Ray Drew Gallery presents Annie Coe: Language of The Unknown a solo exhibition.
Coe grew up in Portland Oregon. There she studied a varied curriculum of drawing, painting, & sculpture. After spending over a decade in San Francisco California she made her way to New Mexico and has spent the last 28 years in Taos. Her work is of an expressive nature layered in depth, beauty & strength. The world she creates is of equal quietude and blanketed cacophonies of ambiguity. As a Taos artist she is unique in her pursuit of contemporary themes. Her work boasts of abstraction, expression and at times a hushed minimalist approach. Her natural surroundings do not dictate her work but infuse it with mystery and breadth.
“Each work of art is for me an adventure, an exploration of spirit, an attempt to say in paint or fabric what cannot be said in words.” – Annie Coe
https://anniecoesstudio.weebly.com
July 25, 2024 – August 29, 2024 – Reception Aug 29, 5 – 7pm
Synesthesia in its simplest terms refers to sensory fusions or crossovers. Interest peaked between 1890 and 1930, when synesthesia became a focus of serious attention in the fields of visual art, music, literature and linguistics. During that period, Edvard Munch and Wassily Kandinsky were probably the best-known painters to respond visually to non-visual sensory stimuli. This catalogue brings alive synesthesia's underpinnings, with a broader study documenting the formal and expressive purposes these crossovers have served for American painters.
Washington, DC-based artist Linn Meyers (born 1968) is best known for her hand-drawn lines and tracings for large-scale installations. This book provides a comprehensive survey of her site-specific wall drawings in museums and galleries since 2000, and of Meyers' intricate preparatory drawings and plans. Requiring much stamina, these projects involve drawing in the space over the course of days, sometimes weeks, accumulating lines into dense, intricate compositions. This scale allows Meyers to respond to architectural spaces and magnifies the performativity of her process. On Meyers' Hammer Museum exhibition, Senior Curator Anne Ellegood wrote: "the sense of being present while viewing the work is also amplified at this larger scale ... to see a wall drawing is to be surrounded by it and to feel oneself to be part of the work."
Contemporary Art In North America--the fourth title in Black Dog Publishing's ARTWORLD series--is a unique and timely survey into art deriving from the United States and Canada today. Diverse in both content and style, art in the United States and Canada reflects the multi-cultural roots from which it stems, as seen in the range of mediums and techniques covered, from painting, photography and video, to installation, performance and curatorial practices. Richly illustrated profiles showcasing more than 50 of some of the most influential artists from the region have been arranged by medium in an attempt to transcend geographical and regional perceptions and are contextualised by New York-based arts journalist Michael Wilson in his insightful introductory essay "Contemporary Art in the United States and Canada". Also featured are a select number of articles and essays that represent the diversity of voices from across the continent, including Critical Art Ensemble, Ken Lum, Martha Rosler, Jerry Saltz and Jan Tumlir. From Photoconceptualism to large-scale installation art, and the latest practices in a range of media, Contemporary Art in North America provides an insightful examination into the styles, perceptions and cultures of this region and its art, articulating varied arguments and opinions that guide the reader to further discussion and debate concerning the subject.
One of the best-kept secrets of the art world is that important center of postwar modernism: Taos, New Mexico, where the influences of Europe merged and blended with the east and west coasts of the United States.
First published in 1996, this irreplaceable resource has now been updated, revised, and expanded by Kristine Stiles to represent thirty countries and more than one hundred new artists. Stiles has added forty images and a diverse roster of artists, including many who have emerged since the 1980s, such as Julie Mehretu, Carrie Mae Weems, Damien Hirst, Shirin Neshat, Cai Guo-Qian, Olafur Eliasson, Matthew Barney, and Takashi Murakami. The writings, which as before take the form of artists' statements, interviews, and essays, make vivid each artist's aesthetic approach and capture the flavor and intent of his or her work. The internationalism evident in this revised edition reflects the growing interest in the vitality of contemporary art throughout the world from the U.S. and Europe to the Middle East, Asia, Africa, Latin America, and Australia.
