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JENNIFER MUSKOPF |
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| EDUCATION |
| 1993 |
BFA, Kansas City Art Institute |
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| SOLO EXHIBITIONS |
| 2015 |
Between Here and There: Subtle Realms, Michael Rosenthal Gallery, Los Gatos, CA |
| 2014 |
12 of Our 84 Possible Past Lives (Jenny Muskopf & Nellie King Solomon), Alter Space, San Francisco, CA |
| 2010 |
Antipodal Neighbors, Krets Gallery, Malmo, Sweden |
| 2009 |
You Had to Be There, Paxton Gate, San Francisco, CA |
| 2008 |
Cats and Birds, Rose and Radish, San Francisco, CA |
| 2007 |
Mamas and Babes, ReForm School, Los Angeles, CA
Even-toed Ungulates, Cog and Pearl, Brooklyn, NY
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| 2006 |
Points of Contact: How We Relate in an Unknown World, Branch Gallery, Durham, NC |
| 2005 |
Animal, Triton Gallery, Kobe, Japan |
| 2004 |
12 Bajan Houses, Upton Lodge, Barbados, WI |
| 1999 |
Recent Paintings, Taylor Gallery, Meriden, NH |
| 1996 |
Recent Work, Red Mill Gallery, Johnson, VT |
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| GROUP EXHIBITIONS |
| 2017 |
Objects of Radiant and Supernatural Power, The Quiet Life, LA, CA
Here (Part 1) Artists Annual Exhibition, BAC, Berkeley, CA
Collect!, Interactive Artist/Performer at BAC Auction, Berkeley, CA
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| 2016 |
Here: Artists Annual Exhibition, Berkeley Art Center, Berkeley, CA |
| 2014 |
First Friday Art Salon, Our House, Oakland, CA |
| 2013 |
5th Annual MFA Invitational, University Museum, UNH, Durham, NH |
| 2011 |
Craft: The Raiders Of The Lost Arts, Pertwee Anderson & Gold, Soho, London, UK |
| 2010 |
"The Dazzle" A Cabinet of Wonder Group Exhibition, Narwhal Art Projects, Toronto, Canada |
| 2010 |
"Knock Knock", Needles + Pens, San Francisco, CA |
| 2010 |
"Hide and Seek", Krets Gallery, Malmo, Sweden |
| 2008 |
The Thread as the Line: Contemporary Sewn Art, Ellipse Art Center, Arlington, VA |
| 2007 |
Borderland, 3rd Rail Gallery, New Rochelle, NY
Wurstminster Dog Show, Wurst Gallery, Portland, OR
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| 2006 |
Aqua Art Miami, Aqua Hotel, Miami Beach, FL
Converter, Riviera Gallery, Brooklyn, NY
Pleased to Meet You, Branch Gallery, Durham, NC
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| 2005 |
Two For the See Saw, Branch Gallery, Carrboro, NC
Art Cologne, New Contemporaries, Köln, Germany
Pinewood Derby Invitational, Architectural Artifacts, Chicago, IL
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| 2004 |
Coloring Book, Branch Gallery, Carrboro, NC |
| 2003 |
Weird Feelings, Millicent Gallery, Los Angeles, CA |
| 1999 |
Artist [book], University of the Arts, Philadelphia, PA
Vienna Austrotel Contemporary Art Fair, Viennart Hotel, Vienna, Austria
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| TEACHING |
| 2013-Present |
Founder and Teacher, Alcatraz Art Group, Oakland, CA |
| 1999-2005 |
Teaching Artist, Lincoln Center Institute, New York, NY |
| 2001-2005 |
Teaching Artist, Curriculum Arts Project, Symphony Space, New York, NY |
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| RESIDENCY |
| 2014 |
Jail Cell, Collaboration with Nellie King Solomon, Alter Space, SF, CA |
| 1993-1994 |
Staff Artist, Vermont Studio Center, Johnson, VT |
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| PUBLICATIONS/SELECTED PRESS |
| 2019 |
Lapham's Quarterly, Trade,Volume XII, Number 2, page 100, "Power, Money"
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| 2017 |
January Featured Artist Member, berkeleyartcenter.org
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| 2012 |
Tid til Dansk: Pagten med Djaevelen Karen Blixens frofatterskab (Time to Danish: Pact with the Devil, Karen Blixen), page 82 "Lion Eating Elephant", Alinea Press
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| 2010 |
The Artful Bird, by Abby Glassenberg, Interweave Press
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| 2010 |
Juxtapoz Handmade, Gingko Press
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| 2009 |
Best of the City 2009: Design, 7 X 7 Magazine, June 2009
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| 2008 |
selvedge, issue #23 May/June 2008, page 15
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| 2008 |
Biomedical Ambiguity: Race, Asthma, and the Contested Meaning of Genetic Research in the Caribbean,
by Ian Whitmarsh, cover art, Cornell University Press (available here on Amazon)
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| 2006 |
"Best Bets", Independent Weekly, June 14, 2006 |
| 2005 |
Billet Free Paper n. 21 (Animal), Japan |
| 2004 |
Coloring Book, Branch Gallery, Carrboro, NC |
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Statement
I am an artist and teacher living and working in Oakland, CA. I studied painting at the Kansas City Art Institute where I received a BFA in 1993. Since then I have continued my study of art as a staff artist at the Vermont Studio Center in Johnson, VT, as a teaching artist for Lincoln Center and Symphony Space in New York City, as a studio assistant for the Chicago Imagist, Ellen Lanyon, and now as a teacher to youth in my own studio classroom. It is in this studio where I challenge my students to solve problems creatively, become the master of tools and mediums, and to seek and express their truth. As an artist accept these challenges for myself as well.
As a painter, I juxtapose what is real with the imagined and put them in altered landscapes to present a world that is both playful and evocative. These scenes draw on our recorded histories to depict all the bizarre and beautiful things people have done and made that reside in our consciousness and remain a part of our physical experience. I claim the stories created in myths and religions as belonging to all of us. These narrations play out in different sequences of paintings that place figures, animals, cars, plants, appliances, and buildings in magical realms where Santa can share a park bench with Buddha, Shiva dances in a field with all the even-toed ungulates during summer, or wolves roam the streets of Chicago as unseen companions for high school students. The backdrop for each painting series presents a sweeping scope to offer an omnipotent viewpoint. These places (an underwater cave system, the path of an 11 circuit labyrinth, the four seasons) evoke the infinite. Carefully rendered details drawn from the material world share these eternal environments as characters in a visionary dream. Our physical world reveals the truth and sorrow of our human psyche. My paintings illuminate these hidden meanings, humorous attachments, and heart-felt longings. Recently I have been struck by the violence that continues to plague our urban centers. In a series of paintings about the Chicago neighborhood of Englewood I am depicting Harper High School students as they move throughout the streets and among the buildings walking, talking and interacting as young people do with energy and a wide range of emotions displayed and hidden. In this 12 panel series (each 30" x 22") the characters become aware of their power to tap into the presence of absolute love (already inside of them and always available) and use it to claim authority, freedom, and super powers. I represent the absolute with black spheres embellished with golden designs which hover behind trees, in the sky, and right in front of us. I use acryla-gouache and watercolor to paint the scenarios of my alternate reality with intricate details. In these amalgamations, the real and imagined intermingle.
Last year I began to represent these spheres of absolute love as circles of tar paper that I could place around town where acts of violence had occurred. They are poured black paint on 4-foot circles of tar paper that have gilded linear designs, numbers, and phrases like LOVE ZONE, EVOLVE, FOLLOW LOVE, or AWAKEN JOIN ADVANCE. From these came the piece A Preliminary Plan for the Production of Love Energy with the added element of plaster orbs that each contain a love message. The orbs are cast from a Magic 8 Ball and a viewer is implored to ask a question and to choose one of ten orbs to consider with their query. These white love orbs have now found their way back into my paintings as objects of power and insight for the characters residing there.
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