Collaboration with the poet Ingrid Keir. The physical ink paintings on paper are 18 x 24 inches. Ingrid's poems can be read online at the original exhibit.
GALLERY PRESS RELEASE
Visual artist Kyle Knobel and poet Ingrid Keir collaborate on a body of work centered around their apartment. Ingrid says, "since we are married and live together, and this place is the first and last thing we see each day, it seemed a good place to form a show around."
The first image of the show is a watercolor painting of the typewriter belonging to Ingrid's grandfather, also a writer. From Kyle, "I was interested in the sort of aggregate energy collecting in this little machine, now passed down to another artist in the family."
Ingrid's selection of writing revolves around events that are both incidental and specific to the home. The apartment as studio, as kitchen, as place to spend time, as a place for love and for annoyances, are all explored.
Excerpt of review by Chris Komater.
Far from the hub of the San Francisco art scene, Michael Damm, Kyle Knobel and Leonie Guyer have created works of art that interact dynamically with each other and their location. The site-activated installations are located in an empty storefront in a far-away corner of Oakland's Fruitvale district. Organizer Damm has fittingly named the temporary gallery Remote Satellite...
Kyle Knobel fills the.. wall with a row of 45 pencil drawings of the same pair of handlebars, rendered in outline only, each nearly identical to the next, with slight variations. Each minute shift in perspective evokes a particular moment of the artist's experience. Like the exercise of trying to draw a perfect circle, the repetition reveals the limitations of hand and eye, yet played out as formal spectacle. The images, arranged horizontally, read almost like film stills, connecting to Damm's cinematic abstraction of the site. The use of the handlebars, likely something one would find in the streets outside.. abstracts through Knobel's repetitive and meditative representation.
Permanent marker and found theater gels on sheets of acetate, fabric and lights.
STRETCHER.ORG. Review by Meredith Tromble.
Alternative spaces like this will never happen again in San Francisco so it's nice to see it here, said painter Roy Tomlinson, looking around the funky gallery 21 Grand in Oakland. A relaxed crowd turned out for the opening of New Place-Oriented Work onight, featuring art by Sarah Cain, Michael Damm, Leonie Guyer, Kyle Knobel and Katherine Van Dyke.
Nobody's work was working too hard. Guyer's wall paintings are about the size of a playing card; Van Dyke, who was also painting on the wall, covered more ground but kept it white on white. Cain's intervention, a white mound with a corona of smoke marks climbing up the wall, was almost flamboyant in comparison. Damm's video Elsewhere scrolled along urban storefronts, revealing patterns everywhere. Viewing Knobel's video required climbing into a stuffy curtained black box, not the most appealing prospect on a warm summer night, but it was beautiful.
Spray paint on paper, with cutouts. 2 person exhibit with Sarah Cain.
I have walked or driven by the video, performance and art-space ATA several hundred times. I'm surprised to be surprised by the fluorescent red and white burst (the type one usually only sees announcing Closeout Sales and the like) covering the entirety of its storefront windows. The jagged hyperkinetic shape punctures the monochromatic surface of the block with an ironic glee announcing - what exactly? A sale? There's no information, no price, no 'half off' inside the burst, nothing except ATA's doorway. So the burst is announcing itself, and announcing ATA, inverting the standard relationship whereby a gallery presents art. Here the art presents itself and the gallery, in effect celebrating art itself, its presence in the urban landscape (and social scape) and ATA's long standing as a locus for...
Scott MacLeod has been presenting live, time-based, media, conceptual, and/or static work in the Bay Area and internationally since 1979.