North Dakota Museum of Art

Into the Weeds, August 13 - October 15, 2017

A Great Piece of Turf, graphite on paper, 78 1/4 x 109 inches,2014

A Great Piece of Turf, graphite on paper, 78 1/4 x 109 inches,2014

Home Economics at The Woskob Family Gallery, Penn State University

 

Opens June 29 through August 12, 2017

Kim Beck, Income / Outcome, Door mats,  2017

Kim Beck, Income / Outcome, Door mats,  2017

Curated by Haley Finnegan

The Woskob Family Gallery is pleased to announce Home Economics, a collection of two- and three-dimensional work by ten artists engaging with various understandings of home, what it means to belong, and the intricacies of domestic relationships. Ranging from the deeply personal to the overtly political, the works in Home Economics engage with issues including debates over immigration, changing notions about gender and family roles, and the growth of militant nationalism. Through paintings of intimate interiors, cheeky reinterpretations of domestic artifacts, and various representations of houses, “home” becomes a site for nostalgia, pride, and even anxiety. The included artists are Natalie Baxter, Kim Beck, Laurent Chéhère, David Cuatlacuatl, Rachel Farbiarz, Adia Millett, Danielle Mužina, Nick Naber, Hillel O’Leary, and Polly Shindler.

http://woskobfamilygallery.psu.edu/2017/04/13/home-economics/

Montalvo Arts Center / Solo Show of Animation & Drawing

I wish I knew what to say
Kim Beck: Solo Show at Project Space, Montalvo Arts Center
Friday, April 7, 2017 - Thursday, June 8, 2017

Scribble still

 

Kim Beck is a Fellow at the Lucas Artist Program (LAP) at Montalvo Arts Center. The works on view in this exhibition were created by the artist during a three month residency at the LAP this spring. Kim Beck’s new animations and works on paper are based on experiences of external and internal landscapes, the limits of representation and language, and the process of drawing as a metaphor for change.

Several of the works on paper are based on found photographs of a California landscape. The repetition of the photographic image in her drawings invites the viewer to reconsider our traditional understanding of photography as a reproducible medium and drawing, conversely, as a unique and singular mode of art making. The anonymity of the original photographer and site together also convey a sense of the mystery of place. Another set of works on paper are based on the artist’s hikes through the woods and mountains, pair text with color swatches based on the artist’s walks around Montalvo’s grounds. Annotated like informal diary entries, these works capture the experience of walking through a particular place at a particular time, like a mental and experiential snapshot.

These works are followed bya larger series of graphite drawings and animations. Beck made these stop-frame animations by drawing and erasing, photographing them each step of the way. Like palimpsests revealing traces of the previous gestures, the drawings are as much the residue of Beck’s animations as their starting point. As Beck says of the work: 

“These animations reflect the experience of being alive – the cycle of gestures, choices and actions countered by loss and change. The phrases written on some of the drawings, such as “I wish I knew what to say” and “There are no words” are a response to feeling at a loss for language: this last year my mother died, and then on top of that unspeakable experience, the country catastrophically lost the election. These losses have made language almost impossible. These drawings are on the edge of where written language and gesture meet, where a scribble might become a written word. As Samuel Beckett writes in his play The Unnamable: “You must go on. / I can't go on. / I'll go on.”

Kim Beck grew up outside of Denver, Colorado and now lives in Pittsburgh, Pennsylvania where she teaches art at Carnegie Mellon University. Her drawings, prints and installations have been shown at the Walker Art Center, the Carnegie Museum of Art, Socrates Sculpture Park, the Warhol Museum, the Indianapolis Museum of Art, the Minneapolis Museum of Art, the Philbrook Museum of Art and along the High Line in New York City, among other venues. 

http://montalvoarts.org/exhibitions/i_wish_i_knew_what_to_say/

I-70 Sign Show in Public Art Dialogue

Volume 6, 2016, I-70 Sign Show / by Anne Thompson, Pages 273-279 | Published: 09 Nov 2016

EXCERPT from Curator's Statement:

"Drivers crossing America on Interstate 70 find that the scenery shifts in Missouri. Billboards dominate the landscape. Most signs advertise travel amenities — food, motels and fuel. Many are blank. Others seem to conduct a heated, if inadvertent, culture-war debate: “red” versus “blue,” Christian values versus pleasure and vice. Warnings that hell is real, abortions stop beating hearts, and gambling destroys the family battle ads for porn venues and casinos. My goal in launching the “I-70 Sign Show” was to infiltrate this polarized terrain with artworks that function as playful commentary. I invite artists whose projects engage language, signage or pop culture in ways that could reflect themes prevalent along the 250 miles between St. Louis and Kansas City — religion, sex, gender, guns, labor, athletics, leisure and commerce. The project started in April 2014 with Kay Rosen and continued with Mel Bochner, Mickalene Thomas, Kim Beck, Ken Lum, Karl Haendel, Ryan McGinness, Marilyn Minter, Jeff Gibson, Eric Oglander and Ed Ruscha. The “Sign Show” does not explicitly label its billboards as artworks. By inserting something perplexing into a numbing message barrage, the project invites a vehicle based audience to reconsider a banal scene with curiosity."

 

I-70 Sign Show
Projects by Kay Rosen, Mel Bochner, Mickalene Thomas, Kim Beck, Ken Lum, Karl Haendel, Ryan McGinness, Marilyn Minter, Jeff Gibson, Eric Oglander and Ed Ruscha as well as everyday signage.

Projects by Kay RosenMel Bochner, Mickalene Thomas, Kim Beck, Ken Lum, Karl Haendel, Ryan McGinness, Marilyn Minter, Jeff Gibson, Eric Oglander and Ed Ruscha as well as everyday signage.

The Stephen & George Laundry Line

Barrier The Stephen and George Laundry Line / Ridgewood, Queens, NYC

In this new installation titled: Barrier, bright orange safety fencing is wrapped around the laundry line, suggesting security and construction activities in the usual place of laundry. Here however the fencing is no longer functional. Instead this subtly transformed readymade material seems to have floated up off the street, allowing us to consider it as either a fence dividing space or as a layered abstraction. Overlapping grids of orange and silver morph into a painting of sorts forming a disorienting moiré pattern. Over the course of the installation, the weather will rip and tear at the grid, gradually changing piece and further pointing to it’s failure as a fence.

Kim_Beck_Barrier_1

PULSE ART FAIR!

Field Recordings

With Mixed Greens at Pulse Art Fair, Miami 2015!