Overview Collection Information Size: 7 Items wav files (7 hr., 12 min.) Format: Originally recorded on 4 sound discs. Reformatted in 2010 as 7 digital wav files. Duration is 7 hr., 12 min. Summary: An interview of Tony Marsh conducted 2009 September 10-11, by Mija Riedel, for the Archives of American Art’s Nanette […]
Sarah Amos’s work may be labor-intensive, yet it conveys neither labor nor the consumption of time, but a meditative joy.
D’Arrigo: Deep Roots from Sicily to the Bronx It is impossible for me to tease out which of my early influences were related to being Italian American (or more specifically, Sicilian American) from other factors, but I do think that having Sicilian/Italian American heritage and being Bronx bred in the 1950s were all […]
My high school teacher told me once that I should learn to do things without first knowing that I would be rewarded for it and my mother reinforced that notion. That idea stuck. I have always followed things that I was passionate about just to see where they might go, I have hit a thousand and one dead ends—ask me if I care?
O’Arwisters’ latest body of work, “Cheesecake” is flashier, with brightly colored fabrics, hot pink lace, gold tassels. In collaboration with the ceramic department at Cal State Long Beach, he now recycles broken pieces from their “shard yard.”
Ramekon O’Arwisters receives a significant commission from the San Francisco Arts Commission for the new Southeast Health Center, located at 2401 Keith Street in San Francisco.
Like a pearl diver, ceramic sculptor Linda Sormin retrieves scattered fragments, petrified gestures, and deposits of culture from life’s unstable and accumulating existential reef to construct unruly odes to contemporary experience.
Hello, friends! For this edition of #cuagrevisit we’re dropping in on Linda Sormin, who is based in New York City.
Jefferson Pinder’s work provokes commentary about race and struggle. Focusing primarily with neon, found objects, and video, Pinder investigates identity through the most dynamic circumstances and materials.
Amalia Galdona Broche transforms fiber into shape-shifting woven figurative sculpture that is, by turns, Gothic, primordial, and shamanistic. Her arsenal of fabrication methods is protean. She twists, knots, weaves, binds, wraps, and pins textiles, both found and constructed, into narratives of metamorphosis, erotic possibility, and spiritual quests. Born in Cuba, Galdona Broche’s childhood was […]