Creative Growth Gallery
September 6, 2019
Creative Growth Gallery
Creative Growth Gallery
September 6, 2019
August 9 – November 3, 2019
Creative Growth is thrilled to be one of the first exhibition partners in a new collaborative art space in New York City's East Village called Institute 193 1(B).
From Institute 193-
On the heels of a major grant from the Andy Warhol Foundation, we're opening a collaborative project space called Institute 193 (1B) in New York City’s East Village on September 26, 2018. Located at 292 E. 3rd Street between Avenues C and D, 1B will introduce new and larger audiences to the work of Southern artists. The inaugural exhibition features the work of Eddie Owens Martin aka St. EOM, presented in collaboration with Columbus State University and the Pasaquan Preservation Society.
1B is a multi-year project space that will produce exhibitions in partnership with museums, universities, galleries, and non-profits whose programming features Southern artists. Phillip March Jones, Institute 193’s Curator-at-Large, will oversee the content and execution of those projects. Confirmed exhibition partners include: Atlanta Contemporary Art Center (Atlanta, GA), Creative Growth Art Center (Oakland, CA), Good Weather (Little Rock, AR), Nixon (Mexico City), Tops Gallery (Memphis, TN), and the University of Kentucky Art Museum (Lexington, KY).
Since 2009, Institute 193 has hosted 54 exhibitions, produced 15 publications, released 3 records, and collaborated with hundreds of artists, musicians, and writers on projects that document the cultural production of the modern South. Operating from a 310-square-foot storefront in Lexington, Kentucky, Institute 193’s traveling exhibitions, books, concerts, records, and art fair projects have reached audiences across the globe. Taken together, these efforts illuminate a region that is diverse, steeped in talent, and constantly evolving, despite or perhaps because of its rich and complicated history.
For more information, please contact Phillip March Jones: firstname.lastname@example.org.
Institute 193 (1B) is located at 292 E. 3rd Street, 1B, New York, NY 10009.
January 24 – May 13, 2018
TOUCHDOWN is curated by an interdisciplinary team of academics and is actively supported and co-curated by people with Down’s syndrome. Embedded in a larger research project (www.touchdown21.info), this exhibition aims to tell the history of Down's syndrome in an interdisciplinary and experimental way. The topic embraces disciplines like archaeology, ancient and contemporary history, sociology, medicine and genetics as well as art, film and literature. Besides ongoing controversies in society and current scientific problems, this exhibition will especially focus on the complex history of a relationship: how and where do “our” and “their” worlds “touch” each other? This exhibition includes work by Creative Growth artist Judith Scott.
Opening Hours: Tuesday - Sunday: 10am-5pm
Previously at: Bundeskunsthalle Art and Exhibition Hall of the Federal Republic of Germany Bonn, Germany October 28, 2016 – February 12, 2017 TOUCHDOWN 21
An installation by Dan Miller is on view at John McNeil Studio in Berkeley as part of their Limited Edition gallery project. Join us at the opening on November 9th at 5:30 at 720 Channing Way, Berkeley. Please RSVP at email@example.com.
Limited Edition is a creative exchange between John McNeil Studio and Bay Area artists. Every three months a new artist is invited to interpret the possibilities of a singular 250 square foot wall in the John McNeil studio, according to the artists' creative practice. For Limited Edition Eleven, a large-scale scroll created by Dan Miller fills the space.
November 17 - January 31, 2018 Dan Miller is featured in “Shadows of the words. Sign, language. Silences," a project curated by Luciano Tellaroli on the language trend in visual art. It is a large group exhibit with sixty works and more by many artists from different aesthetic orientation, age, provenience. The show takes place in three locations: Maroncelli 12 gallery, Carte Scoperte gallery and Casa dell’Arte Spagna Bellora.
The exhibit path is divided in three large sections: ‘Sign’ – with works by masters of 20th c. Italian art like Agostino Ferrari, Arturo Vermi, Ettore Sordini, Carla Accardi, Alessandro Algardi, Jannis Kounellis; Dan Miller from California – his paintings are also on view at Venice Biennale; the young Alan Borguet.
The “Word” section includes works by masters like Alighiero Boetti, Robert Rauschenberg, Jacques Villeglé; some of the protagonists of “Visual poetry” movement like Mirella Bentivoglio, Giorgio Milani, Adriano Spatola, Lucia Marcucci, Roberto Comini, Sarenco, Herman Damen, Henri Chopin, Anna Valla, Alberto Cavalieri, Francesco Correggia, Luciano Ori, Paul De Vree, Bruno Di Bello, Eugenio Miccini, Lambero Pignotti, Gianfranco Farioli, Anna Spagna; moreover works by Alberto Prina, Laura Zeni, Katia Dilella, and by the poet Nanni Balestrini (one of the founder of Gruppo ’63); Ignazio Moncada and the Outsider Antonio Dalla Valle.
In the third section – “Silences” – the language becomes mute with the cancellations by Emilio Isgrò, the enigmatic opera by Algardi, works by Dadamaino, Machado, Tommaso Fraschini and Dado Schapira.
All these artists make their art developing the relation between image, text and media. It is about a reflection that it is still alive today especially as regards to the anthropology of image in relation to writing and to word. The language is not a neutral instrument: it speaks about our vision of the world, our style of life. It is a mirror of society. The language has helped Homo sapiens’s evolution and leadership on the planet, generating also the ecological imbalance that probably will speed up its extinction. Our ancestors communicate by engravings on inside caverns; the relation between word and image has been one of the fundamental element of art, especially in the 20th c. To this day with the cancellation of the word and the representation of silence. A cosmic silence.
For more information, please visit www.maroncelli12.it.
Judith Scott and Dan Miller participating in the 57th International Art Exhibition of La Biennale di Venezia
Creative Growth Art Center is pleased to announce that two of its artists, Dan Miller and Judith Scott, were invited to participate in the 57th International Art Exhibition of La Biennale di Venezia. The inclusion of their work in “Viva Arte Viva,” curated by Christine Macel, marks a significant advancement for the presentation and appreciation of the work of artists with developmental disabilities in the contemporary art context. The Biennale Arte 2017 opens in Venice on May 13 and continues until November 26, 2017.
“Creative Growth would like to thank Christine Marcel for her vision and support of Dan and Judy’s work,” said Creative Growth Director Tom di Maria. “Judith Scott and Dan Miller’s path, from institutionalization and isolation to the highest recognition in contemporary art, is a magnificent story. And it’s also the story of Creative Growth. We believe that all people, regardless of their circumstance, can grow and prosper creatively with the right support.”
Creative Growth Art Center has been fostering creativity in artists with disabilities for over 40 years by providing a professional studio environment, gallery representation and exhibition, and a social atmosphere among peers at its Oakland-based center. Creative process is the heart of Creative Growth’s mission, resulting in empowered artists whose work is included in prominent collections, worldwide exhibitions, and, now, the Venice Biennale; this embrace by the contemporary art world speaks not only to the quality of work being made at Creative Growth, but also to a greater desire for personal, visceral, unmediated, and meaningful art.
Judith Scott (1943-2005) created colorful, complex, multi-media textile sculpture during her 17 years at Creative Growth. Crafting armatures from discarded materials, Judith wrapped her forms with knotted cloth, yarn, thread, wire, and paper towels. There was no boundary in terms of material; if she could wrap it, Judith would incorporate it into her work. Judith’s work is in the permanent collections of the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, Collection de l’Art Brut, Switzerland, The American Folk Art Museum, New York, and the Museum of Everything, London. The first comprehensive retrospective of her work was exhibited at the Brooklyn Museum in 2014 and is traveling nationally and internationally. Watch a short video of Judith in the studio here.
Dan Miller (b.1961) produces work comprised of letters and words that are repeated and overdrawn to create layered masses that seem to hover on the page. Working in a variety of media, including ink, pencil, felt pen, paint, ceramic, wood sculpture, and printmaking, Miller’s work contains the written record of his obsession with objects such as light bulbs, electrical sockets, food, and the names of cities and people. Dan has had solo exhibitions at Ricco Maresca, New York, Diane Rosenstein Gallery, Los Angeles, and White Columns, New York and participated in group shows at Gavin Brown’s enterprise, John Michael Kohler Arts Center, Sheboygan, The Museum of Everything, London, and ABCD, Paris. His work is included in the permanent collection of the Museum of Modern Art, New York, the Berkeley Art Museum, the Collection de l’Art Brut, Lausanne, and the Smithsonian American Art Museum. Watch Dan Miller making his work here.
June 10, 2017 - April 2, 2018
The Museum of Everything is proud to announce its most expansive and ambitious show to date. The venue is Mona - the groundbreaking space in Tasmania, Australia, dedicated to new definitions of historic and contemporary art – which has invited The Museum of Everything for an unprecedented 10 month stay.
With over 100 artists and almost 2,000 artworks, ranging from 1800 to the present day, this wide-ranging production will be the largest international exhibition of non-academic art ever staged in the country.
The project also takes The Museum of Everything in a dynamic new direction. Founder, James Brett, states:
The Museum of Old and New Art is a strange and wondrous place. When David Walsh invited us to stage an epic 10 month drama, we could only say yes - and we have done so with an explosion of depth, meaning, complexity and flavour.
On this journey, you’ll meet over 100 of the most astonishing art-makers you'll ever encounter : people who make not for us, but for themselves. It is the private life of art, and it is rarely seen in museums and galleries.
So forget all you've heard about insiders and outsiders ... if nothing else, this exhibition proves once and for all that art is not from the outer reaches, but from within.
James Brett, Founder The Museum of Everything
From June the museum will take shape across 30 individualized spaces within its new river-front home. The domestically-inspired installation juxtaposes paintings and drawings with sculptures, objects and furniture, leading visitors on a vivid, unexpected journey through an alternative art history.
The innovative layout, which captures the feel of a discovered home-museum, has been designed and themed by The Museum of Everything, in conjunction with award-winning movie production designer Eve Stewart, and Mona's own Adrian Spinks and Rachel Lang. Together, the team aim to set a new standard, not only for The Museum of Everything, but for Mona and Australia.
Among the many self-taught masters on display, one of the highlights is Victor Kulikov – the former head-teacher, whose daily weather chronicle was discovered during the museum’s tour of Russia in 2012. Another foun- tainhead is self-titled visionary architect Paul Laffoley, represented by several works, including his infamous masterpiece, Das Urpflanze Haus : a future home, grown from genetically-modified ginkgo biloba trees.
Legends of what the artist Jean Dubuffet defined as art brut are here too. Early drawings and letters by Swiss polymath Adolf Wölfli complement knobbled furniture from Karl Junker's fictional family residence in Germany. The anonymous French stone carvings known as Les Barbus Müller, collected by Tristan Tzara and André Breton, sit beside faked flint-stone proofs of Neanderthal art-making, peddled by the Polish nobleman, Juva.
Science and mathematics play a significant role. From the predictive calculations of Kentucky-born savant George Widener, to the personal talismans of Melvin Way, numbers evolve as pathways to wisdom and certainty – be they the thickly-painted theorems of New York legendary modernist Alfred Jensen, or the schematic inventions of French patent king, Jean Perdrizet.
Studios for artists with communication issues lend international and contemporary relevance. Alan Constable's ceramic cameras give insight into a sightless world. Text-based works by California’s Dan Miller, Osaka's Kunizo Matsumoto and Hamburg’s Harald Stoffers offer alternative uses for everyday language. These provide an elegant contrast to physical three-dimensional works, like the giant flying cities of Hans-Jörg Georgi or the majestic yarn sculptures of Judith Scott – whose oeuvre, along with Miller's, is being curated in this year’s Venice Biennale.
The Museum of Everything often presents art-making as inherent human behaviour. Hence the abstracted spirit drawings of two pioneering female artists – Sweden’s Hilma af Klint and Britain’s Georgiana Houghton – whose 19th century mark-making anticipated 20th century modernism.
Their beliefs are in many ways mirrored by later activators, like the futurist cathedrals of Parisian road-worker Marcel Storr, or the monumental Last Supper created by Perth handyman and electrician, Stan Hopewell.
As with other multi-part projects,the exhibition at Monadevotes space to monographic assemblies. Chinese spirit-scribe Guo Fengyi, Haitian metal- worker Georges Liautaud and meat-slicing moonraker Charles AA Dellschau are defined by their own bespoke worlds. As ever, the climax is an environment devoted to panoramic tale-teller, Henry Darger, whose perverse, complex and tremendously moving sequences depict his fractured childhood.
April 8 - May 21, 2017 In John Hiltunen’s anthropomorphic paper collages, the conventional dynamic between man and beast is rearranged with spellbinding results. The affected posturing of fashion models is combined with the purely instinctual behavior of animals in unpredictable, amusing and provocative ways:
A smug-looking cat struts in designer jeans; a tiny bespectacled rabbit head disappears into the body of a rail-thin model wearing a luxurious coat; a muscular dog-headed tennis player gazes lovingly into the human-featured shaggy dog that lies cradled in his arms, against the setting of an ocean sunset. Like most of the idyllic nature scenes that serve as the backdrops of Hiltunen’s collages, it is turned sideways, adding to the beguilingly off-kilter charm.
Direct and intense, the stunning reversals and inversions of these images reflect the care dedicated to their creation. Taken from fashion catalogs and travel magazines, Hiltunen invests substantial time arranging the components, laying them out on a table and considering the various options before achieving exactly the right effect.
A Kentuckian by birth, John Hiltunen currently resides in Fremont, California and attends the Creative Growth Art Center in Oakland - a world-renowned art studio that serves artists with mental and developmental disabilities. He has exhibited at White Columns and the Rachel Uffner Gallery in New York and his work has been shown at a number of contemporary art fairs. The Good Luck Gallery is delighted to be presenting his first solo show in Los Angeles.
January 19 - September 16, 2017 Featuring over 100 rarely seen works, Known/Unknown: Private Obsessions and Hidden Desire in Outsider Art considers how outsider, self-taught, and folk artists have creatively operated within common social boundaries, rigid ideologies and moral predicaments and illustrates the scope of sexual and erotic subject matter within this still widely overlooked field of visual art.
Featured artists include: Aurie Ramirez, Edwin Lawson, Eugene von Bruenchenhein, Gil Batle, Henry Darger, Johann Garber, Johann Korec, Marilena Pelosi, Miroslav Tichý, Morton Bartlett, Robert Anderson, Royal Robertson, S. F. Cody, Steve Ashby, and Thornton Dial.
For more information, please visit the Museum of Sex website, here: www.museumofsex.com.
Museum of Sex 233 Fifth Avenue New York, NY 10016 212.689.6337