Fine Art Magazine Blog

Saturday, September 10, 2022

A M Y N E L D E R Museum Exhibition schedule 2022

A M Y N E L D E R

MUSEUM EXHIBITIONS

PICKENS COUNTY MUSEUM OF ART & HISTORY
PICKENS, SOUTH CAROLINA

MARIETTA COBB MUSEUM OF ART
MARIETTA, GEORGIA

THE MUSEO D'ARTE DI CHIANCIANO TERME
BIENNALE CHIANCIANO 2022
TUSCANY, ITALY

GLOBAL PRESS

COUNTERCLOCK
GLOBAL

ABANDON JOURNAL
AUSTIN, TEXAS

BARZAKH MAGAZINE
(SUNY) UNIVERSITY OF NEW YORK

ART UP MI MAGAZINE
MILAN, ITALY

1) Hello Amy and welcome to LandEscape. Before starting to elaborate about your artistic production, we would like to invite our readers to visit https://amynelderart.com in order to get a wide idea about your artistic production. We would start this interview with a couple of questions about your multifaceted background. Your studies range from the University of California at Berkeley to the Academy of Art in San Francisco to the FBI Academy in Quantico, Virginia: how did these experiences influence your evolution as an artist? Moreover, how did your cultural substratum direct the trajectory of your current artistic research, helping you to develop your attitude toward experimentation? My life has always been a mosaic of my artistic passions. As far back as I can remember into my childhood, I was always multi-tasking my various art mediums, from visual to music.
If I wasn’t singing, I was drawing or painting; if I wasn’t drawing or painting, I was playing piano or eventually writing poetry, or dreaming poems that I later painted, or “wrote” with imagery. Painting helped me process a lot of my life, and music was my celebration. In my mid-twenties, I began to paint full-time, which for me became a solitary experience, me alone with my thoughts, inspirations and objectives. It took me a while to even realize that my painting was musical and story-telling as well, morphing many of my interests and intentions. Once that became my career, it also became my solace and my method of communication for everything else in my path - and so with every passing year, my work changes subtly with my areas of immersion in my life, influenced by the size of the world around me and what’s happening in it, ranging from the birth of my child to the #metoo movement to the current pandemic. My work changes more distinctly every few years, but I don’t
think of it as experimentation, I think of it as actualizing what’s in my head, sometimes working on a composition in my mind for years before I find or make the time for it to pour out onto the canvas. I spent the first 25 years of my life identifying primarily as a singer and songwriter who also painted and wrote, but eventually those identities shifted, and I became a painter who did music on the side - but I always notice how musical my painting is. My way of feeling color is totally rhythmic and lyrical, the way I lay the colors down with excruciating balance is a compulsion born of feeling an inescapable sense of melody, treble and bass. A painting is a composition, just like a symphony. Now I evince my musicality through color, detail, and compositional balance. It’s all very layered, my passions intermingled. I was a very serious opera singer for much of that part of my life, which is also a very narrative and dramatic way of being immersed in music, and my work often
feels very operatic to me as well, ranging from lyrical to coloratura to dramatic. Wild Night, for instance, I would call very coloratura, lots of colorful runs for the soprano. After the Black and White Ball is heavier, darker and more dramatic. Details are more like high notes, the thick layered darkness the lowest notes on the left side of a piano keyboard. My education has been varied, and as with everything else, one experience led to the next and they all continue to influence my process. Certainly the most unique educational experience I have had with my art was as the Forensic Artist for the San Francisco Police Department and local FBI in my late 20s and early 30s. I was a full-time painter simultaneous to my forensic work, working at the Hall of Justice 9-5, then coming home to paint until midnight, and often being woken up again at 2:00 in the morning to go back down to the Hall to interview a victim or witness for an urgent case, or sometimes work with the Medical
Examiner’s Office to view decomposed or skeletonized human remains, then draw what the subject looked like in life so that they might be identified and put to rest. But the majority of my forensic art was working with survivors of sexual assault or other of the most violent crimes, and my own joyous fine art work quickly became an additional support for me, my meditation both in the making and in the seeing of it – I lined my office walls with my vibrant, colorful, joyous works, and for half my waking hours I became an audience member as well as the maker of my own work, which had never happened before. I experienced the healing power of losing myself in the looking-at of the art, which had not happened to me so distinctly before, and certainly not with my own work, which to that point I had simply made to delight myself in the making and then share with collectors to really make the majority of my income. The consolation I received from my work was remarkable, and I learned to
meditate on a painting when I needed it. My manner of interview with survivors of violent crime, especially sexual assault, was incredibly in-depth and empathetic, and therapeutic for many of my clients as we did a lot of healing dialogue around their experience of their/our sketch, with an added facet of their sometimes feeling able to “let go” of some of the experience by pouring out the face of their assailant through their words and my pencil, and it was a heavy wave to share. The majority of my clients were highly traumatized and raw, and my art became such a consolation and relief for me in multiple ways, and I take that with me through everything I do, always listening to myself and others with compassion and respect, listening to the painting itself with an open ear and mind.

Romeo and Juliet

Party of Two

2) The body of works that we have selected for this special edition of LandEscape —and that our readers have already had the chance to get to know in the introductory pages of this article — has at once captured our attention for the way you sapiently draw from ordinary experience and daily life, elevating the everyday domestic moments to expand the idea of familiarity: when walking our readers through your usual setup and process, would you tell us how does your daily life experiences fuel your creative process? There is no differentiation between my setup and my process - I feel very blessed that I am always making my art, so as a natural multi-tasker, not only am I painting as my lifestyle, I am nearly always thinking and planning other projects in my head no matter what else I am doing, it all overlaps - eating, driving, taking a bath, or already painting
whatever is on one of my easels, I am often working on one thing in my head and painting another on my easel - so the mental setup of several projects is already happening either mentally, or narratively sketching or annotating into some random notebook I might never see again. I often jot down a quick note or sketch into whatever notebook or piece of paper I can get my hands on, stare at it for a while, then lose whatever piece of paper I found - but once the picture is in my head, I start working on it, whether that work continues to take place in the queue of ideas in my head for 5 years, or immediately on a canvas. I am always scratching away at different ideas, setting up objects on my props tables and then taking them down so I can work on something else. The physical process, on the other hand, is just another facet of the work: my day to day life affects my work intensely. Walking by the sparkle on an inspiring sheet of tinfoil, stopped in my tracks by the glint of light on
a group of cans, bottles, or drips of syrup coming down the side of a stack of pancakes...once I see a mesmerizing object, I often grab it and whatever other objects have turned it into a painting in my head, bring all the objects to my props table in the studio and stare at the idea a while, moving things around, staring some more, sometimes for days, sometimes for weeks, sometimes removing the scene completely for 3 more years before I get back it. But once I get painting, the objects go back onto the table and they usually stay there even after the perishables go rotten, until I get what I want for the painting. My poor family has gone without some beautiful produce or cupcake more than once because once I got it home from the store I discovered something about it I wanted to paint, grabbed the objects, and disappeared with them for so long they were no longer useful to eat!

Sunday Morning Donut Run

3) Your artworks are marked with such discerning combinations of a rigorous sense of geometry and a precise choice of tones, which provide your works with a recognizable visual identity: how does your own psychological make-up determine the nuances of tones that you decide to include in your artworks? Although I am a high realist, and consider myself a total servant to the realism of the objects as I am painting them, I am also simultaneously totally aware of shifting certain areas of the aesthetic to please deep needs I have to accentuate one thing or another in order to serve the narrative of the composition as well - it is important to me that whoever sees the painting sees it as I want them to see it, sees it as I see it - which is not always as it factually is. The objects tell a story, and I don’t paint any objects that do not tell a story - for me as a
painter, the story is just as much a priority as the realism itself. In that way, although I enjoy painting in high realism, I also prioritize the emotional portraiture of the scene - I think a great portrait always tells a story and evokes emotion with lighting and expression. The great portrait painter chooses how much strength to give one expression or another, and can only see what she notices and decides to include. In that same way, I lend expression to the objects with every decision I make, either consciously or unconsciously, about what light and what darkness to accentuate.

Extra Whip

RECENT MUSEUM EXHIBITIONS

Metro Montage XXII

MARIETTA COBB MUSEUM OF ART

June 23 - September 6, 2022
Marietta, Georgia

Realism Today

PICKENS COUNTY MUSEUM OF ART

July 23 - August 23, 2022
Pickens, South Carolina

The Chianciano Biennale 2022

THE MUSEO D'ARTE DI CHIANCIANO

August 6 - August 28, 2022
Chianciano Terme, Tuscany, Italy

GLOBAL PRESS

Pop Trompe L’oeil by Amy Nelder

ABANDON JOURNAL

Issue 3
Austin, Texas

Amy Nelder, Bunnies and Guns

COUNTERCLOCK JOURNAL

Summer Issue 2022
Global

Artist, Amy Nelder

ART UP MI MAGAZINE

Special Issue 2022
Milan, Italy

Amy Nelder

BARZAKH MAGAZINE

Issue Summer 2022
(SUNY) University of New York

Amy Nelder Channel

LOUPE ART

Global Streaming: Pluto TV + Amazon + Fire + Xumo + Samsung + Comcast + Xfinity + Apple TV

Bunnies and Guns

ABOUT AMY NELDER

Born in 1971 in San Francisco, painter Amy Nelder calls her work “Pop Trompe L’oeil.” Employing high realism infused with pop au courant imagery, she celebrates otherwise unsung domestic moments or conveys a message of dramatic, sometimes contemporary socio-political, import – but with a sense of lightness and often facetious. She paints beautiful imagery, but there is always a story to her painting. She seeks to convey the subtle but meaningful layers of simple human interaction, to impart appreciation of the joys, and ironies, of our lives. Nelder’s more recent still lifes have expanded into global commentary, including her Covid19Art, Bunnies and Guns and Build-Your-Own Eden series on psychic autonomy. The message is important, but she is simultaneously concerned with precision of technique, accuracy of detail and excellence of craftsmanship.

Nelder studied at the University of California at Berkeley, as well as the FBI Academy in Quantico, Virginia. Early in her career, she was the Forensic Artist for the San Francisco Police Department, working primarily with survivors of violent crimes as well as creating facial reconstructions of decomposed or skeletonized remains for the Medical Examiner’s Office. Nelder now focusses entirely on her own fine art. A trained opera singer from ages 9 – 20, she notes the musicality in her paintings, that her way of feeling color is rhythmic and lyrical. She experiences a painting as a symphonic composition.

Upcoming exhibitions include Objects of Desire, Cedarburg Art Museum, Cedarburg, Wisconsin and a solo exhibition at Grants Pass Museum, Grants Pass, Oregon. Recent exhibitions: Chianciano Biennale 2022, Chianciano, Italy; Metro Montage XXII, Marietta Cobb Museum of Art, Marietta, Georgia; Realism Today, Pickens County Museum of Art & History, Pickens, South Carolina; All the World’s A Stage, Cape Cod Museum of Art, Dennis, Massachusetts; Expressions West at the Coos Art Museum, Bend, Oregon; National Exhibition, Haggin Museum, San Joaquin, California; Women in Art: GREAT Artists who just Happen to be Women at Chloe Gallery, San Francisco; and ArtMarket San Francisco 2022. Her work is now streaming on “Amy Nelder Artist Channel” on LOUPE.

She has exhibited in Gen-erate at SITE Santa Fe, Santa Fe, New Mexico, Conserving the Magic of our Planet at the Walt Disney Museum, San Francisco and was selected for an exhibition called The Garzoni Challenge, with the Medici Archive Project and Advancing Women Artists in partnership with the Uffizi Galleries in Florence, Italy. At a recent exhibition, The de Young Open, Timothy Anglin-Burgard, Distinguished Senior Curator and Curator-in-Charge of American Art for the Fine Arts Museums of San Francisco, referred to Nelder’s “wonderful tension” in her featured work “Apples & Honey, 2020.” Gallery shows include The SUGAR Show, Chloe Gallery, San Francisco and Wild Dreams of a New Beginning Blue Line Arts, Roseville, California.

Forthcoming features will be published in Abandon Journal, Barzakh Magazine and The Café Review. Recent press includes LandEscape Art Review, UK; ARTUP MI, Milan; Gival Press; Pigeon Review; Chestnut Review; Artdose Magazine; Magazine 43: Berlin, Hong Kong, Manila; Artsper Magazine; San Francisco Chronicle, including a feature in the San Francisco Chronicle Magazine: Entertainment: “Catching Up with Amy Nelder: From Police Sketch Artist to Fine Art;” San Francisco Examiner; KPIX Evening Magazine; CNN; Fox News; MSNBC; Daily Art Magazine; Art World News; Art Money Provenance; and Art Business News Magazine. Nelder’s work has enjoyed film coverage in “De Young Open: Curatorial walk through with exhibition curator Timothy A. Burgard.” Her work is now streaming on “Amy Nelder Artist Channel” on LOUPE.

Her work is in numerous national and international collections spanning the globe, held by, among others, Levi Strauss, Branding Archives, San Francisco, California; Kala Art Institute, Berkeley, California; Zurich Insurance, New York, New York; The Women's Art Library Special Collections and Archives/The Library Goldsmiths, University of London New Cross, London; Sports Engineering and Recreation Asia, LTD, Bangkok, Thailand; and Thin Man Investment Holdings (Pty) Ltd, South Africa. Her commissioned murals hang in the San Francisco Board of Education/Executive Administration Building, State of California Family Support Bureau, San Francisco District Attorney’s Services Center and the Chinese Charity Cultural Services Center.

PROUDLY REPRESENTING AMY NELDER

Chloe Gallery is a dynamic space representing American and International Modern and Contemporary art, placing beautiful collections through both our distinguished San Francisco gallery as well as private art advisement services.

The artists we represent have shown or are placed in private, public and museum collections worldwide, including: the de Young Museum; Museum of Modern Art New York; the Fine Arts Museums of San Francisco;

the Chicago Art Institute; Queen Victoria Museum and Art Gallery; Musee de Monaco; Museum of Israel; the International Russian Cultural Foundation, Moscow; Museum of the Southwest; Pepsi-Cola; the Smithsonian Institute and the Zurich Insurance Corporate Collection, to name a few.

Through our Masterworks division we have sourced important works by some of art history's most acclaimed artists such as Warhol, Dali, Moore, Calder, Chagall, and Picasso.

Chloe Gallery
434 Post Street
San Francisco, California, United States

A M Y N E L D E R A R T . C O M

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1816 San Felipe Circle
Santa Fe, NM 87505 United States

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