Posts Tagged ‘Exhibitions’

Zhang Dali, Zhang Dali Chinese Artist, Artist Zhang Dali, Zhang Dali Exhibitions, Zhang Dali Painting’s at Saatchi Gallery, Zhang Dali London Contemp

January 4th, 2010

Zhang Dali was born on 1963 and Born in Harbin, China. Zhang Dali has portrayed 100 immigrant workers in life-size resin sculptures of various postures, with a designated number, the artist’s signature and the work’s title “Chinese Offspring” tattooed onto each of their bodies. They are often hung upside down, indicating the uncertainty of their life and their powerlessness in changing their own fates.

The scrawled profiles of a human head are the work of 18K (aka AK47) – the artist formerly known as Zhang Dali. You wouldn’t notice them in a Western city because the simple drawings would be quickly sprayed over with graffiti done by thousands of other lay abouts, vandals, artists and political groups. 18K was born in Heilongjiang 36 years ago and came to Beijing after middle school to attend the prestigious Central Academy of Art and Design. He majored in traditional Chinese ink-and-brush painting but soon began producing abstract works and experimenting with different materials. In the late 1980s, 18K was the first artist to move to the village near Yuanmingyuan that later became a thriving colony of artists and bohemians until it was closed by Beijing authorities in the early 1990s. In 1988, 18K was one of several artists featured in independent filmmaker Wu Wenguang’s Bumming in Beijing (Liulang Beijin)

In fact, many of 18K’s tags are intentionally placed right next to “chai” characters. Not only is graffiti painted onto walls that will soon be rubble unlikely to stir the police into action, 18K also has artistic reasons for associating his heads with condemned structures: the work is an attempt to engage in a dialogue with Beijing, a city where buildings come down faster than they did in wartime Berlin and London. Like many young people involved in the arts, 18K left Beijing in 1989. He went to Italy where he spent six years living in different cities and working as an artist. On his return to Beijing in 1993 he conceived of his long running graffiti project which he entitles Dialogue because the intention is that the graffiti along with photographs and articles that document and criticize it will together comprise a dialogue about the changing face of Beijing

Selected EXHIBITIONS-

2006

• A Second History curated by Wu Hung, Walsh Gallery, Chicago

2005

• Sublimation curated by Wu Hung, Beijing Commune, China

2004

• Chinese Contemporary Gallery, London

2003

• Galleria Gariboldi, Milan, Italy

2002

• Base Gallery, Tokyo, Japan

Chinese Contemporary Gallery, London

Conclusions:

Zhang Dali has portrayed 100 immigrant workers in life-size resin sculptures of various postures, with a designated number, the artist’s signature and the work’s title “Chinese Offspring” tattooed onto each of their bodies.

What to Do Next. . .

If you want any information about Zhang Huan or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/zhang_dali. htm

Daniel Richter’s Biography and Exhibitions at the Saatchi-gallery

January 1st, 2010

Daniel Richter was born on 1962 in Germany, Currently lives and works in Berlin and Hamburg. in 1991-1995 Hochschule der Bildenden Künste, Hamburg. Daniel Richter’s paintings are elaborate in their deconstruction and recodification of art history. Drawing a wide range of reference from Goya, Munch, Ensor, to Immendorff and Doig, Richter offers a revisionist position for the crisis of painting in the 21st century.

Daniel Richter’s Jawohl und Gomorrah possesses an operatic quality. Borrowing themes from both Christianity and German history, Richter constructs his contemporary scene with theatrical flair: his figures are staged in Baroque composition, their outlandish costumes and mask-like faces lend an element of surreal spectacle. The fervent emotion of grand drama is carried through Richter’s frenetic style of painting: thick brushwork battles with translucent drizzles and impassioned smears; acid tones are electrified against the sombre ground. Reminiscent of Ensor’s nightmarish crowds, Richter infuses this street scene with apocalyptic celebration.

Richter’s work is often read with political motive. Working in the genre of epic historical painting, his images are fraught with a painterly anxiety. His work is infused with an apocalyptic energy, reflective of media induced paranoia. Beneath his highly seductive surfaces lies the portent of instability, violence, alienation and ideological subversion of a contemporary world in constant flux. Taking his subjects from pictures found in newspapers, comics, album and book covers, Richter repositions contemporary media imagery in the form of theatrical tableaux that are fantastical and timeless.

His nightmarish scenes are both terrifying and beautiful: rebellious mobs attacking the Berlin wall are staged with medieval religious zeal; gatherings of vagabonds glow with paranormal threat. Laden with the weight of implied history, Richter’s scenes extend beyond emblematic reading; their narratives take on the qualities of magical realism, extending a shiver of supernatural barbarism to depictions of current affairs.

SOLO EXHIBITIONS

2005

• Daniel Richter Contemporary Fine Arts, Berlin

• Daniel Richter Hamburger Kunsthalle, Hamburg

2004

• The Morning After David Zwirner, New York

• Daniel Richter: Pink Flag, White Horse The Power Plant, Toronto

2003

• Hirn Neuer Berliner Kunstverein, Berlin

• Hearn Galerie Benier/Eliades, Athens

2002

• Grünspan, K21 Kunstsammlung Nordrhein-Westfalen, Düsseldorf

2001

• La Cause du Peuple Patrick Painter Inc. , Los Angeles

• Billard um halb Zehn, Kunsthalle zu Kiel, Kiel, Germany

Conclusions:

Richter’s canvases are imbued with an alchemic affinity for paint. Copious techniques and applications deceptively flaunt the process of making, yet remain elusive in their overwhelming complexity.

What to Do Next. . .

Find more information about Daniel Richter Exhibitions or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/daniel_richter. htm

Jonathan Meese’s Biography and Exhibitions at Saatchi-gallery

January 1st, 2010

Jonathan Meese was born in Tokyo in 1971. Jonathan Meese is a self-proclaimed cultural exorcist. In his performances, sculptures and paintings he adopts a shamanistic role, channelling all manner of chaotic zeitgeist. His personal interests reverberate throughout his paintings: comic books, horror films, medieval crusades and outsider art merge into a compendium of morality and epic failure. In his paintings, clear-cut roles of good vs. evil are confused, ironic propaganda is served up with homebrew conviction and malevolent knaves become heroes of the disenfranchised.

Jonathan Meese draws from German Expressionism, a movement dominated by the horrors of war and social discontent, especially in painting and film. It was strongly concerned with the unique vision of the artist: a conception of artist-as-diviner that Meese readily embraces. In Catdim, Meese presents himself as an exotic oracle. His flat black mask sits with elegant form over his energetic gold colour-field, reminiscent of Emil Nolde’s Prophet. Meese infuses his images with immediacy and pathos, and his use of these values in a contemporary context lends authenticity to his B-movie alter-ego.

Jonathan Meese is a champion of the lost cause. His personal interests reverberate throughout his paintings: comic books, horror films, medieval crusades and outsider art merge into a compendium of morality and epic failure. In his paintings, clear-cut roles of good vs. evil are confused, ironic propaganda is served up with homebrew conviction, and malevolent knaves become heroes of the disenfranchised. In Der Suppenpharao, Meese invents a protagonist of questionable intent. Based on Zardoz’s savage executioner, his masked gladiator-cum-superman stars in a poster-like composition, brimming with promise of pulp fiction drama. Meese incorporates himself into his fantasy, as a tribe of snout-nosed nymphs approving the impending carnage.

In his self-portraits, Meese exaggerates his real-life ‘wild-man’ features, his image continuously mutating through a cast of characters – from demons to divas – to develop potential narratives exploring the nature of power and conspiracy underlying contemporary mythology. Through his many reinventions, Meese replicates celebrity image manufacturing to style himself as a cult figure: both symptom and cure of a corrupted belief system. His narrative works play out B-movie fantasies in feudal tableaux, hailing religion and politics as punk-style forgeries. Collectively Meese’s works operate as meta-narratives; feeding the fictional legacy of the artist as an almighty and immortal entity.

Conclusion:

Jonathan Meese Is Mother Parsifal set the young artist alone against the well-over-five hours of Wagner’s slow-moving epic in the vast scenery store-house of Berlin’s Staatsoper Unter den Linden.

what to Do Next. . .

Find more information about Jonathan Meese Exhibitions or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/jonathan_meese. htm

Hermann Nitsch’s Biography and Exhibitions at Saatchi-gallery

December 30th, 2009

Hermann Nitsch was born in Vienna in 1938. While studying graphic illustration, he became interested in religous art. He made copies from Rembrandt’s 100 Gulden Blatt and Christ Crucified, and from other religious themes by artists such as Tintoretto and El Greco. Other drawings Hermann Nitsch made at this time were strongly influenced by Cézanne, Klimt and Munch, amongst others. From around 1957 onwards, the depiction of Dionysian revelry and ceremonies began to feature in his work.

The first performances of the O. M. Theatre consisted of Hermann Nitsch and friends using animal carcasses, entrails, and blood in a ritualistic way. The cloths, bandages and other fabrics used in these performances introduced Nitsch to the idea of making paintings. 1960 saw the first exhibition of his ‘Aktion’ paintings in Vienna. In the mid-60′s Nitsch’s theatre pieces were also performed in Vienna.

His Fresco, with its connotations of martyrdom and penance, is fixed with the tortured bust of a ‘saint’, a site of devotional worship as horrifically compelling as an ossuary or catacomb. Much is made of Hermann Nitsch as cult provocateur, but he is first and foremost an artist: his performances and rituals are painstakingly planned in the context and language of art. Each ‘Aktion’ is premeditated through preparatory drawings and paintings, reflecting Hermann Nitsch’s influence by, and position within, the predominant movements spanning his career.

Nitsch plays with the symbolism of Christian ritual. Communion with real blood and real flesh means, of course, a desymbolization of the Eucharist. In this sense he acts as a consistent Protestant reaching the last limits of iconoclasm. On the other hand, this desymbolisation can be perceived as a negation of the transcendental, spiritual significance of the Eucharist. “Blood is only blood and this is the only reality of existence”. Such a belief, from the Christian point of view, is undoubtedly a satanic perversion of truth.

Conclusion:

Hermann Nitsch composed himself was becoming increasingly prominent in his performances. In 1972 he participated in Documenta V, Kassel, and staged ‘Aktions’ at the Mercer Center and Everson Museum of Art.

what to Do Next. . .

Find more information about Hermann Nitsch Exhibitions or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/hermann_nitsch. htm

Contemporary Art: the Importance in Today’s World

December 29th, 2009

Contemporary art has gained a lot of importance in modern households. It has become one of the most sought after household items and it has been recognized in every aspect of human life. Modern art is nowadays a tool for interpersonal communication and has far reaching effects. The increased number of persons visiting exhibitions and art galleries clearly signifies the rise in contemporary art importance. It is an indicator about the awareness of art amongst the people.

 

Large appreciation of masses and easy understandability are the main reasons of success of modern art. The accessibility of these arts are easy as it is released in numerous copies and forms like disks, e-books etc. Original paintings, which were hard to get in the old days, are now easy accessible through art galleries, which eventually increased the number of admirers of modern art.

 

However, contemporary art critics raised an argument that some arts should be reserved for certain group of people. They argued that true appreciation of art can come from people who can understand modern art. In other words, only an artist can understand the value of an art. It is true in some cases, but an artist would like to get appreciation from as many people as possible. Contemporary art will continue to express publicly understood ideas so as to get the maximum appreciation from the public.

 

There are various ways of acquiring modern art today. Online auctions are one of the ways where by abstract arts, oil-based painting, and impression arts can be purchased. But before you make a purchase, it is important that you do some homework on what art you would like to collect. One way of collecting required information is to make extensive research work in the internet. Other sources include libraries, magazines etc. which can give you your desired information on art.

 

But you have to be careful when buying a contemporary art work as there are lots of fakes in the market. But you can appoint an appraiser for the art you want to purchase. Online art auctions generally keep a track record of the art seller’s sales history and can help you determine whether the seller is a reputable person.




By: Sam D’Costa

John Stezaker’s Biography and Exhibitions at Saatchi-gallery

December 28th, 2009

John Stezaker is fascinated by the power of images and questions the authority of pictures found in books, magazines, postcards and encyclopaedias by directly intervening into their ordinary status. Through the handcrafted act of splicing together, inverting, or simply adjusting an image Stezaker embarks upon ‘a process that cuts it off from its disappearance into the everyday world’.

Stezaker has been centrally influential in a number of developments in art over the last three decades; from Conceptual Art, New Image Art through to the contemporary interest in collage. Showing first as a part of the British Conceptual Art group in ‘The New Art’, 1972 (the first Hayward Annual), Stezaker’s interest in the concept soon gave way to a long-term fascination with the image, finding new aesthetic allegiances with the image through working with found photographs and printed matter.

This fascination is translated into alterations, deletions, visual concordances and juxtapositions of disparate sources, intuitively creating new images, relationships, characters and meanings. Stezaker’s investigations continue to develop in this exhibition of new works that concentrate specifically on the portrait. In the ‘Love’ series, subtle but masterful alterations to found original film star portraits shift and magnify emotion and expression that had before only been implied, sometimes imperceptibly, in the original image. The glamorous and carefully posed faces are subtly transformed into otherworldly, uncanny beings. Playing with ideas of cubism and caricature, Stezaker’s series of black and white portraits fuse male and female faces, reflecting the idea of marriage and hybrid symmetry, but also a discord of union. Perhaps the most subtle of found image alterations are the ‘Reclined’ series;

what to Do Next. . .

Find more information about John Stezaker Exhibitions or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/john_stezaker. htm

About Isa Genzken Exhibitions and Paintings at Saatchi-gallery

December 27th, 2009

Isa Genzken was born on 1948 in Bad Oldesloe and currently lives and Works in Berlin, Germany. Urlaub possesses a ridiculous elegance, caught between high design and holiday festivity. Drawing from the Minimalist concept of objective abstraction, Genzken’s work straddles the spheres of formalist purity and narrative interpretation. Entrenched in the process of making, Genzken’s work is the result of her own intimate interaction with materials, tempering the procedure of formal decision-making with the spontaneity of imaginative play. Kitsch objects such as plastic leaves, figurines, and an oversized wine glass carry their own associative references while operating as neutral compositional elements of shape, colour, and texture. Urlaub exudes escapist fantasy while retaining a refined order, culminating as surreal microcosm of caprice vs. rationale.

Isa Genzken EDUCATION:

1993-1997

• Düsseldorf Art Academy

1993-1975

• Studied Art History and Philosophy at the University of Cologne

1971-1973

• Berlin University of Fine Arts

1969-1971

• Hamburg College of Fine Arts

SOLO EXHIBITIONS

2005

• Der Spiegel 1989-1991: Isa Genzken, The Photographers Gallery, London, UK

• Kinder filmen, Galerie Daniel Buchholz, Cologne, Germany

New Work, David Zwirner, New York, NY

2004

• Wasserspeier and Angels, Hauser & Wirth, London, UK

• China Art Objects, Los Angeles, CA

• International Art Prize, Cultural Donation of SSK Munich, Munich, Germany

2003

• Isa Genzken, Kunsthalle Zürich, Zürich, Switzerland [catalogue]

• Empire Vampire Teil II, Städtische Galerie im Lenbachhaus Kunstbau, Munich, Germany

• The Wrong Gallery, New York, NY

2002

• Haare wachsen, wie sie wollen, Skulpturenprojekt Galerie Meerrettich (Josef Strau), Berlin, Germany

• Museum Abeiberg Mönchengladbach [catalogue]

• Wolfgang-Hahn-Preis, Museum Ludwig, Cologne, Germany

2001

• Galerie Daniel Buchholz, Cologne, Germany

• Magnani, London, UK

• Science Fiction/Heir und jetzt zufrieden sein, AC-Saal (with Wolfgang Tillmans),

• Museum Ludwig, Cologne, Germany [catalogue]

Conclusions:

Isa Genzken has been making a name for herself with an oeuvre including sculpture, photography, film, video, works on paper and canvas, collages and books.

What to Do Next. . .

If you want any information about Isa Genzken or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/isa_genzken. htm

Selected Jeppe Hein Exhibitions and Paintings at Saatchi-gallery

December 27th, 2009

Jeppe Hein’s works address us individually; though, importantly, we might not have asked them to. Hein delights in apparently serendipitous events, suspending common sense laws of cause and effect and conjuring up scenarios in which, in direct response to our presence, seemingly sentient behaviour is coaxed from inanimate things.

selected GROUP EXHIBITIONS

2005

Museum of Contemporary Art, Los Angeles

MCA, Chicago

2004

Wohnseifer / Hein, Union Projects, London

Moving Parts, Kunsthalle Graz / Museum Jean Tinguely Basel

Performative Installation, Siemens 2004, Galerie für zeitgenössische Kunst, Leipzig

A Secret History of Clay: From Gauguin to Gormley, Tate Liverpool

Gegen den Strich, Kunsthalle Baden-Baden

Quicksand, De Appel, Amsterdam

What did you expect?, Galerie Jan Mot, Brussels

2003

Hein, Schellberg, Wohnseifer, Schnittraum, Köln

The straight or crooked way, Royal Collage of Art, London

Biennial of Ceramic in Contemporary Art, Albisola

Auf eigene Gefahr, Schirn Kunsthalle, Frankfurt

Performative Installation, Galerie für Zeitgenössische Kunst, Leipzig

2002

Ingrepp, Uppsala Kunstmuseum, Uppsala

I promise it`s political, Museum Ludwig, Köln

Fuzzy, Galleria Minini, Brescia

Inside / Outside, Galerie für zeitgenössische Kunst, Leipzig

Hell, neugerriemschneider, Berlin

No Return. Positions from the Collection Haubrok, Museum Abteiberg, Mönchengladbach

2001

Changes possible, Kiel

Biennale di Venezia

Arbeit, Essen, Angst, Kokerei Zollverein, Essen

Frankfurter Positionen 2001, Frankfurt

Strategies against Architecture II, Pisa

Neue Welt, Frankfurter Kunstverein

Take off, Arhus Kunstmuseum

In some of his pieces he articulates a dialogue between the work itself, the person encountering it and the gallery space in which it is sited – though this is a conversation for which one is wholly unprepared. Works of this kind imply a wry relationship both to the Minimalist sculpture of the 1960s and to those forms of institutional critique that sought to question the authority of the museum or gallery space. Yet Hein’s practice does not really fit either tradition – the mode of address and playful tone is at odds with, for example, phenomenological interpretations of Minimalist sculpture, in which the viewer participated in the work but as a relatively abstract presence.

The other wall shows what I chose to create in the end. With this exhibition I’ve been thinking about the gallery’s situation, and how it presents and represents art. How artists can go into an exhibition space and use it to stage their art. My job has been to find out how I, with the room as frame, can make my work function best, while maintaining a relationship with the room itself.

what to Do Next. . .

Read more Articles about Jeppe Hein http://www. saatchi-gallery. co. uk/artists/jeppe_hein. htm

Ian Davis Exhibitions and Paintings at Saatchi-gallery

December 26th, 2009

Selected Works by Ian Davis are at first he worked on Factory in 2006 Acrylic on canvas,secondly he worked on Doledrum in 2006 Acrylic on canvas and also great more works done by Ian Davis.

SOLO EXHIBITIONS

2007

• Leslie Tonkonow Artworks + Projects, New York

2006

• The Great Divide, Acuna-Hansen Gallery, Los Angeles

2000

• Art One Gallery, Scottsdale

• Kemper Museum of Contemporary Art, Kansas City

1998

• Eight Million Stories, New School for the Arts, Scottsdale

• Art One Gallery, Scottsdale

GROUP EXHIBITIONS

2004

• Miscegenation, The Chocolate Factory, Phoenix

• Merry/Peace, Sideshow, Brooklyn

• Born in the U. S. A. , Galerie Art One, Zurich

2003

• GRA Gallery, New York

• Fugitive Art Space, Nashville

2002

• GRA Gallery, New York

2001

• Above Ground, Dam, Stuhltrager, Brooklyn

1999

• Horror, 381g, San Francisco

• Art One Gallery, Scottsdale

• Three Painters, 381g, San Francisco

1998

• Whole Gallery, San Francisco

1997

• Four, 111 Minna Gallery, San Francisco

1996

• Artworks Gallery, San Francisco

1995

• Transitions, Arizona State University West Gallery, Phoenix

1994

• Painting and Sculpture, Step Gallery 9999, Tempe

• Joe Robbins, Ian Davis, Matthew Kruse, Step Gallery 709, Tempe

What to Do Next. . .

If you want any information about Ian Davis or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/ian_davis. htm

Jacob Hashimoto Exhibitions and Paintings at Saatchi-gallery

December 22nd, 2009

Jacob Hashimoto was born on 1973 lives in New York City and Verona. Jacob Hashimoto cuts rice paper into small geometric shapes and glues the shapes to delicate wooden frameworks, which he attaches to black fishing line and ties to long wooden pegs at the top and bottom of his rectangular, wall-mounted, waterfall-like hangings. The pegs are evenly spaced from side to side across the top and bottom of the piece.

The artist ties six roughly overlapping layers of shapes onto each peg, creating a dense, kaleidoscopic multi-level field in which a given shape may be visible or hidden, depending on the angle of view. The hanging seems to move as we walk past. But is it a sculpture or a painting? Where is the figure? Where is the ground?

Hashimoto’s show, titled “skip skitter start trip vault bounce — and other attempts at flight” opened at Chicago’s Rhona Hoffman Gallery in mid-November, but closed early when everything sold. The show featured one ceiling piece along with seven wall works, constructed of like elements but with varying content.

Slip into Vapor could almost be a landscape. Measuring five feet high and four feet wide by 7. 5 inches deep, it is composed of paper ovals, each roughly four inches wide, which are mounted on X-shaped frameworks and suspended between 13 wooden pegs at the top and 13 below. White and blue ovals, suggesting clouds and sky, comprise the upper half of Slip into Vapor, while darker ovals in the lower half could be rocks, soil or vegetation. The artist collages long slices of green paper-like grass onto some ovals and puts fanciful decorative designs on others. As the viewer walks by, these peep out to surprise and amuse.

Face Ache at Ice Cream Social measures eight feet square and employs hexagon shapes with a mad variety of designs. Dark and dense above and light below, this piece seems to sparkle, bubble upward, and move in all three dimensions, but it is never busy because the artist alternates decorated and plain white hexagons, both across the face of the work and in its layers. Hashimoto begins by making wooden frames from tiny sticks, tying them together with thread, and affixing translucent rice paper to them. If he wants color or a design, he collages it onto the paper shape — nothing is painted. When a framed shape is ready, he dips it in acrylic resin for strength. After creating a large inventory of these elements, he selects shapes of different size and design, and strings them on nylon line, which he employs because it does not stretch. Now he is ready to tie the strings to the pegs. Hashimoto also exhibited Super Abundant Atmosphere II, a ceiling-hung work made of pale forms that suggest billowing clouds. Apparently one of the “attempts at flight” in the show title, this piece brought the sky indoors and almost seemed ready to levitate the gallery.

SOLO EXHIBITIONS

2007

• Mary Boone Gallery, NY

2006

• Studio La Città, Verona

2005

• Superabundant Atmosphere, Rice Gallery, Rice University, Houston

• Skip Skitter Start Trip Vault Bounce – and other attempts at flight, Rhona Hoffman Gallery, Chicago

2004

• Bloom, San Jose Museum of Art, San Jose

• Altadena, Tacoma Art Museum, Tacoma

2003

• The Nature of Objects, Studio la Città, Verona

2002

• Studio la Città, Verona

• Silent Rhythm, Galleria Traghetto, Venice

• Finesilver Gallery, San Antonio

2001

• Giant Yellow, Patricia Faure Gallery, Santa Monica

• Big Mountain, Patricia Faure Gallery, Santa Monica

2000

• Carte Blanche à Hélène de Franchis, Galerie Lucien Durand-Le Gaillard, Paris

• Project Room, Patricia Faure Gallery, Santa Monica

• Giant Yellow and Other Structures, Galerie Lucien Durand-Le Gaillard, Paris

1999

• Armada, Chicago Cultural Center, Chicago

• Infinite Lightness, Studio la Città, Verona

• Galleria La Nuova Pesa, Rome

1998

• Infinite Expanse of Sky, Museum of Contemporary Art, Chicago

• Project Room, Patricia Faure Gallery, Santa Monica

1997

• Ann Nathan Gallery, Chicago

1996

• Sky Canopy Installation, Ann Nathan Gallery, Chicago

GROUP EXHIBITIONS

2005

• Italian Feeling, XIV Quadriennale di Roma, Galleria Nazionale d’Atre di Roma, Rome

2004

• White, Patricia Faure Gallery, Santa Monica

• Artseasons, Cas Pellers, Palma de Mallorca

• Jen ne regrette rien, Studio la Città, Verona

2003

• Structure, Patricia Faure Gallery, Santa Monica

2002

• Intermezzo, Studio la Città, Verona

• Officina America – ReteEmiliaRomagna, Palazzo dell’Arengo, Rimini

2001

• Phoenix Triennial, Phoenix Art Museum, Phoenix

• Conceptual Color: In Albers’ Afterimage, San Francisco State University, San Francisco

2000

• Made in California NOW, Boone Children’s Gallery, Los Angeles County Museum of Art West

1997

• Perennial, Carleton College Boliou Art Gallery, Northfield, Minnesota.

• Headless, William Cordove and Jacob Hashimoto, Lineage Gallery, Chicago

1996

• Thesis Exhibition, School of the Art Institute of Chicago, Chicago

• Young Americans of Asian Ancestry, Hyde Park Art Center, Chicago

Conclusions:

Jacob Hashimoto show, titled “skip skitter start trip vault bounce — and other attempts at flight” opened at Chicago’s Rhona Hoffman Gallery in mid-November, but closed early when everything sold. The show featured one ceiling piece along with seven wall works, constructed of like elements but with varying content.

What to Do Next. . .

If you want any information about Jacob Hashimoto or looking for his paintings please visit us on http://www. saatchi-gallery. co. uk/artists/jacob_hashimoto. htm