A performance at bG Gallery
Bergamot Station, Santa Monica
June 28 3 – 5 pm
2525 Michigan Ave.
Santa Monica, Ca.
“ISLAND GIRLS” an afternoon of performance at bG Gallery Bergamot Station, Santa Monica
Performance: Sunday June 28th 3-5pm
Location: bG Gallery at Bergamot Station 2525, Michigan Avenue, Space G8A, Santa Monica, CA 90404.
You can join us In Second Life @ http://maps.secondlife.com/secondlife/LEA22/18/35/22
Go to www.secondlife.com download the platform, create an avatar and find us at the URL above.
Hours: Tuesday-Saturday 11:30am-6pm. Sunday 1-5pm
T: 310-906-4211 E-mail: firstname.lastname@example.org
bG Gallery is happy to host an afternoon of performances as part of the current Island Girls exhibit exploring women artists.
Jocelyn Wright and Kristine Schomaker present an engaging afternoon of multidisciplinary performance.
Kristine Schomaker blurs the lines between the virtual and physical worlds using the interactive, immersive performance environment. Projecting the 3D online virtual world of Second Life, the physical audience will be able to interact with Avatars from all over the world. The event will be held during a closing reception of her virtual installation BLOOM within Second Life, and at a performance art event held at bG Gallery Bergamot Station, Santa Monica, California simultaneously.
Jocelyn Wright’s performances are an engaging mix of poetry, prose, and theater. Having completed seven years on The Closer as the executive drama supervisor, Jocelyn is thrilled to be done with murder and onto poetry. Her poetry and short stories have been published in several anthologies, featured on radio, and documentary.
ISLAND GIRLS EXHIBIT:
Show run: through July 2nd
Curators: Shaye Nelson and Nancy Larrew
Artists: Wangechi Mutu, Sue Wong, Madam X, Cathy Weiss, Linda Vallejo, Kristine Schomaker, Megan Whitmarsh, Sarah Stieber, Linda Smith, Erin Reiter, Courtney Reid, Gay Summer Rick, Allie Pohl, Trinity Martin, Nancy Larrew, Michelle Lilly, Mia Loucks, Kate Jackson, Brenda Jamrus, Simone Gad, Carol Friedman, MK Decca, Wini Brewer, Terri Berman, Nora Berman, Sofia Arreguin.
Historically artists have relieved long hours of isolation in the company of their peers. The Ashcan School, the School of Paris and New York’s mass of Post-War Abstract Expressionists are all examples of such camaraderie. But few, if any, women artists are found in the photos, records and collections relating to these movements.
Excluded from the society of their male counterparts, women artists can find their work dismissed as an avocation, a hobby, a squandering of time. Marriage, motherhood and society’s expectations might exhaust creative energy or worse, stifle it. Just like other working women, female artists can feel compelled to choose between family and career.
No matter what path the female artist chooses, when she ventures out of the confinement of her studio to artists’ gatherings, galleries and museums, she will frequently find herself alone in a sea of men.
The works these women create suggest a range of emotions in response to their position: anger, contentment, defiance, detached amusement and quiet introspection. Every work a message in a bottle from an Island Girl.
We Choose Art: Kristine Schomaker
Written by Anise Stevens
Published June 18th, 2015 http://wechooseart.com/
Artist: Kristine Schomaker
Location: Los Angeles
Occupation: New Media and Performance Artist, Painter, Art Historian, Founder of Shoebox PR
Over the past decade, Kristine Schomaker has made huge strides, emotionally as well as professionally. While her beautifully orchestrated abstract works flow with an electrifying vibrancy, her venture into new media and performance art reveal how she has used and continues to employ her creative ingenuity as a vehicle to impart change.
When asked, Why Choose Art? Schomaker didn’t pause. This is because art lies at the core of her being. In her words,
“I choose art because art heals, art communicates, art educates. Art is beautiful and brilliant and mysterious. I choose art because I can’t imagine living without it.”
When Schomaker found Second Life (SL) in 2006, she didn’t recognize it as a therapeutic tool. Rather, she saw it as a means for escape: a place to unwind under the auspice of her avatar, Gracie Kendal, who Schomaker describes as an idealized version of herself:
“Gracie was the me I wanted to be.”
Once she started to roam the virtual world, she quickly realized that the environment could provide her with an opportunity that she hadn’t anticipated. She saw other artists using the platform as an alternative venue to showcase their work. Within one week’s time, Schomaker found a gallery space, set up shop, and started selling digital representations of her original paintings under Gracie’s name.
The success Gracie gained as an artist had a profound effect on Schomaker. Not only did it give her a new semblance of confidence as a painter, but it prompted her to address the lack of ease she’d been experiencing in her day-to-day life.
Upon this discovery, Schomaker began journaling an ongoing conversation between her avatar and herself. The experience was cathartic and led Schomaker to the realization that she’d been grappling with an eating disorder throughout most all her life. While the truly transformative revelation brought with it a roller coaster of emotions, Schomaker made the brave decision to delve in and further her investigation about the instigating matters of contention that had initiated her disorder through a new body of work.
The Gracie Kendal Project (2010) was Schomaker’s first experience, working with themes of gender, identity, and body image. Comprised of more than 150 images that feature Schomaker in dialogue with Gracie, the piece reveals what Rowan Derryth describes as Schomaker’s
“real world anxiety and self-consciousness.”
Schomaker’s envy of Gracie, with her perfect body and active social life, is more than apparent throughout the piece. What remains fascinating and provides the project with a true sense of power are Gracie’s envious pronouncements to Schomaker, because she is in fact real.
Unlike Schomaker, Gracie can’t feel. And her entire existence is contingent upon her creator, who didn’t just give Gracie life but facilitated her world-wide recognition as one of SL’s most recognized female artists.
The most positive incarnation to result from The Gracie Kendal Project is that it armed Schomaker with a renewed self-perception. It gave her the confidence to move forward, to stop judging her exterior, and to start seeing herself as a valued individual with a lot to offer.
A Comfortable Skin (2013) is perhaps one of Schomaker’s most profound works to date. Not only does its message regarding self-acceptance prove universal, but it exemplifies how far the artist has come. The installation comprises three components: a collection of virtual avatars, a handful of fiberglass mannequins, and a clothing rack from which painted pieces of canvas hang. All three pieces feature Schomaker’s abstract paintings and in such suggest that Schomaker has truly come to base her identity in that which she creates.
Schomaker’s work is currently on view in the group exhibition Island Girls, curated by Shaye Nelson and Nancy Larrew, and featuring works by Wangechi Mutu, Sue Wong, Madam X, Cathy Weiss, Linda Vallejo, Megan Whitmarsh, Sarah Stieber, Linda Smith, Erin Reiter, Courtney Reid, Gay Summer Rick, Allie Pohl, Trinity Martin, Nancy Larrew, Michelle Lilly, Mia Loucks, Kate Jackson, Brenda Jamrus, Simone Gad, Carol Friedman, MK Decca, Wini Brewer, Terri Berman, Nora Berman, and Sofia Arreguin.
Scheduled to run through June, Island Girls will remain on exhibition at BG Gallery at Bergamot Station in Santa Monica. Gallery hours are from 11:30 until 6 pm, Tuesdays through Saturdays.
BLOOM is an immersive installation in the virtual world of Second Life. Created using the tools and technology within Second Life, BLOOM is a kaleidoscope of art, paintings, patterns, textures, prints, designs and more.
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