I wanted to share a few words about the work in my upcoming show at Subterranean Arthouse, and how it relates to my studio neighborhood, known as Ghost Town.
In my art studio neighborhood, there is an community urban farm. On the fence is painted in 6 foot, somewhat graffiti-styled letters, “Ghost Town Farms.” Across the street, the garden (fence, vegetables, chickens, and all) look soon-to-be-devoured by the characters in a frightening mural by Jon Wayshak and Skinner. These hellish demons glower with bulging eyes, evil teeth, and faces of rage and wickedness. Flowing directly from that nightmare is a group of mystical light-filled paintings that include the 12 foot tall beautiful face of a woman fulfilled with radiance and inner peace. Across the street on the other corner is a vibrant building that once featured a mural, but has now been overlayed with tags, displaying a jumble of color and spectacular energy.
We are in Ghost Town.Read More»
“Observation Points” featuring Barbara Milman & Kim Vanderheiden
At The Subterranean Arthouse: 2179 Bancroft Way, Berkeley, CA 94704
Exhibition dates: June 4th -25th 2014
Opening Reception: Friday, June 6th 5:30-8:00 PM
Sundays 1:00-4:00, or by appointment
(firstname.lastname@example.org) & during scheduled Subterranean Arthouse events.* (Some events may require tickets. See http://subterraneanarthouse .org for event schedule and details.)
I was thrilled to learn last weekend that a piece of mine is in a show with the Tall Grass Arts Association in Park Forest, IL, near Chicago. Due to an email glitch, I had been accepted and hadn’t known. The reception is this Friday. Thankfully, there was just enough time to get the work packaged up and off to the gallery!
The other pieces I’ve seen from the show look really interesting. If you’re in the Chicago area, I recommend including this in your Friday or Saturday plans, and when you do, you can tell me how everything looks, for I’ll be curious! I’ll be in town to see the end of the show, but not at the reception.
Here are the details:
Identity Interpreted and Assumed: Self Portrait
Opening reception: Friday May 23rd 2014, 7-9 pm
Open house: coffee and conversation with juror and artists Saturday, May 24th 11 am.
Juror: Ruth Crnkovich
Curator: Thomas Lanham
TALLGRASS ARTS ASSOCIATION
367 Artists Walk, Park Forest, IL 60466
website www.tallgrassarts.org, or call the Gallery 708 748 3377
A story about steep climbs, Morocco, and painting heat in the desert.
Yesterday, I took my two daughters, ages 3 and 5, for a walk at Lake Chabot. As it turns out, most of the city decided to enjoy the beautiful day there as well. Alas, there was nowhere nearby to park.
Now let me give you the lay of the land. Lake Chabot is a reservoir in the Oakland Hills near San Leandro. Ensconced in steep hills and natural California wildlife habitat on all sides, it has a paved path for walkers and joggers that looks out over the lake. Further downhill at the shore are areas for fishing and boating, and there’s a low green grass area for parties and barbeques. To get to the park, you go down a hill to the paid parking lot. If you park for free on the road above the park, you will need to walk up a sizable hill at the end of your hike or workout, or when your children are overtired. Well, I didn’t find $5 in my purse for parking, but I thought the girls could handle the hill at the end. However, when we arrived, the nearest parking we found was up yet another long steady slope that we’d have to trek after we had just climbed up to the road.
Not to be deterred, we went ahead with our walk anyway. The girls did a great job. Lana is strong and active. Lia was tired, having recently given up her afternoon nap, but she was a trooper and kept at it. I brought no stroller, so she didn’t have much choice I suppose, but in any case she did well. We took the hills slowly at the end, stopping to rest when Lia said she was tired.
Eventually, the van came into sight in the distance ahead, but by then, Lia was spent. As I handed Lana the sweatshirt I was carrying and scooped up Lia, I told Lana a story that took place in Morocco, before she was born.
My husband, David, and I were traveling there with a small group. We drove in Land Rovers across the Sahara Desert and into the High Atlas Mountains near Algeria, where we stayed with the Imam of a small village. We slept on the rooftop. I’ve never seen such stars in my life. Absent city lights for hundreds of miles, the sky seemed sprinkled with powdered sugar. We certainly weren’t absent sound however! A veritable cacophony carried on through the night – a donkey would bray and wake a rooster, who would crow and wake the dogs. All the dogs in the village would bark, and then the dogs in a nearby village would pick up the chorus, and the rooster would crow again, the donkey bray again. Then they’d all settle down for a bit, and then the donkey would bray…Read More»
This December, the Array show opens at the Berkeley Art Center, and this piece, “If You Were to Try” is there. The words for this piece were pulled from a couple of wonderful poems that I’d love to share with you. The first is a poem by Rumi, translated by Coleman Barks, (The Essential Rumi, Jalal al-Din Rumi/Coleman Barks, HarperOne, 1995) and it’s one that’s influenced three of my works so far:
“The breeze at dawn has secrets to tell you.
Don’t go back to sleep.
You must ask for what you really want.
Don’t go back to sleep.
People are going back and forth across the doorsill
where the two worlds touch.
The door is round and open.
Don’t go back to sleep.”
The second poem is called “The Return,” by Geneen Marie Haugen (© 2007). A wonderful piece that hasn’t been published, so it’s a treat for us to be able to see it here. Enjoy! And then carry on with your own thunderous journey, if perchance you’re on one. My piece, “If you were to try” depicts the beginning of such a journey.Read More»
Mockup for 6 color letterpress commemorative poster by Kim Vanderheiden to be printed by guests at the SFCB on Thursday, November 7th, 2013, 6:30-8:30 pm. Guests may keep their own copies of the print.
California Society of Printmakers is the oldest printmaking society in the United States, with its official announcement appearing in the San Francisco Chronicle on Jan. 19, 1913. This fall, it marks its 100th birthday with the publication of its centennial book, California Society of Printmakers: 100 Years, 1913–2013. Please join our celebration and book launch at the San Francisco Center for the Book on Thursday November 7th, at 375 Rhode Island Street in San Francisco, from 6:30 to 8:30 pm.Read More»
One of the mixed media versions of this print will be in the new book, California Society of Printmakers: 100 Years, 1913-2013, edited by Maryly Snow, published by California Society of Printmakers, coming out in October 2013. We will share links and more information about the upcoming publication later this year.
You can view more work by Kim Vanderheiden at www.kimvanderheiden.com
“I Will Build” (extended mixed media version) Linoleum print, monotype and letterpress on paper. 13.5×22″ price available upon request.
A business seems like another life form sometimes. Indeed our corporations have their own legal rights and corporate personae. My experiences as owner of a sole proprietorship tell me that my (very) small business, too, has it’s own sense of being that’s apart from me. Feeding and raising it is another form of motherhood.
This piece, Time is Money, explores the tension between two limited resources when running a small business. The business needs both to grow. It must be fed. The clock is ticking. If it’s fed enough, it will turn time into money, more money than it needs. If it isn’t fed enough, it will eat time and money both, until it dies. Which will it be?
… tic toc tic toc tic toc tic toc …Read More»
“I’ve given my whole life to being an artist, every ounce, so that there’s nothing left. Now I need something else, but I’m emptied out,” (Crow, April 2013). This was said by artist Mike Kelley to his friend and art historian, John Welchman, shortly before Kelley committed suicide at the height of his art career. Kelley was reflecting on his earlier decision to not marry or have children, but instead to live life fully as an artist. It’s a troubling statement, not surprisingly, of course, given the context.Read More»
I received a notification today – a picture of “The Diameter of the Bomb” broadside (I don’t know which one) that Bill Denham and I collaborated on was accepted into the book, “For the Love of Letterpress.” by Martha Chiplis and Cathie Ruggie Saunders, to be published by Bloomsbury, coming out in the UK in August and US in October of this year. Here are some photos of the work, which was created for the “Al-Mutanabbi Street Starts Here” project, lead by Beau Beausoleil, owner of The Great Overland Book Company. It’s a really incredible project that has grown from artists responses to the bombing of Al-Mutanabbi Street in Baghdad on March 5th of 2007. Al-Mutanabbi Street, eponymously named for a beloved Iraqi poet, is the book market, a gathering place for the sharing of ideas, and a haunt of writers and artists. The attack was seen by many as an attempt to surpress speech and open thinking. No one claimedRead More»
This is a small work I’ve been working on recently – the dimensions are only 7×5″. The text reads:
What will I give? I will build. If you don’t quit, you haven’t failed. Insanity is repeating the same action and expecting a different result. Ashes ashes ashes ashes, try again, try again, try again, try again, try again, try again . . . Hurry up please it’s time! ashes ashes ashes . . . I WILL! i am. we all fall down. What have I given? I AM.
With three young children, there tends to be a lot of noise in my daily environment. A lot of voices, chatter, singing, laughter, requests, demands, sparring, farting noises, shooting noises. Noise presses in on all sides. It can get hard to think, and without your own thoughts, who are you anyway?
Does determination (I WILL) or self determination, (I AM) make a difference? What of my self will I give in this lifetime? How? and When?