Internationally, her work has been shown at the Shanghai Biennale (Brooklyn Pavilion); JAM in Bangkok, Thailand; throughout Europe at Art Cinema OFFoff; and the Secret Cabinet in Berlin. She is a native Cincinnatian who holds a B.F.A. from the University of Cincinnati, College of Design, Architecture, Art and Planning and received an M.F.A from New York University.  She currently lives and works in Brooklyn and Esopus, New York.  In addition to her artwork, Rampleman is engaged in curatorlal projects in alternative spaces in the New York area. top to bottom: Erwin Redl, Dial white-red, white-blue, 2015, Light painting: 16 white, 8 red & 8 blueanimated LEDs on white board with stainless steel frame, microprocessor, 58 x 58 x 10 inches, edition of 10 Pascal Dufaux, Vision Machine #5: Probe, 2014, bronze, stainless steel, aluminum, motor & LCD monitor, variable dimensions; photo: Guy L'Heureux, Montreal  Rachel Rampleman, Busby Berkeley 2.0, 2014, one channel video projection Share Tweet Forward Carl Solway Gallery 424 Findlay Street Cincinnati, OH 45214 513.621.0069 Hours: Monday – Friday 9-5 pm Saturday 12-5 pm

A Message from Jay Bolotin About his Upcoming Exhibition at the University of Richmond Art Museum

Dear Friends and Colleagues,   I am excited to have the first complete exhibition of The Book of Only Enoch at the University of Richmond Museum - opening Oct. 14. If you or any of your friends or colleagues might be in Richmond, I hope you can attend.

    Soon, I will send along the announcement of a book they are publishing that I think will be very beautiful which will contain complete illustrations of the prints, a transcription of the text, and essays by Ilan Stavans and Kathleen Skerrett as well as an introduction by Director, Richard Waller.

    Here is a more complete description of the piece and the event:

 http://www.finebooksmagazine.com/press/2015/09/university-of-richmond-museums-opens-jay-bolotin-the-book-of-only-enoch.phtml

    My Best Wishes for the Autumn, Jay Bolotin

Alan Rath, Jim Campbell and Paul DeMarinis To Be Included in Exhibition at the Contemporary Jewish Museum, San Francisco

NEAT: New Experiments in Art and Technology

Oct 15, 2015–Jan 17, 2016

• ABOUT

About

The 1960s program Experiments in Art and Technology (E.A.T.) was a turning point in art’s relationship with science as artists and scientists worked together on new, creative projects. The CJM’s Chief Curator Renny Pritikin with consultation from Paolo Salvagione, curate NEAT: New Experiments in Art and Technology, acknowledging that seminal event and celebrating the Bay Area’s leading role in bringing digital innovation into the fine arts. NEAT features nine Bay Area artists, representing three generations of practitioners. Each artist has been commissioned to make a new piece, or update an older artwork, that demonstrates how digital programming is a central, yet just the latest, tool for artist creativity. 

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Participating Artists

Jim Campbell	Paolo Salvagione
Paul DeMarinis	Micah Elizabeth Scott
Gabriel Dunne with Vishal K Dar	Scott Snibbe
Mary Franck	Camille Utterback
Alan Rath

Jean-Pierre Hebert's Drawings On View in Chicago

Jean-Pierre Hebert's drawings are included in the exhibition ALL.GO.RHYTHM, which opens this evening at the Ukrainian Institute of Modern Art in Chicago.  The exhibition is on view through November 29, 2015.  This is a show of plotter drawings, digital prints, textiles, watercolors, installation and performance works by artists who work with mathematical algorithms.

www.uima-chicago.org
773-227-5522