Artist Spotlight: Joe Pinkelman -- America

Joe Pinkelman, This Land is Our Land (White Immigrants First), Ceramic, 22 x 19 x 20"

TAG presents America, a new body of work by ceramicist Joe Pinkelman.
Pinkelman was strongly influenced by two books, We Were Eight Years in Power by Ta-Nehisi Coates and Stamped from the Beginning: The Definitive History of Racist Ideas in America by Ibram X. Kendi. The books examine historical and current racism in America.

Joe Pinkelman, I Promise To Be Double (White) Good (Standards for White Folk Are Much Lower), Ceramic, 22 x 13 x 12"

Pinkelman only begins to scratch the surface of the deplorable treatment that black Americans have received since the 17th century. His examination is further limited because it comes from a white male for who the US system was tailored.

Joe Pinkelman, In Memory of Trayvon Martin (My Blood is Red Like Yours), Ceramic, 22 x 20 x 3"

As there are too many to count or list, this body of work tries to collectively visualize a portion of egregious actions.

Joe Pinkelman, Incarceration is the New Plantation (Change the Criminal Justice Code), Ceramic, 22 x 13 x 12"

The Exhibition runs through Saturday December 15
Reception: Saturday, December 1, 5­-8 p.m.
Artist Talk: Saturday, December 15, 3pm

Current Exhibition: Deborah Decker, Shelley Lazarus, Joe Pinkelman

Tuesday November 20 -­ Saturday December 15
Reception: Saturday, December 1, 5­-8 p.m.
Artist Talk: Saturday, December 15, 3pm

Deborah Decker -- Memory

Deborah Decker, Night Ride, Graphite on Paper, 48 x 105"

Shelley Lazarus -- H2O works

Shelley Lazarus, Ventura Hills, Watercolor, 12 x 21"

Joe Pinkelman -- America

Joe Pinkelman, I Can’t Breathe (In Memory Of Eric Garner), Ceramic, 8” x 18” x 12”

Artist Spotlight: Joe Pinkelman -- More China

Joe Pinkelman’s latest work, More China, continues the artist’s exploration of fragmentation, imbalance, delicacy, and beauty. Born out of a residency in Jingdezhen, China, Pinkelman uses carefully crafted porcelain structures to lay the blueprint for work that is not only beautiful to the eyes, but speaks to the political and conscious mind of the viewer.

More China continues the artist’s various critiques of the United States government, focusing on harsh crackdowns toward immigration and the many children killed by US drone strikes.

In a time where political tensions are at a fever pitch and human decency seemingly is lost, Pinkelman urges the viewer to examine the humanity in those persecuted and the often-passive role that we, as by-standers can so often play.

The exhibition runs through Saturday, October 21.

Current Exhibition: Pam Douglas, Joe Pinkelman, Marion Wood

Tuesday, September 26 – Saturday, October 21, 2017

Opening Reception: Saturday, September 30, 6 – 9pm
Artist Panel Discussion: Saturday, October 7, 3pm

Pam Douglas – SIGHT

Pam Douglas, Forecast From the Deep, Ink, string, acrylic on plexiglas, 55 x 43”

Joe Pinkelman – More China

Joe Pinkelman, Cloud #1, Porcelain, 26 x 19 x 19”

Marion Wood – Gravity

Marion Wood, Off the Grid, Acrylic on canvas, 72 x 60"

Artist Spotlight: Joe Pinkelman on Clay Pinched Pots

Joe Pinkelman, Pinching China #4, Porcelain, 12 x 10 x 10"

I worked on these pinch pots while waiting for a Chinese translator to help me out. The past several years I have worked at a ceramic residency in Jingdezhen, China. At any given time there are about 10 artists from around the world working on their individual ceramic projects. Consequently with only two translators, it might take a couple hours until they would be able to help address your individual needs.
After the first couple of days, I found myself getting overly anxious waiting so I decided to sit and start making pinch pots. It worked to my advantage in several ways. The first was to ‘warm’ myself up to ceramics and get my mind into the experience of working in clay. Secondly, it challenged a hand building skill I use many times with my students but not with my own work. Lastly, the process became like a Buddhist meditation for me and I focused on my body, my hand movements, and my environment.

The first pinch pot I made was a Greek amphora but I quickly realized that since I am working in China, I should start making forms that have a historical reference to Chinese ceramics. Thus all of the forms in the exhibition are based on traditional, Chinese ceramic vessels.

Traditional

Joe Pinkelman, Pinching China #6, Porcelain, 12 x 10 x 10"

Traditional

Joe Pinkelman, Pinching China #2, Porcelain, 12 x 10 x 10"

Today is the last day to see Pinching China, Joe's exhibition at TAG.

You can view more of his work here, on TAG's website.

Upcoming Exhibition: Vicky Hoffman, Joe Pinkelman, Tom Wheeler

Tuesday, May 17th – Saturday, June 11th, 2016

Opening Reception: Saturday, May 21st, 4 – 7PM

Artist Panel Discussion: Saturday, June 4th, 3PM 

Vicky Hoffman 

Latitude & Longitude  

Vicky Hoffman, Sacred: 34.8N, 111.7W, Encaustic, 12 x 12"

In her latest series of work entitled Latitude & Longitude, Vicky Hoffman explores the impact we have as a society on our environment, and its vastly limited natural resources. Questioning how much further we can exhaust the assets of our earth, Hoffman references ecological concerns such as drinking water, economy, population, and poverty within her work. Using simple geographical coordinates as her titles, Hoffman brings to light specific locations around the world facing such crises.

From sites as far away as Madagascar, and as close as the LA River, Hoffman’s work speaks broadly about our opportunity and responsibility to work collaboratively as a civilization to pollute less, and conserve more. Utilizing different textures, grids, and tactile materials, Hoffman provides an intimate perspective of these environmental worries. Applying mixed media and encaustic paints, Hoffman creates a veil of light, depth, and transparency to achieve an abstract atmosphere within her work.

Joe Pinkelman

Pinching China

Joe Pinkelman, Pinching China #1, Porcelain, 19 x 7 x 7""

In his latest exhibition, artist Joe Pinkelman explored the porcelain pinch pot methods of the indigenous people of Jingdezhen, China. While studying abroad last summer, Pinkelman began experimenting with the time-honored techniques of creating ceramics and using the vocabulary of traditional and ancient Chinese vessels. With a very slow and delicate process, Pinkelman was able to focus on the spiritual and ceremonial aspects of the traditional craft.

Using a customary oxblood red glaze, Pinkelman’s work draws focus to the texture, surface, and shape of each piece. The other forms in this exhibition explore Pinkelman’s continued examination of fragmented vessels, the tension created between two shapes forced together, yet seemingly pulled apart. 

Tom Wheeler

Light Lab 2016: Western Landscapes

Tom Wheeler, Cube #1, Archival pigment print, 26 x 36"

In Light Lab 2016: Western Landscapes, Tom Wheeler presents a dynamic evolution of his continuing work in night photography. His new work reaches beyond the realm of typical night photography and into something unique. Wheeler proposes that this style might be more aptly called light manipulation photography.

Wheeler’s underlying requisite methodology still holds constant, (nighttime long exposures with light-emitting tools such as flashlights, and hand-lit subjects among vast, awe-inducing, starry landscapes) while many of the images in his newest series challenge the elements of composition in traditional night photography. Moving beyond his previous approach, these new images are no longer necessarily bounded by complete starry darkness and now include “fast work” in rapidly changing pre-dawn and post-dusk light situations.

Although always a primary subject, nature itself is no longer the only cast member, as man-made intrusion and/or coexistence is introduced into his new work as a theme. A recurring subject is a lonely plastic snowman, as well as exploration with portable acrylic light rods and large glowing hand-hit Lucite boxes. Experimentation is paramount in Wheeler’s artistic process, spurring the title Light Lab 2016, as Wheeler intends to morph his style of work as he progresses. Wheeler holds the idea that there is an abundance of untapped compositional style in the world of night imagery, and thoroughly enjoys the journey and thrill of exploration in this genre of photography.

Light Lab 2016, showcases a variety of images in beautiful settings along the West Coast region of the American continents from the upper US to the bottom tip of Chile. Wheeler’s recurring styles lean toward minimalism, with vast wide-angle landscapes and tiny, yet powerfully lit up subjects, with some of his work continuing to show a somewhat quirky sense of humor.

Spotlight On: Joe Pinkelman

Joe Pinkelman, Plates #7, Porcelain, 42 x 42 x 3 in 

This is a series of work I completed in Jingdezhen, China at a residency called Pottery Workshop. It's the porcelain capital of China since around 1000 AD. I wanted to make a series of circles that would intersect visually yet still seem fragmented. One of the studios in Jingdezhen makes various sizes of plates up to 1 meter so I wanted to try that form out since I never explored plates before. 

I liked using the flower motif because it seems life affirming.
Toward the end of the series I wanted to experiment with some abstract patterns as in Plates #1. 

Joe Pinkelman, Plates #1, Porcelain, 54 x 36 x 3 in.

The last piece I created was Plates #9 

Joe Pinkelman, Plates #9, Porcelain, 72 x 26 x 3 in.

In the future, I want to explore fragmenting the figure by using recognizable figures from art history. 

My influence has always been Peter Voulkos and in this series, another ceramic artist named Paul Mathieu.

Joe's work is on exhibit at TAG through 8/8/15.

Coming Exhibition: Don Adler, Suki Kuss, Joe Pinkleman

Tues. July 14th - Sat. August 8th, 2015

Opening Reception: Saturday, July 18, 5-8 p.m.

Artist Talk: Saturday, August 1st, 3 p.m.

Don Adler, Eroti-X

Don Adler, Torch, Marble, 20 x 7 x 7 in.

Don Adler's current exhibition, Eroti-X, is a combination of two concepts: erotic and X-rated art. The sensuous nature of carved stone is exhibited throughout this body of work, produced by the employment of design and technique. The softness of the surface, curvilinear shape, and form portray the exotic nature of the feminine soul (mystique). The repeated use of negative space draws the visual/cerebral sense into the mysterious nature of eroticism. Initially it is the eye that makes the connection, but in the end, the inner-self experiences the concept.

It is easy to understand the artist’s direction to the female subject when considering his 42-year occupation as a reproductive Gynecologist. Adler encourages the observer to not only visualize, but to touch and caress his art so as to absorb the erotic experience and warmth of his concepts.

Suki Kuss, State of Grace

Suki Kuss, To the Flame II, Mixed Media, 40 x 12 in.

Suki Kuss' latest show, State of Grace, reflects her feelings surrounding the past year -- a year in which her time was divided by the intensity of family life and the steady pull of her artistic instincts. Working was difficult and time spent in her studio was limited. The body of work resulting from her efforts represents that solitary limitation, each piece a complete yet delicate visual note.

Still using an austere, nearly monochromatic palette, Kuss' self assured quietude reinforces the title of her show. Her abstractions are filled with mysterious icons and highly feminine materials, lace, maps and line work.

Joe Pinkelman, Plates 

Joe Pinkelman, Plates #2, Porcelain, 42 x 42 in.

Plates, the new series of work by Joe Pinkelman, are decoratively and abstractly patterned plates. Some of the plates are cut away which breaks up the outer circumference of the form. Yet they are interlocked with plates that aren’t cut which forces the viewer to see the image as a whole, unified visual experience. Patterns are created by the surface and by the actual configuration of the plates themselves. What initially seems disjointed is actually a rhythmic unification of surface and form.

These pieces toy with the notion of Functional Art. As plates, they are completely functional, but once hung on the wall, and particularly grouped as Pinkelman has, they confront the viewer’s preconceived notions of what plates are for. Forcing the viewer to look again and more inquisitively is a trademark of Joe Pinkelman’s work.

Special Closing Reception: Andrea Rubin Kichaven, Suki Kuss, Joe Pinkelman

Missed our opening reception over the Memorial Day Weekend?

Not to worry - artists Andrea Rubin Kichaven, Suki Kuss, and Joe Pinkelman will host a special closing reception on Saturday, June 15th, 4-5pm for a final night of mingling + refreshments for those who missed our opening. See you there!

TAG Interviews Joe Pinkelman

Joe Pinkelman is exhibiting paintings and ceramics in his show New Work: The Heaven and Hell Series.
He answered some questions from us:

Are there any challenges working with the artisans in Jingdezhen, China?
In general, Jingdezhen has been great because it is a place where you come in with an idea and you have incredible technicians that help you realize that idea in ceramic form. They literally have 1000 years of experience behind them. It isn't a challenge working there because it is very first world in environment so all of your needs are met.

Self Portrait #1, stoneware, wire, 21 x 15 x 10"

You have a couple of 2d drawings in this show. 
Is this something new for you? Or work that you just haven't exhibited at TAG before?
I've always worked in a 2-D medium so I wanted to include some images in this recent show.

Trees #1, oil/charcoal on paper, 44 x 33"

Has your day job influenced your art?
My job doesn't influence my work, rather various life experiences.

What is the biggest challenge that you face as an artist? 
I think ceramics is a very abstract medium like poetry and music, yet unfortunately in our culture it (ceramics) goes quite unappreciated except as a craft medium. That however doesn't deter me from working in the medium.

Do you have some questions for Joe?
Come ask him at the Artists' Talk at TAG on Saturday, June 8, 3-4pm.
The show runs until May 15th.
There will be a closing reception on Saturday, May 15th from 4-5pm.

Coming Exhibition: Andrea Rubin Kichaven, Suki Kuss, Joe Pinkelman

May 21 - June 15, 2013
 

Featuring:

Andrea Rubin Kichaven, Suki Kuss, and Joe Pinkelman

Opening Reception:

Saturday, May 25, 2013, 5-8 p.m.

Artist Talk:

Saturday, June 8, 2013, 3-4 p.m.

Textured Terrain, Andrea Rubin Kichaven

Andrea Rubin Kichaven, La Vida Pasa, Mixed Media, 36 x 36 in., 2013

In her current exhibition, Andrea Rubin Kichaven juxtaposes representational animals within fanciful terrains. Layering color through a variety of techniques, Kichaven incorporates tactile patterns created by found materials such as lace, stencils and templates, mark-making, collage, and acrylics to develop colorfully textured landscapes. “What makes me passionate about each piece on which I work are the immediacy of my personal feelings, the colors, and the textures,” says Kichaven. “In the process of experimentation and unknown possibilities, one image generates another.” Whimsical animal environments are borne out of layer upon layer of color and texture application and removal (addition and subtraction), simultaneously building upon and revealing the visual history of the work beneath.

Haunted Heart, Suki Kuss

Suki Kuss, Sanctuary I (detail), Mixed Media Collage, 36 x 24 in., 2012

The loss of a beloved family member is both shattering and illuminating. In Suki Kuss' new exhibition, Haunted Heart, she explores these emotions, navigating through the aftermath of the suicide of her niece. Kuss’ recent work reflects the darkness and the light that she has worked through in the past year. Incorporating paint with mixed media materials of vintage fabrics, lace, maps, threads, patterns and mirrors on canvas, Kuss’ highly textured work takes viewers through an abstract narrative. “My finished pieces are delicate and intimate,” says Kuss. “They call out to be closely scrutinized.” Layers of details beckon the viewer closer to examine the elegant subtleties within Kuss’ use of abstract line and shape that convey an ongoing search for balance and peace.     

New Work: The Heaven and Hell Series, Joe Pinkelman

Joe Pinkelman, Heaven and Hell #2, Porcelain, 23 x 15 x 15 in., 2012

In his current show, artist Joe Pinkelman continues his exploration of abstract pottery. Using a technique he first developed in Jingdezhen, China, Pinkelman incorporates decals, high-fired porcelain, as well as thrown and press molded forms to create his designs. Fusing modern, often fragmented shapes with ancient Chinese pottery techniques, Pinkelman creates expressive contemporary allegories. “I am interested in imbalance and instability contrasted with beauty and ugliness,” says Pinkelman. The contrasting motifs of life and death, heaven and earth, light and dark pervade Pinkelman’s work as delicate ceramic pottery is placed precariously on pedestals.

New Exhibit at TAG Gallery: Joe Pinkelman and Anne Ramis

Opening Reception: Saturday, October 6, 2012, 5-8 p.m.
Conversation with the Artists: Saturday, October 20, 2012, 3-4 p.m.

Joe Pinkleman New Work

In his latest exhibition, Joe Pinkelman continues a series of work he first developed in Jingdezhen, China. The city has had a significant impact on his work, particularly through his experiences at the Jingdezhen ceramic residency, Pottery Workshop. Using decals, high-fired porcelain, thrown and press molded forms, Pinkleman’s ceramic creations fuse modern, often fragmented shapes, with ancient Chinese pottery techniques to express colorful narratives.

Anne Ramis The Dancers

Continuing her playful approach to exploring new mediums, artist Anne Ramis’s latest exhibition explores photo manipulation and digital media. Inspired by her love of dance, Ramis works to capture movement without losing the emotional energy tied to physical gesture. Collecting vintage photographs from books and looking to such dancing legends as Isadora Duncan and Tamara Karsavina, Ramis’s mixed media works communicate liveliness over the static pose.

New Exhibition Featuring Anne M Bray, Karen Florek, Joe Pinkelman, and Stephanie Visser October 5- 30, 2010

Reception:
Saturday, October 9, 5- 8 PM

Artists' Q & A Panel:
Thursday, October 14, 7 PM

Anne M Bray, "RoadTrip"

Anne M Bray's roadscapes are a celebration of fleeting moments frozen in time. Whether depicting urban or rural settings, or the roads in between, her works create windows of contemplation for her viewers to get lost in the moment themselves. Working from photographs taken while driving cross country, Bray then interprets the images in the studio, simplifying the compositional elements with chalk pastels.

Karen Florek, "Seeing Through: The Function of Light"

In her latest exhibition, Seeing Through: The Function of Light, Karen Florek uses light, film, found materials, and x-rays to explore below the surface of what is obvious to the eye, and uncovers the essential role light plays not only in our real world, but in our language as well. Her photographs of the completed images capture how light can evoke feeling, enhance an emotion, reveal our vulnerabilities, and create drama.

Joe Pinkelman, "New Ceramics from Jingdezhen, China"

Destruction and re-creation strike a delicate balance in Joe Pinkelman's three dimensional forms in his latest exhibit. The forms of Joe Pinkelman's work consistently appear to tip, balance, fragment, and reconnect in a myriad of patterns and designs. The physicality of the clay fuses delicacy and solidity. The metaphysical aspect of the clay is that shapes are created, destroyed, and recreated.

Stephanie Visser, "Mysterium"

In her latest exhibit, Mysterium, Stephanie Visser's mixed media artwork moves away from the predominantly geometric forms of previous exhibitions to much more ethereal, moody and emotive images - although still reminiscent of landscape and skyscape, both urban and rural. Built layer by layer through translucent color washes; scumbled color upon color; and scratched in line and collage; each piece represents a "mind photograph" that hints at everyday life and its impact.

Joe Pinkelman Interview

Legs With Decals
ceramics/decals/wire
42 x 21 x 14"
Joe Pinkelman

Destruction and re-creation strike a delicate balance in Joe Pinkelman's three dimensional forms.

Does your own life play a role in your imagery?

Yes it does. Most if not all my life experience plays a role in my imagery. I think that is always the starting point and hopefully it expands beyond self. That allows someone else to share and be empathetic with the form and experience. In addition, ceramics adds an abstract element to the work because it is a pot and not a reference something else.

Who are some artists that are currently producing work that you like?

In the ceramics I like Paul Mathieu, Grayson Perry, and Daniel Kruger. On an international scale I like Jeff Koons, Anish Kapoor, Martin Puryear, and Richard Serra.

Would you collect your own work if you saw it in a gallery? Why or why not?

There are some specific pieces I like and wish I had kept. In general though because I am constantly surrounded by it (I can't sell most of it), it's good to look at work that is opposite of my interests. There is a story of Soutine admiring the works of Rembrandt in the museum yet their paintings are polar opposites.

In your work do you prefer timeless themes or current issues?

All my work has been an attempt at timeless issues and it is just recently since my visiting Jingdezhen, China that I am interested in current issues. I am working on a series of pieces that respond to pedophile catholic priests and the amnesty they receive from the Vatican, and in a new body of work I want to explore the involvement and culpability of the U.S. in regard to Iran, Iraq, and 911.

What is the purpose of art?

I think the purpose of art is to communicate ideas and emotions that have significant and universal meaning. Not to sound crass, but everyone scratches their ass. Even the Queen of England scratches her ass. Yet is that a universal that has significant meaning? The ideas and emotions expressed through art should be about understanding the world and individuals in more complex contexts. The purpose of art allows us to see those contexts and great art gives us the knowledge that we are free in our own lives to direct them as well. Consequently I am not a believer in causality.

Joe Pinkelman's exhibit at TAG opens October 5, 2010.