ANGELINA gualdoni

 

RESUME

Solo Exhibitions

Asya Geisberg Gallery, "Folds and Fields", New York, New York, 2016
Asya Geisberg Gallery, "Held in Place, Light in Hand", New York, New York, 2014
Kavi Gupta Gallery, "Channels", Berlin, Germany, 2011
Asya Geisberg Gallery, "Shadows Slipping", New York, New York, 2010
Kavi Gupta Gallery, “Proposals for Remnants”, Chicago, IL, 2009
St. Louis Art Museum, “Currents 100: Angelina Gualdoni” St. Louis, MO, 2007
Dogenhaus Galerie, “In the Shadows of the Radiant Half-life,” Leipzig, Germany, 2007
Museum of Contemporary Art, Chicago, "12x12: Angelina Gualdoni", catalog, 2005
Kavi Gupta Gallery, “It is Happening Again”, Chicago, IL, 2004
Finesilver Gallery, "Fringe City", San Antonio, TX, 2004
Kavi Gupta Gallery, “Demo”, Chicago, IL , 2002

Selected Group Exhibitions

2016

Belmacz, "Costermongering", curated by Paul Branca, London UK
Alleyoop Projects at DCTV, "Super Sketchy", New York, New York
St. Louis Community College, Meramec, "Everywhere and Elsewhere", St. Louis, MO
Cumberland Gallery, "Family Ties", Nashville, TN
Dorchester Arts Project, "Interiors", curated by Eric Stefanski, Dorchester, MA
Elijah Wheat Showroom at the Knockdown Center, "Transactions", Queens, NY

2015

The Willows, "The Ice Storm", Brookly, NY
Zolla Liebermand Gallery, "Hot Slice", Chicago, IL

2014

Lamar Dodd Gallery, "New Threads", Athens, GA
The Institute Library Gallery, New Haven, CT
Bowling Green State University, "REVERB: New Abstraction", Bowling Green, Ohio

2013

Asya Geisberg Gallery and Lesely Heller Gallery, "Pour", New York, NY, curated by Elizabeth Condon and Carol Prusa
Galerie Jochen Hempel, "Le Peintre de la vie moderne", Leipzig, Germany
Nerman Museum, "@20", Overland Park, KS

2012

Queens Museum, "Queens International 2012: Three Points Make a Triangle", Queens, NY
Eli Ping Gallery, "Regina Rex Part 1", New York, NY

2011

443 PAS,"Shapeshifters", curated by Laurel Sparks, New York, NY
Kavi Gupta Gallery, "Summer Show", Chicago, IL

2010

Musuem of Contemporary Art, Chicago, "Selected work from the MCA Collection: Focus on UBS 12x12", Chicago, IL
Susan Inglett Gallery, "In Side Out", New York, NY
Orlando Museum of Art, "Without a Trace", Orlando, FL
Mixed Greens, "Gimme Shelter", Chelsea, NY
Champion Contemporary, "Interrupted Landscapes", Austin TX

2009

Museum of Contemporary Art, Chicago, "Constellations", curated by Julie Rodrigues-Wildholm, Chicago, IL
International Studio and Curatorial Program, "Ridges, Troughs and Limbs", curated by Maggie Liu-Clinton, Brooklyn NY
Dogenhaus Gallery, Summer Group Show, Leipzig, Germany

2008

Aldrich Contemporary Art Museum, “Painting the Glass House: Artists Revisit Modern Architecture”, Curated by Jessica Hough and Monica-Ramirez Montagut, Ridgefield, CT, catalog.
Neuberger Museum of Art, “Future Tense: Reshaping the Landscape”, Curated by Dede Young, Purchase, NY.
Galeria dell’Arco, “Stalker Effect”, Palermo, Italy and Shanghai, China

2007

Engholm Engelhorn Galerie, “Salon Nouveau” curated by Jasper Sharp, Vienna, Austria
Nerman Museum, “American Soil”, curated by Bruce Hartman, Kansas City, MO
Galerie Michael Strasser, “Blood Meridian”, curated by David Hunt, Berlin, Germany
Howard House, “Neonoir”, curated by Cameron Martin, Seattle, WA
Ulrich Museum, “Poets on Painters”, curated by Katie Geha and Travis Nichols, Wichita, KS

2006

Perry Rubenstein Gallery, “Trace of a Trace of a Trace”, New York, NY
Fa Projects, “Apres Moi, Le Deluge”, London, UK
Cherry and Martin, “El Dorado”, Los Angeles, CA

2005

Museum De Paviljoens, “The Painter of Modern Life”, Almere, The Netherlands
Paragraph Gallery, “Built Against Site”, curated by Hesse McGraw, Kansas City, KS
Evanston Art Center, “Things Fall From the Sky”, Evanston, IL, Curated by Ken Fandell and Ciara Ennis, catalog.

2004

Momentum Gallery, "Artadia at Momentum", Berlin, Germany

2003

Museum of Contemporary Art, Chicago, "Strange Days", Chicago, IL, Curated by Dominic Molon.
Vedanta Gallery, “Rough Topography”, Chicago, IL
Nicole Klagsbrun Gallery, New York, NY

2002

Chicago Cultural Center, “Here and Now”, Chicago, IL, Curated by Gregory Knight, Lanny Silverman, Marianne Richter, and James Rondeau, catalog.

2001

Galeria Senda, “Realidades Imaginadas”, Barcelona, Spain
Lombard Fried, “Breathless”, New York, NY

2000

Vedanta Gallery, “Landscape My Ass”, Chicago, IL
Locus Gallery, “Arcadia Redesigned”, 2 person show, St. Louis, MO
Gallery 400, "*.*", Chicago, IL

Grants, Awards, Residencies

Chateau de Monthelon, Collaborative Residency with Woody Sullender, Burgundy, France, 2016
Daynard Travel Grant, School of the Museum of Fine Arts Boston, 2016
NYFA Award, Grant Recipient in Painting, 2008, 2015
Artadia in Residence at ISCP, Inaugural Resident, 2009
Chateau La Nouple, Resident, 2008
Pollock-Krasner Grant, Recipient, 2007
Freund Fellow, Washington University, St. Louis, MO, 2006-2007
MacDowell Colony Fellow, 2005
Artist Pension Trust, Participant, New York
The Art Council Inc. (Artadia), Grant to Emerging Artists, 2001
Skowhegan School of Painting and Sculpture, Matching Scholarship, 2000
Union League Visual Arts Competition Finalist, Chicago, IL, 2000

Selected Reviews and Publications

2016

Cate McQuaid, Boston Globe, Pious Conversations, Dazzling Domesticity and Ghosts Made Tangible, May 10, 2016
John Haber, Haber's Art Reviews, Geologic Time, March 2016
Sharon Butler, Two Coats of Paint, Chelsea Picks, March 2016

2014

Nadiah Fellah, The Seen Magazine, Angelina Gualdoni/Asya Geisberg Gallery, January 30, 2014
Gorky's Grandaughter, Interview, January 17, 2014
Sharon Butler, Two Coats of Paint, Resoution and Dissolution at Once: Angelina Gualdoni at Asya Geisberg, January 22, 2014
James Panero, The New Criterion, Gallery Chronicle, February 2014

2013

Franklin Einspruch, Artcritical.com, Oil as Water: Pour at Lesley Heller and Asya Geisberg, September 19, 2013
John Haber, Haber's Art Reviews, Pour It On, June, 2013
Peter Frank, Huffington Post, Haiku Reviews, July 13, 2013

2011

FineLine Magazine, Issue 4

2010

Butler, Sharon, Huffington Post, In Favor of Improvisation, Angelina Gualdoni at Asya Geisberg Gallery, October 21st, 2010
Contarino, Vince, Progress-Report.org, Angelina Gualdoni/Studio Visit, November 2010

2009

New York Times, Nytimes.com, Beyond the Armory, March 2009

2008

Genocchio, Benjamin, New York Times, In the Spririt of Modernist Ideals, April 8, 2008
Genocchio, Benjamin, New York Times, Today's Landscapes, Tomorrow's Dystopia, June 1, 2008
Lee, Jessica, New American Paintings, Spotlight, Dec-Jan 2008

2007

Thorson, Alice, Kansas City Star, American Soil Paints Bold Statements, November 17, 2007
Muller, Dominikus, Artnet.de, My Head in Spinning, September 17, 2007
Bradley, Kimberly, Artnet.de, "Digest", October 17, 2007
Hackett, Regina, Seattle Post-Intelligencer, Neonoir Explores Our Impact, August 23, 2007
Bonetti, David, St. Louis Post-Dispatch, Review, April 1, 2007
Bonetti, David, St. Louis Post-Dispatch, Best of 2007, December 30, 2007
Friswold, Paul, Riverfront Times, A Very Strong Current, March 29, 2007

2006

McSweeney’s Quarterly, Issue 20

2005

Museum of Contemporary Art, Universal Experience: Art Life and the Tourist's Eye, catalogue
McGraw, Hesse, Tank, Suite Dreams: Artists Re-imagine American Architecture, Aug 2005
Hawkins, Margaret, Chicago Sun-Times, Nature still reigns in Gualdoni's Abstract-realism mix, Jan 14, 2005

2004

Ferrara, Annette, Ten by Ten, Visual Perimeter, Dec 2004
Goddu, Jenn, Chicago Tribune, Gualdoni’s View to Ambiguity, Dec. 31, 2004
Jankauskas, Jennifer, GlassTire, Erik Benson Perfect Memory and Angelina Gualdoni Fringe City, Winter 2004

2003

Snodgrass, Susan, Art in America, Angelina Gualdoni at Vedanta Gallery, June 2003
Yood, James, tema celeste, Angelina Gualdoni at Vedanta Gallery, May/June 2003
Brunetti, John, Chicago Artists' News, Reclamation: Themes in the Work of Three Emerging Artists, Oct. 2003
Camper, Fred, Chicago Reader, Monumental Works, January 24, 2003

2002

Hawkins, Margaret, Chicago Sun-Times, Artists Reach for Heightened Reality, December 27, 2002
New American Paintings, Juried Exhibition in Print, Curated by Bill Arning, MIT List Center
Sherman, Mary, Boston Sunday Herald, Publication Takes on Midwestern Style, Sept 8, 2002

2001

Smith, Roberta, New York Times, As Chelsea Expands a Host of Visions Rush In, June 1, 2001
Molon, Dominic, New Art Examiner, Life, Representational Painting, and Me, Sept-Oct, 2001

2000

Daniel, Jeff, St. Louis Post-Dispatch, Reviews, Arts & Entertainment, December 24, 2000

Curatorial and Collaborative

Regina Rex is an artist-run exhibition space I co-founded with 12 other members in 2010. We stage shows monthly in Ridgewood, Queens.

Regina Rex, "The Study: Michael Byron and Stacy Fisher", ArtForum Critic's Pick, November 2012.
Regina Rex, "Hands Tide: Yevgeniya Baras, Rachel Budde, Elizabeth Ferry, Carrie Gundersdorf, Sue Havens, John O'Connor, Jacob Rhoads and Steve Sorman. ArtForum Critic's Pick, September 2010.

Public Collections

Museum of Contemporary Art, Chicago
Nerman Museum, Kansas City, KS
Saatchi Collection, London, UK

Professional Experience

School of the Museum of Fine Art, Boston, MA, Full Time Faculty, 2008-present
Oxbow, Visiting Faculty, Summer 2011
Washington University, St. Louis, MO, Freund Fellow, 2006 – 2007
Northwestern University, Evanston, IL, Adjunct Faculty, 2003- 2005
Columbia College, Chicago, IL, Adjunct Faculty, 2001-2005
University of Illinois at Chicago, Chicago, IL, Adjunct Faculty Spring 2004
University of Chicago, Chicago, IL, Visiting Artist Spring 2003
Gallery 37 Summer Program, Chicago, IL, Assistant Artist Summer 1998 & 1999

Classes Taught

include:
Basic Drawing, Intermediate Drawing, and Advanced Independent Drawing
Basic Design and Color Theory
Painting I, II, III, and Independent Studio
Graduate Seminar

Education

Skowhegan School of Painting and Sculpture, Skowhegan, ME, 2000
University of Illinois at Chicago, School of Art and Design, Chicago, IL
Master of Fine Arts, Painting, 2000
Maryland Institute, College of Art, Baltimore, MD
Bachelor of Fine Arts, Painting and Installation , 1997
Washington University, School of Art, St. Louis, MO, 1993-95

 

STATEMENT

I am interested in domestic interiors as a locus of economic and social issues concerning labor, as well as a site where mimesis comes into conflict with the abstract. While my formal interests dovetail with early modern painters of interiors and still lives, my lived experience of domestic space is one that hosts multiple forms of labor, especially as the roles of the artists expand. The "job" of the artist is no longer just to make art/paintings, but also to curate, administrate, maintain an online presence, while fulfilling familial/care-taking obligations and whatever else one does for employment. The home becomes the studio, the office, the gallery, salon, and the residence. The collapsing of these structures, as Lane Relyea notes in Your Everyday Art World, was inspired by a DIY ethos, initially understood as liberating and empowering, but ultimately shifts all risk onto participants. All forms of labor simultaneously impede upon each other and compete for attention. Boundaries are necessary but imperfectly enforced, separation becomes difficult, if not impossible; emails, instagrams, phone calls and plans, kids, lunches, shows, and studio visits necessitate constant negotiation of boundaries and focus. Painting's simultaneous nature makes it a necessary and vital format for exposing these demanding conditions. I start my paintings with a stained pattern, often a variation on historical women artists designs (Sonia Delaunay, Varvara Stepanova, Lyubov Popova, Vanessa Bell). This layer establishes a background of repetition, upon which I then impose silhouettes of houseplants, vases, or curtain/columns. My efforts to contain the pour
within the structure of representation are constantly over-run by subsequent pours. Handling paint in this way reflects both pleasure in exceeding boundaries and making a mess, as well as frustration with the boundaries impermanence. I vary surface texture, using metallic paint, pumice, and mica in areas in order to emphasize multiplicity, difference, and conflict, attempting to synthesize multiple strategies into a whole space. Using stain painting in this way refers to both the legacy of post-painterly abstraction (Frankenthaler, Louis) and textile design and manufacture, a sector of "applied arts" that women have often turned to in order to both express political ideologies, and to make money when none could be made by their "fine art" paintings. By dialoging with these histories, I hope to establish that the current condition of multitasking forms of labor (recognized and unrecognized) has been a long standing issue with women and work, inside the home and without.