She is a graduate of Columbia, MFA (1969), and Howard Universities, BFA (1964). Among the people at Columbia with whom she studied are Aja Junger, Stephen Greene, Leon Golden and Andra Ratz. At Howard University David Driskell, Lois Malou Jones, James Porter and James Wells are among the people who provided her basic introduction to art practice. She credits Professor Ronald Schnell and her Father Professor Ariel M. Lovelace of Tougaloo College, for her love of the arts. In 1993 she was a student at Skowhegan School of Painting & Sculpture where she started to understand the fundamental function of paint.

As a printmaker she has worked with Robert Blackburn, The Printmaking Workshop of New York City, Nemesio Antunez, Director of Museo Nacional de Bellas Artes and Founder of Taller 99 in Santiago, Chile, Tom Vanderlinden-UT at Austin and Professor Karl Kasten, founder of the Department of Printmaking at the University of California.

In 1991 she curated an exhibition for the Museo Nacional de Bellas Artes in Santiago, Chile, “17 Artistas Latino y Afro Americanos en USA.” 150,000 people visited the exhibition. In 1993 she received the Artist En France Award sponsored by the French Government and Moet & Chandon. She has represented the United States at a number of Biennales & International Art Festivals including Biennale Internazionale dell’Arte Contemporanea, Florence, Italy, Amadora 2000 VII Biennale 1^st International de Gravura, Amadora, Portugal, Biennale International Du Dakar, Dakar, Senegal, Africa, Mondiale d’Estampes, Musee d’Art Contemporaine de Chemalieres, France. She led tours of Robert Coelscott exhibition I nthe USA pavilion at the Venice Biennale in 1997. In 1983 she was invited as resident artists to print and participate in the international arts festival in Azilah, Morocco. In 2005 she was chosen by the State Committee to represent Mississippi at the Committees Exhibition at the National Museum of Women in the Arts in Washington, D.C. Her work is represented in a great number of international collections private and public in such places as Chile, France, Egypt, Morocco, Costa Rica, Brazil, Colombia, Senegal, Nigeria, Gabon, and Gambia, to name a few.

Two hardback monographs/catalogues have been published on the occasion of recent solo exhibitions-The Mississippi Museum of Art, Jackson Mississippi (2002) and Togonon Gallery, San Francisco, California (2007). She co-authored with Lee Hildebrand Colors & Cords, a book on the painting and sculpture of musician Johnny Otis published by Pomegranate Art Books in 1997. Mary Lovelace O’Neal lives and works in Oakland, California, she also maintains studios in Concon and Santiago, Chile, SA.

Please visit:

www.marylovelaceoneal.com

www.patriciomorenotoro.cl

Last Lay up, Unfixed Powdered Pigment, 6'9"x 11'6", 1979

She Thinks She's a Zebra, Actually She's a Painted Pony, mixed media, 7" x 5", 2007

Influenced by the Mujeres Muralistas, the first collaborative group of women muralists, Cervantes has applied the same process of accessible, community art to any size mural or age group through community mural workshops.

Cervantes is responsible for more than 400 murals (including the murals on the Women’s Building) considered some of the finest in the country. She is dedicated to enhancing the environment through the creation of murals while involving and educating the community about the process and history of public community mural art. Her deep commitment to collaboration guarantees that the creative work produced is accessible, both physically and conceptually, to the people whose lives it impacts.

“The mural movement itself is ethnically based. When you get ready to create a mural somewhere you’re sensitive to that place and its history. We’re constantly finding new ways to express the history that we all share and make it more visible. Murals beautify and enhance a drab environment, just the colors alone. They are uplifting, life affirming.”

“Murals are a real peoples art. People feel it is for them and about them. It concerns their hopes and dreams for a better future for everyone.”

“Balmy Alley is a mural destination for visitors. As the coordinator of the mural restoration project, I feel that it is most important to start there, and then work outward.”

“A mural is a bridge to the community. The artists communicate with the people; meetings are held to discuss the issues. The result is a reflection, a mirror of that community.”

“I don’t think of any one culture while I am painting. I try to bring out what’s common in people. Hopefully they’ll see themselves in my work.”

“I don’t think that there should be any restrictions or censorship placed by governments on artists. I certainly feel visual information has a lot of power, but people should not fear it.”

“My social responsibility as a public artist is to reflect the diversity of a community.”

“People in the community have concerns, and it is important that they have a voice. Public art gives people that voice. It gives them the visibility of the hopes and dreams of their community.”

“We believe hat through the various processes of creating public art, youth develop as artists and gain confidence in their ability to have a voice in the cultural life and the positive transformation of their city.”

“Their vision is ours. This is our home, where we live and raise our families. We are proud of it.”

“Every single kid has a design in this mural. No one was excluded from that opportunity, so they all feel that they’re a part of it, and not separate from it… so it’s really truly their mural.”

“It is great being outside and painting really large, but more important was I saw how muralists worked with each other in a collaborative way, and respected each other’s efforts, and trying to paint what was important. And then the passersby would offer comments and I realized how important it was for artists to be visible to the community, and how good it was to have art become part of everyday life.”

“Everyday you should be able to walk outside and see something being created. ”

“Art is not part of what we see, and not part of what our children see. It’s so sad. I see cultural genocide occurring. There’s a whole generation of kids without exposure to art. They haven’t learned about what’s inside them.”

“When we express our feelings through art, it’s a release. It makes you begin to care and have compassion for things around you, if you see yourself in something you’ve made.”

“There is an artist within everyone and if everyone were creating something at the same moment there would be peace felt all over the world. ”

-Susan Cervantes

Please visit Susan Cervantes’ website: www.susankcervantes.com

Susan Cervantes at work at San Francisco Museum of Modern Art

Spiral of Life, 1968

Transparent Ecstacy, 1969

Family Life Mural, 1977

Celestial Cycles, 1982

Our Children Are Our Reincarnation, 1982

Susan Kelk Cervantes_CV

When Ruth was 16, she and her family were interned along with 120,000 other people of Japanese ancestry who lived along the West Coast of the United States. For many, the upheaval of losing everything, most importantly their right to freedom and a private, family life, caused irreparable harm. For Ruth, the internment was the first step on a journey to a world of art that profoundly changed who she was and what she thought was possible in life. In 1994, when she was 68 years old, she reflected on the experience: “I hold no hostilities for what happened; I blame no one. Sometimes good comes through adversity. I would not be who I am today had it not been for the Internment, and I like who I am.”

Zig Zag
oil on paper, 6.75″ x 3″, 1946

Remington was born in 1935 and raised in Haddonfield, New Jersey. A descendant of the famed Western artist, Frederic Remington, she received her BFA from the San Francisco Art Institute in 1955. In 1954, during the Beat years, she was one of the six painters and poets, and the only woman, who founded the now legendary 6 Gallery in San Francisco, where Alan Ginsburg first read his poem, Howl. Remington spent two years in Japan studying calligraphy after graduation, then traveled throughout South East Asia and India, pursuing a lifelong interest in those cultures. She moved to New York City in 1965. Remington has been the recipient of a several fellowships including a Guggenheim, a National Endowment for the Arts, and a Tamarind Fellowship, among others.

Remington gained renown after 1963 for an aggressive and emblematic visual language influenced by abstract expressionism and her undergraduate work.. In 1962, she joined the Dilexi Gallery in San Francisco and had solo shows in 1962,’63,’ and ’65. In 1966, Remington became affiliated with the Bykert Gallery in New York and had solo shows there in 1967,’69,’72, and ’74. She lived in Paris in 1967 and 1968, and had the inaugural show at Galerie Darthea Speyer in 1968. This exhibition introduced her work to Europe. During the 1970s, Remington continued painting and exhibiting both nationally and internationally, while pursuing and refining her unique imagery. In 1972, she was interviewed for the Archives of American Art, Smithsonian, Washington, D.C. Tamarind Institute in Albuquerque, NM, invited Remington to make lithographs, and she produced 15 editions there beginning in 1973.

Remington had a 20 year (1963-1983) Retrospective exhibition which opened at the Newport Harbor Museum in California in 1983, and traveled to the Oakland Museum of Art and several other venues. In 1984, she received a Guggenheim Fellowship and began to pursue a new and different direction in her work. In1987, after a four-year hiatus from exhibiting, Remington showed radically transformed imagery at the Jack Shainman Gallery in New York and at the Shoshana Wayne gallery in Los Angeles the following year. The mechanistic and didactic flavor of the earlier works had been replaced with looser, more expressionistic and organic qualities, subtlety and paradox, with vigorously painted surfaces and more all-over compositions. She continued exploring this new direction and exhibiting the work throughout the 1990s, including a 1992 show at Galerie Darthea Speyer, Paris. She was elected to the National Academy of Design in 1999 and also received a Pollock-Krasner Foundation Grant that same year.

In 2001, Remington produced a breakthrough painting titled Eridan , which she says finally united the free-flowing gesturalism of both her very early and later work, with the more intense, emblematic, mechanistic, and sensuous aspects of the work by which she is best known. That same year, she exhibited new paintings and large scale drawings at the Mitchell Algus Gallery in New York. Also in 2001, an early lithograph from the Beat years was included in the Stamp of Impulse: Abstract Expressionist Prints exhibition at the Worcester Art museum in MA. The show traveled to other museums in the U.S. for several years and Remington’s piece was featured on the cover of the 295 page catalogue. In 2002, a large painting was included in the Parallels and Intersections exhibition at the San Jose Museum of Art. CA. A major piece will be included in the Psychedelic: Optical & Visionary Art Since the 1960s exhibition at the San Antonio Museum of Art in 2009. Show will travel in the US for 2 years. Remington’s work is included in over 40 major museum collections worldwide. She lives and works in New York.

Mojo

Omina

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Deborah Remington Interview with Professor Carlos Villa of San Francisco Art Institute

Ms. Bing was instrumental in establishing the South of Market Cultural Center (SomArts) as a nonprofit organization. She pioneered the SomArts Gallery Space, worked with the neighborhood Arts and CETA programs for fifteen years, serving as a panelist on the National Endowment for the Arts Expansion Program in 1968 and 1969.

The fall and winter of 1984-85, Ms. Bing visited Korea and Japan and traveled extensively in China, where she presented slide lectures of American Abstract Expressionism to art students. She spent six weeks studying Chinese calligraphy with Wang Dong Ling and Chinese landscape painting with Professor Yang at the Zhejiang Art Academy in Haungzhou, an experience which has inspired the unification of Eastern and Western ideologies in her abstract paintings.

After serving over two decades to the development of community arts programs, Ms. Bing returned to concentrate on her art. In 1991, Ms. Bing was invited to do a one-person exhibition at SomArts Gallery (3,000 sq. ft.) in which she presented new work. Since then, 1995-1997, she was invited to major exhibitions across the United States. In 1996, Ms. Bing was selected by the National Women’s Caucus for the Arts Visual Arts Honor Award, in conjunction with a group exhibition at the Rose Museum, Brandeis University in Massachusetts.

In 1997-98, Ms. Bing was invited to participate in a major traveling exhibition, “Asian Tradition/Modern Expression, 1945-1970,” organized by The Jane Vorhee Zimmerli Art Museum in cooperation with the Rutgers University of New Jersey. After traveling to New York, Chicago and Los Angeles, the exhibition was shown in Taiwan in the spring of 1998.

In 1998, Bing’s work was part of a traveling exhibition of abstract painters who are primarily influenced by Asian cultures, entitled “Women On the Silk Road.” The show premiered in San Francisco and then traveled to venues along the silk road trade route in Asia and Europe, including Dhanghi, Hang Chow and Bei-jing, China.

Mayacamas No. 6 Oil on canvas, 49" x 48", 1963 Permanent collection, de Young Museum, San Francisco, CA

Abstract Calligraphy Mixed media, 35" x 24", 1987 Collection of Bernice Bing Estate

Portrait of Bernice Bing, Collection of Bernice Bing Estate

Portrait of Bernice Bing, Collection of Bernice Bing Estate

View a conversation with Lenore Chinn on Bernice Bing
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Rogers has exhibited widely both nationally and internationally including one person exhibitions at major galleries and museums in San Francisco, Seattle, New York, Chicago, Pittsburgh, Scottsdale, Germany, South Korea and the United Arab Emirates. Her work is in major public and private collections including The San Francisco Museum of Modern Art, The Scottsdale Museum of Contemporary Art, The Tucson Museum of Art, Arizona State University Museum of Art, The Oakland Museum of Art, and The San Jose Museum of Art.

Rogers was born in Newcomerstown, Ohio and grew up in Canton Ohio. She graduated in Commercial Art from Timken High School. and graduated with a B.SC. degree in Art Education from Ohio State University. In California she studied painting at The San Francisco Art Institute with Richard Diebenkorn, Elmer Bischoff and Frank Lobdell. She studied life drawing with Nathan Oliviera at California College of Arts and Crafts. She received the Eisner Prize and her MA in Painting from the University of California at Berkeley. At UC Berkeley she studied with NY painters Michael Goldberg and Angelo Ippolito. Her major professor was the Chicago/NYC painter, Felix Ruvolo.

Rogers has been a faculty member or visiting artist at the University of California, Berkeley, CA, University of Chicago, San Jose State University, University of Kansas, Lawrence, KS, The San Francisco Art Institute, Cooper Union, New York City, NY, University of Washington, Seattle, WA, University of California, Santa Barbara, CA. Pusan National University, Pusan, South Korea and Zayed University in Adu Dhabi. In 2007, after numerous mentoring and teaching awards, Rogers retired from the University of Arizona, and is now Professor Emeritus of Painting and Drawing in The School of Art at The University of Arizona in Tucson, AZ.

Secret of Joy
Oil on canvas, 60″ x 52″, 2007

www.barbararogersart.com
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Kent returned to San Francisco in 1929 and set up a studio in North Beach. She soon established a reputation as an innovative and original sculptor of great originality, developing an abstract style rooted in surrealism and becoming a prominent member of the San Francisco Art Association. Kent exhibited or juried in the prestigious Annual show nearly every year from 1930 until her death in 1957. She served on the Board of Directors from 1947-57, and taught at the California School of Fine Arts in 1955.

She had her first solo exhibition at the Betty Parsons Gallery in 1949. Kent subsequently showed her work several times in New York, including the 1950 Whitney Annual, an important exhibition at the Museum of Modern Art in New York, and a second solo exhibition at Betty Parsons Gallery. Following a trip in 1953 with her husband, sculptor Robert Howard to Egypt and Greece, her work evolved toward simplified columnar forms.

In 1957 Adaline Kent died in an automobile accident on the Pacific Coast Highway south of Stinson Beach. Her will bequeathed $10,000 to establish an annual award to a promising California artist.

'Presence', Magnesite, Collection of SFMOMA

Adaline Kent was very much of her time in every way in none more than the advantage she took of the twentieth century artist’s freedom to find the substance and the reason for creative expression everywhere.

Art of the other times, places and people, curiously formed or colored objects from nature, the inherent qualities and accidental appearances of things and materials, the forms she discovered and those she created, the varied aspects of the world about her, all served her art, and were transmuted, according to her lively fancy and creative need, into a personal statement. She gathered around here, and lived and worked among objects from many parts of the world and things of everyday life and of nature in which her sensitive eye and inventive mind recognized an art quality.

Travel in the mountains of the West and over the stark earth-toned landscape of Greece alike could nourish her imagination and contribute to her creation of new forms. Her work comprehends and expresses all these sources of creative invention, and at the same time remains her alone, completely original and personal.

-Grace L. McCann Morley
Director, san Francisco Museum of Art

From the notebook’s of Adeline Kent

“Sculpture, as any other creative effort, is a document on the thinking of the creator- a piece of autobiography.”

“A piece of sculpture should be a personal experience if not a whole voyage of discovery- discovery of new facets of one’s self.”

“Modern art is the expression of OUR time. It differs from earlier art because of new knowledge. It brings out new horizons. Artists themselves, from the beginning carry a constant, – the need to create a personal truth. As a person lives in his time he must share the ideas that make up that time.”

“The beginning of being an artist is to make yourself worth expressing. Nothing is wasted. You sharpen your personality with every good book you read, every stunning symphony you hear, the rhythms you discover while dancing, every danger you get through, every person you really love, – there’s no end to it. All the time you must be working at the EXPRESSION end of it. You should take notes from nature. You can’t lose anything by knowing how to draw a hand, – one that is alive, not cast, – how to catch and set down, the meaning of a blade of grass or a mountain.”

“An individual artist goes through the transitions of the history of art – classicism to romanticism etc. – swinging toward another as the mood fulfills itself in action – each at his own tempo.”

“I want the power of Stonehenge and the magic of the South Pacific in language of the Wide Present.
To fuse the spiritual with the animal instinct
in forms coherent with nature.
The mystery comes from the strength of
Form-and-Space, not from amorphousness.”