Sunday, August 5, 2007
New Spruill Art Center
I signed the documents for the new Spruill Art Center on Friday, August 3, 2007
Saturday, December 16, 2006
Review Atlanta Journal-Constitution
Tania Becker - New Paintings 2007 - April 13 to May 19, 2007 - Sandler Hudson Gallery, Atlanta, GA
VISUAL ARTS & ARCHITECTURE: Intense and serene works commune in pair's show
By Debra Wolf
For the Journal-Constitution
Published on: 04/29/2007 REVIEW
"New Paintings: Tania Becker" and "Stratum: Kenn Kotara"
Through May 19. 10 a.m.-5 p.m. Tuesdays-Fridays; noon-5 p.m., Saturdays. Prices: $850-$12,000. Sandler Hudson Gallery, 1009-A Marietta St., N.W., Atlanta. 404-817-3300. sandlerhudson.com.
Verdict: Fiery and cerebral. Two views work wonders.
Tania Becker and Kenn Kotara offer enticing approaches to abstraction, layering and underlying geometries.
Becker presents vivid reflections of Earth inspired by images taken from space. The simplicity of a single circular form and stunning use of color and energy achieved through layering and brushwork make her mixed-media paintings fiery and beautiful.
Building her surfaces with sculpted bits of tinfoil, salt and acrylic, Becker achieves a textured and luminous effect. She uses a selective palette of brilliant blues and touches of green and golden-yellows, washed and dripped through foreground and background.
Each painting offers a variation of planetary happenings. In "Running of the Map," the circular form is broken, gaseous and swirling. Cool blues are singed with flecks of burning orange. "Salt of the Earth" is a seductive circle of watery blue, with a lick of flame that moves through its middle. "Tectonic Collision" grounds its highly active planes with a horizontal band of minutely patterned black, like a lunar surface from which we glance up.
Three small paintings on paper hang in a horizontal grouping, each suggesting an explosion of creation or earthly terrain. Filled with cobalt, cerulean and sapphire tones, these are delicate gems in a body of work that is wholly pleasurable...
If Becker captures the uncontrollable forces of nature, Kotara offers a serene counterbalance, conceptual and cerebral. This pairing makes for a show that is smart, sensual and satisfying.
VISUAL ARTS & ARCHITECTURE: Intense and serene works commune in pair's show
By Debra Wolf
For the Journal-Constitution
Published on: 04/29/2007 REVIEW
"New Paintings: Tania Becker" and "Stratum: Kenn Kotara"
Through May 19. 10 a.m.-5 p.m. Tuesdays-Fridays; noon-5 p.m., Saturdays. Prices: $850-$12,000. Sandler Hudson Gallery, 1009-A Marietta St., N.W., Atlanta. 404-817-3300. sandlerhudson.com.
Verdict: Fiery and cerebral. Two views work wonders.
Tania Becker and Kenn Kotara offer enticing approaches to abstraction, layering and underlying geometries.
Becker presents vivid reflections of Earth inspired by images taken from space. The simplicity of a single circular form and stunning use of color and energy achieved through layering and brushwork make her mixed-media paintings fiery and beautiful.
Building her surfaces with sculpted bits of tinfoil, salt and acrylic, Becker achieves a textured and luminous effect. She uses a selective palette of brilliant blues and touches of green and golden-yellows, washed and dripped through foreground and background.
Each painting offers a variation of planetary happenings. In "Running of the Map," the circular form is broken, gaseous and swirling. Cool blues are singed with flecks of burning orange. "Salt of the Earth" is a seductive circle of watery blue, with a lick of flame that moves through its middle. "Tectonic Collision" grounds its highly active planes with a horizontal band of minutely patterned black, like a lunar surface from which we glance up.
Three small paintings on paper hang in a horizontal grouping, each suggesting an explosion of creation or earthly terrain. Filled with cobalt, cerulean and sapphire tones, these are delicate gems in a body of work that is wholly pleasurable...
If Becker captures the uncontrollable forces of nature, Kotara offers a serene counterbalance, conceptual and cerebral. This pairing makes for a show that is smart, sensual and satisfying.
Monday, January 16, 2006
Thursday, January 16, 2003
Saturday, March 23, 2002
A NEW ATLANTA GALLERY PRESENTS: WORKS BY TANIA BECKER AND BARBARA REHG
A NEW ATLANTA GALLERY PRESENTS: WORKS BY TANIA BECKER AND BARBARA REHG Pentimento: The Layers Beneath Ty Stokes Gallery – 261 Walker Street, Atlanta, GA 30313 March 23 – April 20, 2002 The Ty Stokes Gallery is pleased to announce the opening reception of Pentimento: The Layers Beneath… an exhibition of paintings and drawings by Tania Becker and Barbara Rehg. The opening reception will be held on Saturday, March 23rd from 5:30 – 8:30 pm. The gallery is located at 261 Walker Street in downtown Atlanta. The exhibition will also be on view the following Saturdays: March 30th, April 6th and 13th from 1 – 5 pm and by appointment. (Please call 770-437-0367). The Ty Stokes Gallery is the creation of Susan and Bill Bounds. They are longtime patrons of the arts with a brilliant contemporary art collection. The Ty Stokes building was originally a cap and gown factory that the Bounds renovated into gallery and living space. Curator Bill Bounds, III, an 18 year old high school student, is following in his parents footsteps with his involvement in the gallery. The Pentimento show is the 4th exhibit he has curated at Ty Stokes. Pentimento: The Layers Beneath… investigates the journey the two Atlanta artists have undertaken with their new work. The Italian painting term “pentimento” refers to evidence in a work that the original composition has been changed. The different roads the artists took in their exploration of this concept points to the truth that each artist searches to create images that are meaningful to them. Becker and Rehg have both found the layers in their work chronicles the patterns in their lives. The implication that “layers” refers to the history in their lives as well as in the process became the intriguing impulse that produced this body of work and in the end joined these two artists for this show. Emerging artist, Tania Becker’s paintings were inspired by journals and mementoes from her trips to Italy and the Oregon Coast. Layers, veiled by clouds, and often interwoven with embedded elements speak of fascinating metaphorical journeys. Barbara Rehg, one of nine children, was born in Cheyenne, Wyoming. She approaches her art with the same energy that compels her to run marathons (26.2 miles). The need to move is reflected in her work and the gestural lines allow you to travel through her paintings and drawings. The feeling of freedom that movement implies has been a shaping factor in how she paints. The exhibition is free and open to the public. Please call Barbara Rehg at 770-437-0367 to verify hours of operation or to set up an appointment. Catalogue available. A ten percent donation from the proceeds of the sale of the work will be donated to the Atlanta Contemporary Art Center.
Tuesday, January 1, 2002
PALIMPSESTS OF MEMORY: RECENT WORK BY TANIA BECKER
Tania Becker's mixed-media works have the palimpsestic structure of memory itself. Layers of paint, crayon, charcoal, and found objects supercede but only partially efface one another, much the way memories of old experiences make room for fresh ones without disappearing altogether. Becker compares her work to a journal of her travels and experiences; perhaps each canvas is like a page in a journal that has been erased and revised many times. Hints of earlier experiences glimpsed through the screen of more recent ones tempt us to delve beneath and recover those earlier events. The presence of images beneath the surfaces of Becker's canvases is more than implied: it is a powerful presence that gives the work resonance.
Becker's work is not abstract in any simple sense. Through the layered structure of her work, she establishes a dialectic between the abstract and the concrete (not the figurative - the concrete). The found objects, some gathered on her travels, are the most concrete elements in her work, not just records of the past but actual physical remnants of the particular moments at which they were gathered. As records of experience, the layers beneath the surface become progressively less concrete. Like memory traces that persist in immediate experience, they are present, but not fully available. The concreteness of the found objects throws into relief the spectral presence of these other images, and vice-versa. Even as the found elements seem all the more present when contrasted with trace images, their very concreteness also creates a desire to probe beneath the surface, to discover the implied realities and thus restore concreteness to them.
In Becker's work, the concrete presence of found objects, the specificity of certain colors, the implied geometrics underlying her compositions - which sometimes rise to the surface in the form of particular geometric figures (circles, squares, grids) - all serve to establish the presence and reality of the experiences undergirding her compositions even when they are glimpsed, as if through clouds.
Philip Auslander
Philip Auslander is a frequent contributor to ArtForum, Art Papers, and other publications. He is a professor in the School of Literature, Communication, and Culture of the Georgia Institute of Technology. His most recent book is Liveness: Performances in a Mediatized Culture, published by Routledge.
ALL THAT GLITTERS IS NOT GOLD
48" x 48"
Mixed Media on Canvas
Becker's work is not abstract in any simple sense. Through the layered structure of her work, she establishes a dialectic between the abstract and the concrete (not the figurative - the concrete). The found objects, some gathered on her travels, are the most concrete elements in her work, not just records of the past but actual physical remnants of the particular moments at which they were gathered. As records of experience, the layers beneath the surface become progressively less concrete. Like memory traces that persist in immediate experience, they are present, but not fully available. The concreteness of the found objects throws into relief the spectral presence of these other images, and vice-versa. Even as the found elements seem all the more present when contrasted with trace images, their very concreteness also creates a desire to probe beneath the surface, to discover the implied realities and thus restore concreteness to them.
ENTER AT YOUR OWN RISK
24" X 24"
Mixed Media on Board
With Becker's love of travel in mind, I liken some of her works to vista seen through airplane windows, landscapes far below glimpsed fleetingly through layers of clouds. Even though we see the land discontinuously, we know it is there, concretely present. Occasionally, specific details emerge to reassure us of the reality of the ground beneath.ONE STEP FORWARD...TWO STEPS BACK
24" X 24"
Mixed Media on Canvas
In Becker's work, the concrete presence of found objects, the specificity of certain colors, the implied geometrics underlying her compositions - which sometimes rise to the surface in the form of particular geometric figures (circles, squares, grids) - all serve to establish the presence and reality of the experiences undergirding her compositions even when they are glimpsed, as if through clouds.
Philip Auslander
Philip Auslander is a frequent contributor to ArtForum, Art Papers, and other publications. He is a professor in the School of Literature, Communication, and Culture of the Georgia Institute of Technology. His most recent book is Liveness: Performances in a Mediatized Culture, published by Routledge.
REMEMBER
36" x 36"
Mixed Media on Canvas
Sunday, January 16, 2000
Biography
TANIA BECKER
EDUCATION
1995 The Atlanta College of Art, Atlanta, GA
1994 The Loveland Academy of Fine Art, Loveland, CO
1982 The University of Paris-Sorbonne, Paris, France
1968 The New York School of Interior Design, New York, NY
EXHIBITIONS
2007
Looks Good on Paper, Spruill Gallery, Dunwoody, GA - July 12 to Sept. 8th
New Paintings, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Tension, Horace Williams House, Chapel Hill, NC
2006
Little Things Mean a Lot, Swan Coach Gallery, Atlanta, GA
Postcards from the Edge, Sikkema, Jenkins & Co. Gallery, New York City
Art Papers, Mason Murer Gallery, Atlanta, GA
Jellies, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Turnout, The Forum at DeFoor Centre, Atlanta, GA
Juvenile Justice Fund, Fay Gold Gallery, Atlanta, GA
Art Papers, Mason Murer Gallery, Atlanta, GA
Les Dammes d’Escoffier, Serenbe, Atlanta, GA
Wish You Were Here 5, A.I.R. Gallery, New York, NY
2005
Georgia Lawyers for the Arts, Bill Lowe Gallery, Atlanta, GA
Small Sketches and Drawings, Swan Coach Gallery, Atlanta, GA
Refusing to Dance Backwards, Spruill Gallery, Dunwoody, GA
Gender in Motion, 3TEN Haustudio, juried by Emma Amos, Atlanta, GA
Art Papers, Mason Murer, Atlanta, GA
Looks Good on Paper, Spruill Gallery, Dunwoody, GA
Tension, Moving Spirits Gallery, Atlanta, GA
2004
Time to Time, Bill Lowe Gallery, Atlanta, GA
Salon Grrls Visual Quartet, Moving Spirits Gallery, Atlanta, GA
Little Things Mean a Lot, Swan Coach Gallery, Atlanta, GA
Inside the Cabinet, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Art of Dining, Momus Gallery, Atlanta, GA
SOHO20, New York, NY
Art Papers, ARTSCOOL, Gallery at City Hall East, Atlanta, GA
2003
International Juried Exhibition, The Presidio, San Francisco, CA, curated by Marian Parmentier, Director of The San Francisco Museum of Modern Art Artists Gallery
Small Sketches II: A Holiday Show, Swan Coach Gallery, Atlanta, GA
When I Was A Child, Youth Art Connection, Atlanta, GA
Looks Good on Paper, Spruill Gallery, Dunwoody, GA
Emergence, Fine Arts Gallery, Kennesaw State University, GA
Emergency Room, Artists Response To War, The Mattress Factory, Atlanta, GA
The Healing Power of Art, Manhattan Arts International, New York, NY
The Atlanta Opera Antique and Art Market, Atlanta Civic Center, Atlanta, GA
2002
Daughters of the New World, The Forum at DeFoor, Atlanta, GA
Little Things Mean A Lot, Swan Coach House Gallery, Atlanta, GA
Thrive, Georgia Perimeter College, Clarkson, GA
Pentimento: The Layers Beneath, Ty Stokes Gallery, Atlanta, GA
The Atlanta Artists Center, Juried Show, Atlanta, GA – Second Prize
2001
Origins, Barbara Archer Gallery, Atlanta, GA
Marcus Center, Atlanta, GA
The Atlanta Artists Center, Juried Show, Atlanta, GA
REVIEWS
2002, Camille Goswick, The Story, November 14
2002, Jennifer Perry, The Collegian, October 7
2005, Catherine Fox, The Atlanta Journal-Constitution, January 1
2005, Elissa Eubanks, accessAtlanta, December 8
2005, Robin McDonald, The Daily Report, January 20th
2006, Jerry Cullum, The Atlanta Journal-Constitution, June 22
2007, Blue Greenberg, The Herald Sun, January 2
2007, Michele Natale, The News and Observer, January 12
2007, Debra Wolf, The Atlanta Journal Constitution, April 29
SELECTED COLLECTIONS
King and Spalding
Elarbee, Thompson, Sapp & Wilson
Rainbow Graphics
The Titan Agency
The Bernstein Firm
EDUCATION
1995 The Atlanta College of Art, Atlanta, GA
1994 The Loveland Academy of Fine Art, Loveland, CO
1982 The University of Paris-Sorbonne, Paris, France
1968 The New York School of Interior Design, New York, NY
EXHIBITIONS
2007
Looks Good on Paper, Spruill Gallery, Dunwoody, GA - July 12 to Sept. 8th
New Paintings, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Tension, Horace Williams House, Chapel Hill, NC
2006
Little Things Mean a Lot, Swan Coach Gallery, Atlanta, GA
Postcards from the Edge, Sikkema, Jenkins & Co. Gallery, New York City
Art Papers, Mason Murer Gallery, Atlanta, GA
Jellies, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Turnout, The Forum at DeFoor Centre, Atlanta, GA
Juvenile Justice Fund, Fay Gold Gallery, Atlanta, GA
Art Papers, Mason Murer Gallery, Atlanta, GA
Les Dammes d’Escoffier, Serenbe, Atlanta, GA
Wish You Were Here 5, A.I.R. Gallery, New York, NY
2005
Georgia Lawyers for the Arts, Bill Lowe Gallery, Atlanta, GA
Small Sketches and Drawings, Swan Coach Gallery, Atlanta, GA
Refusing to Dance Backwards, Spruill Gallery, Dunwoody, GA
Gender in Motion, 3TEN Haustudio, juried by Emma Amos, Atlanta, GA
Art Papers, Mason Murer, Atlanta, GA
Looks Good on Paper, Spruill Gallery, Dunwoody, GA
Tension, Moving Spirits Gallery, Atlanta, GA
2004
Time to Time, Bill Lowe Gallery, Atlanta, GA
Salon Grrls Visual Quartet, Moving Spirits Gallery, Atlanta, GA
Little Things Mean a Lot, Swan Coach Gallery, Atlanta, GA
Inside the Cabinet, Sandler Hudson Gallery, Atlanta, GA – Solo Show
Art of Dining, Momus Gallery, Atlanta, GA
SOHO20, New York, NY
Art Papers, ARTSCOOL, Gallery at City Hall East, Atlanta, GA
2003
International Juried Exhibition, The Presidio, San Francisco, CA, curated by Marian Parmentier, Director of The San Francisco Museum of Modern Art Artists Gallery
Small Sketches II: A Holiday Show, Swan Coach Gallery, Atlanta, GA
When I Was A Child, Youth Art Connection, Atlanta, GA
Looks Good on Paper, Spruill Gallery, Dunwoody, GA
Emergence, Fine Arts Gallery, Kennesaw State University, GA
Emergency Room, Artists Response To War, The Mattress Factory, Atlanta, GA
The Healing Power of Art, Manhattan Arts International, New York, NY
The Atlanta Opera Antique and Art Market, Atlanta Civic Center, Atlanta, GA
2002
Daughters of the New World, The Forum at DeFoor, Atlanta, GA
Little Things Mean A Lot, Swan Coach House Gallery, Atlanta, GA
Thrive, Georgia Perimeter College, Clarkson, GA
Pentimento: The Layers Beneath, Ty Stokes Gallery, Atlanta, GA
The Atlanta Artists Center, Juried Show, Atlanta, GA – Second Prize
2001
Origins, Barbara Archer Gallery, Atlanta, GA
Marcus Center, Atlanta, GA
The Atlanta Artists Center, Juried Show, Atlanta, GA
REVIEWS
2002, Camille Goswick, The Story, November 14
2002, Jennifer Perry, The Collegian, October 7
2005, Catherine Fox, The Atlanta Journal-Constitution, January 1
2005, Elissa Eubanks, accessAtlanta, December 8
2005, Robin McDonald, The Daily Report, January 20th
2006, Jerry Cullum, The Atlanta Journal-Constitution, June 22
2007, Blue Greenberg, The Herald Sun, January 2
2007, Michele Natale, The News and Observer, January 12
2007, Debra Wolf, The Atlanta Journal Constitution, April 29
SELECTED COLLECTIONS
King and Spalding
Elarbee, Thompson, Sapp & Wilson
Rainbow Graphics
The Titan Agency
The Bernstein Firm
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