Amanda Stark Curriculum Vitae (Download)
Freya Grand Curriculum Vitae
SELECTED SOLO EXHIBITIONS
2010 Judy Saslow Gallery, Chicago, IL
Gallery Neptune, Bethesda, MD
GRACE, Reston, VA
2007 Gallery 211, Baltimore, MD
2005 The Arts Club of Washington, Washington, DC
2003 Gallery K, Washington, DC
2002 Rockville Arts Place, Rockville, MD
2001 Pass Gallery, Washington, DC
2000 Boathouse Gallery, Provincetown, MA
1996 Union Station, Washington, DC
1995 Studio Design Gallery, Washington, DC
1993 Washington Design Collaborative, Washington, DC
1987 Foundry Gallery, Washington, DC
Kalamazoo Institute of Arts, Kalamazoo, MI
Wisconsin Academy of Arts, Madison, WI
1986 Bergstrom-Mahler Museum of Art, Neenah, WI
1984 Elvehjem Museum of Art, Madison, WI
University of Minnesota Art Museum, Minneapolis, MN
SELECTED GROUP EXHIBITIONS
2010 Art Chicago (with Judy Saslow Gallery)
2009 GRACE, Reston, VA. 35th Anniversary Juried Exhibition.
Award for Cotopaxi and Connemara. Dale Lanzone, juror.
Aaron Gallery, Washington, DC; “Miniatures”
2008 Arts Club of Washington. Imagining Ireland: Sky, Land, Sea
Sponsored by the Embassy of Ireland. With two Irish artists,
John Kirwan and Eugene Conway.
2007 Touchstone Gallery, Washington, DC. Honorable Mention
Jack Rasmussen, juror.
2006 Arlington Arts Center, Arlington, VA
2005 Fraser Gallery, Washington, DC
Kentucky Museum of Art, Louisville, KY
Gallery International, Baltimore, MD
2004 WPA/Corcoran, Washington DC
2003 Gallery K, Washington, DC
Glen Allen Cultural Arts Center, Richmond, VA
2002 Eleven Eleven Sculpture Space, Washington, D.C.
Boathouse Gallery, Provincetown, MA
Gallery K, Washington, DC
WPA/Corcoran, Washington, DC
2001 Gallery K, Washington, DC
2000 Gallery K, Washington, DC
2000 Boathouse Gallery, Provincetown, MA
1996 McLean Project for the Arts, McLean ,VA
1995 Studio Design Gallery, Washington, DC
Reynolds Gallery, Richmond VA
1994 Studio Design Gallery, Washington, DC
1992 Greater Reston Art Center, Reston, VA
1991 Arlington Art Center, Arlington, VA
1988 Deen Gallery, Tyler, TX
1987 Coconut Grove Arts Festival (Virginia Miller Gallery), Coconut Grove, FL
1985 Perimeter Gallery, Chicago, IL
Valperine Gallery, Madison, WI
Miami-Dade Community College Gallery, Miami, FL
Dorothy Bradley Gallery, Milwaukee, WI
Seuferer/Chosy Gallery, Madison, WI
1984 Perimeter Gallery, Chicago, IL
Virginia Miller Gallery, Coral Gables, FL
Harry Nohr Gallery, University of Wisconsin, Platteville, WI
1983 Edna Carlsten Gallery, Stevens Point, WI
University of Wisconsin Memorial Union Gallery, Madison, WI
1982 Madison Art Center, Madison, WI
1981 Northwestern University Gallery, Evanston, IL
Contemporary Art Workshop, Chicago, IL
University of Wisconsin Memorial Union Gallery, Madison, WI
SELECTED COMMISSIONED WORK
District of Columbia Arts Commission, mural panel Eastern Market 2007
Tandoori Nights Restaurant, five wall murals 2005
US Trust Co., New York, NY: painted panels, oil on wood. 2001
BBGM Architects, Gaithersburg, MD: three wall murals. 2001
Charles E. Smith Co., Arlington, VA: two 20' wall murals. 1998
Charles E. Smith Co., Arlington, VA: 36' corner mural. 1998
Charles E. Smith Co., Arlington, VA:50' wall mural. 1996
Private client, Washington, DC: 10' wall mural. 1995
Private clients, Washington, DC: 15' wall mural. 1994
Charles E. Smith Co., Arlington, VA: 10' wall mural. 1994
San Antonio Bar and Grill, Arlington, VA: 35' wall mural. 1993
Private collector, Washington, DC: three ceiling murals. 1992
Central Bar and Grille, Bryn Mawr, PA: 40' wall mural. 1990
EDUCATION
Haystack Mountain School, Deer Isle, Maine. 1967
Toshi Yoshida - Traditional Japanese wood block printing technique
Bob Arneson - Ceramics
B.S. Fine Art, University of Wisconsin, Madison, WI. 1969
Advanced Graphics Workshop, Madison, WI . 1972-75
Advanced Oil Painting, University of Wisconsin Madison, WI. 1975-77
Professional Open Workshop in Intaglio, Madison, WI 1975-78
ARTICLES AND REVIEWS
Claudia Rousseau, DC Art News, November, 2010. “Some Further Considerations on the Art of Freya Grand.”
Jackie Cantwell, The Pinkline Project , October 19, 2010, “Freya Your Mind”
Robin Lundgren, Reston Patch , October 2, 2010, “JOURNEY Through an Artist’s Landscapes”
Carrie McGrath, Chicago Art Magazine, April 29, 2010, “Freya Grand and Carol Gove at Judy Saslow Gallery”.
Jordan Edwards, The Gazette, March 24, 2010, “Dream World: Painter Puts Surreal Spin on Landscapes.”
Studio Visit Magazine 2007, 2008
Heart of DC: The John A. Wilson Building City Hall Art Collection 2006
American Art Collector 2006
Steven L. Jones, The Style Weekly (Richmond, VA), August 13, 2003. “Dreams or Nightmares?”
Eve Zibart,, Washington Post Weekend, December 6, 2002.
Tom Head, Washingtonian Magazine, March 2002.
Frank Ahrens, Washington Post Style, June 1, 1997.
Carolyn McCulley , Crystal City Magazine, Winter 1997.
Barbara, Matusow, Washingtonian Magazine, Sept., 1994. Studio Design Gallery.
Interior Design Magazine, Jan., 1992. The best hotel and restaurant designs of the year (Central Bar and Grill, Bryn Mawr, PA).
Alice Thorson, "Tantalizing Allusions and Illusions." The Washington Times,
Feb. 12, 1987.
"Freya Grand: Rooms and Walls." Preview. The Bergstrom-Mahler Museum.
Sept.-Oct., 1986
"Freya Grand, Recent Works." Bulletin of the Elvehjem Museum of Art.
March-April, 1984
Artist Statement: Freya Grand, JOURNEY
Painting landscape begins as an internal process. Just as in abstraction, forms transmit a mysterious secret life, exert a presence.
My journeys provide the raw material from which my ideas gather; it is the research that underlies the work. Each place has its particular power, its particular story, and requires time and immersion to find and to feel.
The (often) gritty and somewhat arduous seeking of places and vistas that are far away and hard to reach provides the spark that sets off a chain of reactions and associations. It begins my process of aligning shapes and forms and colors, much like creating characters in a play, bringing them onto the stage and giving them lines to speak.
We sense the primal nature of rock, the obduracy of a mountain. We feel the echoes of eons of time in the obscuring veil of fog. We are terrified by starkness and immensity. As humans we are full of both darkness and hope and the landscape reflects all of that. The drive to give physical form to these experiences and to be able to share them is what motivates my work.
Our memory of a place is altered by what was felt. There are mysteries behind the surface of what we take for reality, and there are moments when we catch a glimpse of them.
There is much more out there than just geography and weather.
Artist Statement: Amanda Stark
Humans are curious beings, intrigued by the unexplained. This curiosity leads to the areas we call science, and the scientific equipment required to satisfy our inquisitiveness. Ideas for my work are formulated while examining both obsolete and unusable scientific equipment. The origins of examined instruments can encompass the many divisions of science; the forerunner for me being Astronomy. Many ideas for my work have Astronomy as the content because of the historical and metaphorical facets that exist around it. These facts and views lead to absorbing mnemonic details within each piece, many times leading the viewer to conclude a conceivable function.
Using Astronomy as a foundation for my research allows me the opportunity to diversify the origins of the subject for my work. Relationships are created between Astronomy and subdivisions in both Earth Sciences and Physics; with these then morphing into Chemistry and Biology. The discoveries in every area, in both equipment evolution and historical developments, has provided innumerable topics for my artwork.
Since the subject of my artwork is a conceived utilitarian function, and the focus scientific, my material consideration is of the utmost importance. Metal’s ability to be used in a mechanical fashion places it as my primary material. Glass’ association with the disciplines of science make it an essential secondary material affording me the opportunity of creating enclosed spaces that tantalize the viewer with a display of the contents. In addition the alteration of light through glass with the use of lenses assists in the articulation of details.
Although each piece is created with what appears to be some function in mind, the functionality is more of an evoked quality formed by our era’s sensibilities of technological shapes and uses then a technological reality. The viewer is allowed the opportunity to create his or her own interpretation of the possible functionality of each piece. In addition, a metaphorical dimension exists between the actual objects and their possible interpretations like the contents of a Wunderkammer. Each piece’s unique and mysterious characteristics giving the feeling of endless conclusions. Some work takes on the guise of navigational instruments, this in turn creates metaphors for the viewer that relate to exploration, wonder, and mystery- and, of course, possibility.
Seraphin Gallery l Contemporary Philadelphia Art Gallery and Art Consultant
1108 Pine St. l 215-923-7000 l seraphin@seraphingallery.com