The exhibition is available on our site here.
The 3rd in a series of exhibitions treating the role women have played in art history. Opens March 5, 2021 at Turner Carroll Gallery. Titled “Renegades,” the exhibition follows two previous exhibitions titled “Can’t Lock Me Up” (2019) and “Burned: Women and Fire” (2020).
This exhibition celebrates the unveiling of the sculpture “L’implorante” by Camille Claudel, widely recognized as her most important work currently available on the international art market. Other editions of this sculpture are found in permanent collections of The Metropolitan Museum of Art, Musée Camille Claudel, and others.
1864: Camille Claudel, born in 1864, has become known as one of the most important women artists ever to live. She moved mountains to pursue her art on her own terms. Camille convinced her entire family to move to Paris, so she could attend the only art academy that accepted women—L’accademia Colorrosi. She was so committed to carving her own path in the art world that even when the great artist Auguste Rodin became smitten with her skill and independence, she showed great reservation in starting a relationship with him, insisting instead that she must be her own artist, not a reflection of him. This initial indifference to his advances caused Rodin to refer to Claudel as “my fierce friend,” or my “sovereign friend.”
Eventually, when Camille Claudel decided to take part in a sexual relationship with Rodin, she declared it must be on terms she dictated. In 1886, Claudel willfully demanded Rodin sign a contract she devised which included the following conditions: a promise to renounce other women, including favourite models and prospective students, to bring her along on his travels, and to marry her in 1887. In return she agreed to receive him in her studio four times a month. If Rodin did not meet the demands she set forth, the deal was off. He didn’t, so she called it off and renounced the male artistic master and all the trappings of success, public art commissions, and acclaim that he brought with him.
In her quest to find her independence and support herself as a woman artist, Claudel worked hard to secure a state commission for an ambitious sculptural group of three figures. The state commission was granted for her work titled L’Âge mûr (1902). The grouping features images of Claudel herself as L’implorante, a young nude woman beseeching a man (sculptor Auguste Rodin) to stay with her instead of being swept away by an older figure representing death. Auguste Rodin was at that time on the selection panel for French public art commissions, and because he found Claudel’s sculpture so threatening, her public art commission was suddenly cancelled. Claudel’s fight for the sculpture she believed in resulted in her being at odds with the artistic bureaucracy.
Claudel dug in her independent heels, and decided to embark upon a body of work dealing with interior emotions of women. Her works were unusually courageous for the time, candid in communicating emotional and physical pain, loneliness, and desire.
“My sister’s work, which gives it its unique interest, is that it is the whole story of her life.”
-Paul Claudel, poet and diplomat, brother of Camille Claudel
Claudel was a renegade in renouncing both social and artistic norms of her era. She was a renegade in that she created her own terms to live by, much like she created the unconventional contract she had Rodin sign.
1913: While Claudel herself was sent to spend the last 35 years of her life at a sanitarium due to her norm-defying behaviors, her insistence on doing things the way she deemed appropriate paved the way for women artists who came after her to do the same.
1939: Twenty-six years after Claudel’s family had her interned in a mental institution for her bold artistic actions and her outrageous act of choosing her artistic career over having a family, Judith Cohen, now known as Judy Chicago, was born in 1939 in the U.S. Like Claudel, Chicago was artistically talented from a young age, was fiercely independent, and pursued her artistic career with a vengeance. Also like Claudel, she was a renegade. She forsook the coldness of masculine conceptualism and the testosterone-driven assertions of dominance over the land by cutting into it, moving it; manipulating it, in favor of color and concept that were inherently true to her uniquely feminine perspective. Chicago embraced vulvic imagery and colors descriptively female, like pinks, purples, and other pastels. Her iconic collaborative work “The Dinner Party” was inclusive, rather than exclusive. She didn’t compete with women artists; she invited women from far and wide to become part of her artwork that highlighted the contributions of women throughout history. Today, Chicago’s “The Dinner Party” is considered the capolavoro of feminist art history.
1948: When Judy Chicago was nine years old and already taking the bus alone from her home in Chicago to the Chicago Art Institute for art classes, Hung Liu was born in Changchun, China. She came from a long lineage of intellectuals, and her father was an officer in the Nationalist army of Chiang Kai Sheck. Liu’s father was ultimately placed in a labor camp, where he spent the rest of his life. Liu and her mother burned all their family photographs that included him to escape retribution, and fled to Beijing. Liu was recognized very early in life for her extraordinary artistic talent. Because of her brilliance, she was placed in the top high school in Beijing, where Mao’s daughters also attended. There, Liu witnessed her principal be beaten to death by young woman zealots of the Red Army. She watched her math teacher jump to his death from the school grounds, and she saw her classmates beat another teacher to death with shoes, while he was belittled and forced to crawl on the ground in front of his students. Liu endured “re-education” during Mao’s imposed, eponymous Cultural Revolution, in which she was removed from school and forced to toil in the wheat fields in the Chinese countryside for 364 days per year. Though these times were undeniably tough for her, Liu’s determination to pursue her artistic career drove her. She hid a German camera and a watercolor set under her bed, and every day she took time to paint or to photograph her experiences. 35 of her “My Secret Freedom” watercolors are now in the permanent collection of the San Francisco Museum of Modern Art, and photographs she took with that German camera will be exhibited at her Smithsonian Institution’s National Portrait Gallery retrospective in 2021.
1984: When artist David Hockney visited China and the prestigious Central Academy of Art, where Hung Liu and other Chinese luminaries like Ai Wei Wei studied, he met “Ms. Liu” and was so impressed by her work and her countenance that he wrote about her artwork in his China Diary. Liu was determined to leave China for U.C. San Diego, to study contemporary American art movements like Happenings. She persisted in waiting four years–deferring her admission to UCSD each year while she waited–for the Chinese government to finally grant her a passport to pursue her artistic career. An only child, she left behind her mother, with her two year old son to care for, to pursue her artistic dreams. Since arriving in the U.S. in 1984, Liu’s artworks have been collected by more than 50 major museums in the country, from the Whitney Museum of American Art, to the L.A. County Museum.
1970-2010: Both Judy Chicago and Hung Liu dedicated a portion of their careers to teaching women artists to persevere and prosper, as well as sharing their network of dealers, curators, and art critic colleagues. Among the recipients of their shared wisdom were three artists that are making their own name for themselves in their own authentic voices today. Judy Chicago has adopted as her “radical daughter” the street artist known as Swoon, born Caledonia Dance Curry. Swoon regularly collaborates with Chicago on social activism projects like Create Art for Earth, joined by both Jane Fonda and über-curator Hans Ulrich Obrist of Serpentine Galleries in London. Swoon is renowned for inspiring an entire generation of female street artists, with her large scale humanistic wheat paste murals. Her works are now in major international museums such as the Museum of Modern Art in New York and the Tate Modern in London.
Hung Liu is the beloved mentor of artists Monica Lundy and Lien Truong, artists of Italian and Vietnamese progeny, respectively. Both artists have assumed the mantle of proselytizing for the disenfranchised in their artworks. Lundy uses traditionally female media like porcelain, coffee, and burned paper in her depictions of women who were incarcerated for being renegades. Crimes like being too loud, disobedient, or promiscuous landed these women in sanitoria, just as they had landed Camille Claudel in an asylum and silenced her artistic voice one hundred years earlier. Lien Truong singes antique silks and historic textiles blended with 22 k gold threads, and fuses exquisitely detailed abstract painting to tell the stories of racial and gender-based injustice.
New Mexico-based Agnes Martin, Raphaëlle Goethals, Karen Yank, and Jamie Brunson share a vision that is tied to the sanctity of the land. Rooted in the horizon line that is unfettered by vegetation, providing the feeling that one can see forever, these artists present the maverick notion that within simplicity of mother earth lies the most pristine experience of creative joy one can ever experience.
The women in this exhibition are indeed Renegades. They take the legacy of women artists and carry it forward into an apotheosis of success. Their manifesto is to be true to their uniquely female artistic vision, and they succeed beyond measure. Turner Carroll is proud to present this exhibition during Women’s History Month, honoring the contributions of women artists throughout history. Please join us in celebrating their accomplishments.
-Tonya Turner Carroll
Santa Fe, New Mexico
Walk through our VR exhibition!
Adaptability is key to finding happiness, and Turner Carroll has adapted to a new way of hosting exhibitions to bring you happiness during this unusual, homebound time. We are thrilled to bring you our first 3-D, interactive, virtual exhibition. Our exhibition Keep the Ball Rolling takes its title from Judy Chicago’s Resolutions series work by the same name. The exhibition features vibrant works that inspire mind, body, and heart. Please enjoy our guided tour feature, which allows us to walk you through the exhibition as if we’re walking through the gallery together. You can also click on the View/Purchase on our Website button next to each artwork, to read our descriptive analysis of the specific artwork. Enjoy the exhibition and please send us your comments and suggestions on our new platform, at firstname.lastname@example.org.
View the works in the exhibition on our web page here.
Two paintings by Jamie Brunson in the Triton Museum of Art collection are included in the new exhibition Illusory Abstractions: Recent Acquisitions. The museum’s website describes this exhibition as bringing “together highlights from the Triton Museum of Art’s permanent collection. These works exemplify an inventive evolution of the abstract style, demonstrating a leap from purely geometric abstraction to a more inclusive genre of associative abstraction. Each artist has discovered their own personal fusion of geometric abstraction with expressionism – finding their own balance of yin and yang.”
Exhibition artists also include Rick Arnitz, Lukas Bloc, Charley Brown, David Einstein, Amy Ellingson, Doug Glovaski, Deborah Oropallo, Susan Parker, Raymond Saunders and Verne Trindade. The show runs through 21 October 2018 in Santa Clara, California.
23 August 2018
We received two great write-ups for this exhibition recently. An SFR Pick for the week of May 16 in the Santa Fe Reporter, writers Alex De Vore and Pema Baldwin do a great job decoding the kind of language each artist uses in their work. “Robinson’s multimedia sculptures of wood, plastic and steel carry veiled yet substantial political messages that are prone to a wide variety of interpretations. Often, they’re crude, abrasive, and force the viewer to consider the implications of what they’re looking at,” they say. On Jamie Brunson‘s work, “instead of capturing a moment in time or a specific message, Brunson’s pieces are a reflection of her meditative practices used to portray emotions. Brunson captures the feelings of movement and energy with color and line weight.”
Megan Bennett writes in the Albuquerque Journal on Jamie Brunson and Walter Robinson pointing out that they are partners in real life, as well as in art, and how their shared language is put to use with dramatically different results. The Albuquerque Journal also had an article on Walter Robinson in the exhibition “21st Century Ciphers” at Turner Carroll favorite 516 Arts in Albuquerque.
A link to our exhibition is here.
22 May 2018
Opening Reception Friday, May 18, 5-7pm
Walter Robinson and Jamie Brunson are two extraordinary artists from the San Francisco Bay area who have recently relocated to Santa Fe. Both of their works have been widely exhibited and collected in private and museum collections internationally. Currently, Robinson’s sculpture is on exhibit in Luxembourg, as well as in Albuquerque museum 516 Arts’ “21st Century Cyphers” exhibition. Robinson will speak about his works in Albuquerque at 516 Arts on June 7. Jamie Brunson recently wrapped up a museum exhibition in California. Though the two artists have been partners for several years, they do not collaborate. In fact, both their works and the visual language they each employ are radically different from one another.
In order to communicate with the world outside their own minds, both Robinson and Brunson have created distinct visual languages unique unto themselves. Walter Robinson’s visual language is sculptural, highly political, stemming from his upbringing in a multi-lingual family that included a cryptographer during the Cold War era. Robinson assembles visual phrases through amalgamations of found and hand hewn objects. Often, he incorporates cryptic messages in his works, using either word cross tactics, or by juxtaposing objects in a manner that frames a new view. Robinson’s newest work, “Tumbril”, addresses current societal issues such as consumerism, expansionism, and Manifest Destiny. “Tumbril” is defined as “A farm dump cart for carrying dung; carts of this type were used to carry prisoners to the guillotine during the French Revolution.”
In “Tumbril”, the cart is another form of consumption, and the cart is empty. The logos on the covered roof equate product placement. The companies featured are benefitting from the exposure on the cart, buying their way into our contemporary consciousness by adding themselves to this cart’s journey. The visual images on the patches are like logos for societal beliefs, which are marketed like actual consumable products. Whether we buy into the beliefs or ideologies behind these images represented on the patches or not, by consuming certain products or aspects delivered to us by those ideologies, we may be consuming and literally “buying” into them involuntarily, unknowingly, or subconsciously.
Jamie Brunson’s works are two dimensional paintings of her meditative experience. Rather than combining concrete forms into new structures (as Robinson does), Brunson uses color as her visual code. Taking her spectrum from her Kundalini yoga and meditation practice, Jamie Brunson uses hues as her visual “words”. A painting like “Matrix” combines hues of deep red and teal blue. The red represents strength of emotion, while blue is the cool calm of intellect as well as serenity. Blue and red represent the two poles of the electromagnetic spectrum of visible light. At the low end is blue; the high end is red. By combining these two colors in one painting, Brunson communicates the interconnectedness of all beings.
Work in the exhibition may be viewed here.
For more information and high resolution images, please visit https://turnercarrollgallery.com/press-area/ or email@example.com
Jamie Brunson Interview in Articiple July 17 2017
“Painter and mixed-media artist Jamie Brunson is well known in the San Francisco Bay Area, where she lived and worked for many years. Jamie relocated to New Mexico in 2014, but continues to exhibit in the Bay Area. Her current show at Andrea Schwartz Gallery is on view through July 21.
In our conversation Jamie shares thoughts on the significance of meditation for her art practice, the influence of the New Mexican landscape on her new work, and the pleasure of revisiting earlier investigations.”
Articiple: Your art is closely connected to your practice of Kundalini meditation. You’ve described your art practice as the process of translating the perceptual states of meditation into a formal visual language. The relationship between meditation and art seems intuitively evident in some ways, but very elusive in others. Could you explain a bit about Kundalini meditation, and how that ancient practice came to have such relevance for your life as a contemporary artist?
Jamie: The sitting meditation practice I follow is based on a form of controlled, “circular” breathing. It’s an active “fire method” practice with a complex esoteric, philosophical, and ideological history. My teacher has written extensively about it, but I might make the analogy that you don’t need to know the principles of the combustion engine to know that if you put gas and oil into your car, and turn the key, it will go.
The practice might be seen as a near-cousin to Buddhist mindfulness/breathing meditation: by breathing through a circuit of chakras, you open, expand and link the chakras while burning away accumulated negative energies.
As with Buddhist practice, over time you gain the capacity to put space around certain reflexive reactions as they arise. With continued practice, you eventually enter the Void body, an expansive unbounded state that’s hard to describe, except to say that it’s a palpable sensory experience with specific qualities that most practitioners collectively agree upon. So it’s not arbitrary or imaginary, it’s somatic and specific. It has color qualities, spatial qualities, visual attributes, yet those qualities might be regarded simply as indications of having entered a state of being and awareness, which is the true goal. But, I do bring some of the visual and sensate information from the practice into the studio.
My Kundalini teacher, Dr. Mark Levy, is also an art historian who has written extensively about the relationship between metaphysical states and art practice, going back to primary shamanic rituals done for the benefit of healing communities. His research and writing have been a profound influence on my studio work. Perhaps I gravitated to his ideas because I’ve always intuitively understood the relationship between formalism and physical, sensate experiences? I’ve always experienced art making as a transcendental process that can lead to altered perceptions of time, deep engagement with the present moment, and a sense of affinity with the materials. Psychologist Mihaly Csikszentmihalyi describes this sense of engagement as a “flow state”. I see a strong correspondence between meditation practice and studio practice because they both require full participation and presence to enter that state.
Articiple: The term “translation” suggest several interesting possibilities: maybe a process of visually rendering perceptions that you’ve experienced during meditation, or a process of recreating a meditative state of mind as you work on a painting. How do you characterize the process of translation in your work?
Jamie: I think your question contains the answer—both ideas are true.
I should say that because I’m a formally trained visual artist, of course I learned the academic principles of color, composition and design: contrast, harmony, rhythm, surface qualities, distribution across a picture plane, the illusion of spatial depth, et cetera. These principles are an important part of my studio work because they’re the elements that make any artwork function well…
Nina Tichava in Santa Fe Reporter: Three Questions
3 Questions, with Nina Tichava
The Santa Fe Reporter
August 23, 2017, 12:00 am
By Alex De Vore
Artists who represent landscapes are many. It’s almost a default position, though we can’t blame anyone in that there are so many ways to go about it. Enter Nina Tichava, an artist born in Vallecitos, New Mexico, who trained in the Bay Area but always felt the call of home. Abstraction tends to be Tichava’s focus, though her mother—whom she describes as an artist who doesn’t consider herself an artist—instilled a certain crafty (think weaving) style into her ethics and aesthetics. Tichava’s work can be seen in galleries and spaces around the country, but for these-here 3Qs, we reached out about the upcoming show New, New Mexico Abstraction, opening this Friday evening at Turner Carroll Gallery (5 pm. Free. 725 Canyon Road, 986-9800) in which Tichava shows self-described “borrowed landscapes,” actual postcards of infamous places and momuments made new through Tichava’s abstract practices.
Trying to approach something as traditional as landscapes in a fresh way is challenging. I’m not a landscape painter, and when you get closer [to my landscape], it becomes more abstracted. I was never very interested in them, but now I’m starting to see the nuance and skill.
What the heck is a “borrowed” landscape anyway?
It’s a term I totally made up. This is a new project and new vein for me. After the last election cycle, I was really freaked out and was trying to think of commonalities—landscapes was such an obvious one. It was something small I could keep myself busy with. I wasn’t happy with the results of the last election. I was excited to have the first female president. I was shocked, and the environment was one of the first things I was worried about. Climate change is so important right now, and I felt like it was pushed to the side. It’s about shared perspectives; the idea was I didn’t want to take pictures and make landscape paintings—I’m an interloper in the world of landscapes. They’re beautiful in person. They’re cool and magnetic and sexy and there’s subtle political commentary. I have an atomic bomb, that’s my favorite one I made. I did the White House in gold, the Supreme Court in gold. My goal was to mimic the first 100 days of the presidency and trying to understand, ‘Why did people vote for this person who’s a miogynist and has no interest beyond his own ego?’
Were you on the lookout for specific scenes or ideologies with the postcard imagery?
Initially it’s because I’ve always collected old stationary and postcards. So when I was like, ‘How can I talk to people through art about politics?’ I thought it was an interesting idea. I’d go on eBay and search for vintage postcards, and a lot of them are just what I happened to find.
Nina Tichava and Jamie Brunson in Santa Fe Arts Journal: Finding Quiet in Abstraction 23 August 2017
Turner Carroll Gallery highlights recent work by two New Mexico-based abstract artists in its show “Nina Tichava and Jamie Brunson: NEW New Mexico Abstraction,” which opened on August 23 and is on exhibit through September 12.
Tichava, who was born in the small New Mexico village of Vallecitos north of Abiquiu and raised in New Mexico and northern California, has focused her creative time during the past year on finding a place of calm within her studio practice. “I spent half my life on the Pacific coast, near the ocean,” Tichava explains. “When seeking equanimity, my mind turns to memories of the sea. These remembered images and sounds provide comfort and grounding, a quiet that can be hard to find amidst the chaos of contemporary existence. The sea soothes in rhythmic ways, and a conveyance of that feeling is the goal of these new paintings.”
Tichava, a recipient of a Pollock-Krasner Foundation grant in 2007, describes her paintings as about relationships. She’s fascinated by the interactions between materials and methods and the relationship between color and space. ”My process-based paintings are as unplanned as possible,” she says. “I search to convey a feeling of immediacy and to enhance the very physical and tactile elements of my artwork.”
Using painting and printmaking techniques, Tichava interweaves drawing and collage with a variety of media. Paintings are multi-layered. “A prominent element of my work is the application of thousands of beads of paint, painstakingly and individually painted with a brush and used to create screens and patterns,” she adds.
Brunson, who moved to northern New Mexico from California’s Bay Area three years ago, has historically focused on experiences that occur during her Kundalini meditation practice. “The sensations in Kundalini are ones of opening or expanding, as if the boundaries between oneself and the external world were dissolving into an interconnected, energetic field,” she says. “For many artists, studio practice produces that same sense of total identification with the materials, the moment and the process.”
Nina Tichava was born in Vallecitos, NM, and was raised between rural Northern New Mexico and the Bay Area, California. Jamie Brunson, on the other hand, was born in Coronado, CA, and built her career in the Bay Area, only recently moving to Northern New Mexico. However, both artists are interested in time and place, and the influence of these concepts in their work is subtle yet undeniable.
Jamie Brunson‘s work has historically focused on the sensory experiences that occur in meditation practice. Since moving to New Mexico three years ago, elements of the environment, landscape, and architecture have increasingly influenced her compositions, expressed formally as saturated color, rhythmic intervals, geometric divisions, and tactile surface treatment. The final product evokes internal and external landscapes and shifting atmospheres. The process becomes the practice of staying grounded in the present through the immediacy of sensation.
Tichava works primarily from a procedural stance. Her art is about relationship, and her focus is on the interplay of elements and materials. Her process is best described as weaving, as she combines painting and printmaking techniques, drawing and collage, in a fashion both liberated and constrained. Tichava’s mother was a New Mexican weaver in the more traditional sense, and Nina’s paintings explore how to weave oneself into a tight knit, traditional community as a relative outsider. She weaves New Mexico’s historic aesthetic with contemporary concepts. Recently, the sudden and urgent sacredness of our natural environment has become Nina’s focus. Her Borrowed Landscapes series aims to find a new perspective and reconnection to the land and the people who call it home.
Opening Reception Friday, August 25, 2017 from 5 to 7pm
[n.b. that this event takes place in Santa Fe]
In a civilization where more than 51% of the population is female, yet 96% of exhibition space is given to men, it’s time for a change. In honor of National Women’s History Month and in celebration of uniquely brilliant female perspective, Turner Carroll features important women artists all month. Artists include an international roster including Nina Tichava, Raphaelle Goethals, Hung Liu, Squeak Carnwath, Karen Yank, Jamie Brunson, Mavis McClure, Jenny Abell, Suzanne Sbarge, Holly Roberts, and Brenda Zappitell.
Opening Reception Friday, March 10, 2017 from 5 to 7pm
[n.b. that this event takes place in Santa Fe]
Jamie Brunson is featured in a new exhibition at SJMA titled Your Mind, This Moment: Art and the Practice of Attention. This really interesting show is referred to by the curators as an experiment. From the museum’s web page, We offer the following: “Fifteen seconds. That’s the length of time the average museum visitor spends in front of a work of art—much of it reading the wall label. Even the Mona Lisa commands only fifteen seconds of attention. That’s half the time we wait for an iPad or smartphone to power on…Your Mind, This Moment: Art and the practice of Attention presents works of art as objects of meditation. With input from an advisory group of artists who are also meditators, the gallery will be designed as an intimate space that encourages quietude.”
A link to the exhibition is here.
Before there was a written language, color was the universal language of mankind. Prehistoric humans used color to describe every aspect of their lives. Red= blood; orange= fire; yellow=sun; green=natural vegetation/food source; blue=air; indigo=water; violet=the color of sunset/sunrise transition. Historians believe prehistoric people would travel up to 25 miles to mine iron, for pigments to make the red and ochre paints for their cave paintings.
Ancient Egyptians valued color symbolism in their tombs and temples so deeply that their desire for additional color options fueled their efforts in mining and trade. We know for certain that the Greek and Roman sculptures we think of as monochromatic white, were originally polychromatic! They had red lips, colored eyes, brilliantly hued garments–all painted with painstakingly created paints from pure pigment. The more rare the pigment, the more exalted the subject.
Opening Reception Friday, June 24, 2016 from 5 to 7pm
[n.b. that this event takes place in Santa Fe]
Located at the Fashion Industry Gallery, adjacent to the Dallas Museum of Art in the revitalized downtown arts district. Featuring new works by gallery artists Fausto Fernandez, Hung Liu, Squeak Carnwath, Drew Tal, Jamie Brunson, Rusty Scruby, Edward Lentsch, Wanxin Zhang, Suzanne Sbarge, Karen Yank, Scott Greene, Holly Roberts, and more! Fair hours are Friday and Saturday, April 15 and 16 respectively, from 11am to 7pm, and Sunday, April 17 from 12pm to 6pm, with an opening preview gala Thursday, April 14.
A link to the Dallas Art Fair is here.