Your Turn To Look

Price List
January 16th – February 21st 2021

The Great Highway Gallery is excited to present Your Turn To Look a group exhibition, of a San Francisco based drawing group that has been together for over 40 years. The exhibition features: a window installation and drawings.

Exhibit Statement
We rarely get to regard another person in an extended, curious, active way. That is special. It keeps artists coming back, week after week, year after year, to draw from a model for hours at a time. Outside of this time, we use drawing in different ways—our group includes painters of landscapes and painters of abstractions, sculptors, printmakers, and new media artists. But all of us find the continual practice of life drawing helps us do what we want to do as artists.

Our group has been meeting regularly to draw from a model since 1979, when Meredith Tromble scored a storefront studio in Noe Valley that was big enough to host a group. The artists William Theophilus Brown and Paul Wonner, Noe Valley neighbors, joined in and brought Jessica Dunne into the group. We have persisted for over forty years, through multiple studio evictions, the passing of Bill and Paul, and the coming and going of other colleagues. Our current home is Dunne’s studio near the Great Highway.

Like most long-term drawing groups, we have our own culture. We play music but we don’t talk while we are drawing. If the model is late, we start by drawing each other. There is tea but no food. We never, ever criticize each other’s drawings. We are there to tunnel through whatever is on our mind to a deeply focused awareness, the flow that connects what we see and what we do. The results of this process hang here. It is your turn to look.

Meredith Tromble
January 9, 2021

Artists
Marc Duffett
Jessica Dunne
Karen Ely
Joan Frenkel
Grace Kennedy
Olivia Kuser
Amy Meyer
Anne Subercaseaux
Tara Sullivan
Meredith Tromble

Marc Duffett
Drawing and painting have always been at the core of my sense of self. Painting expresses dreams and energies for me, while drawing anchors me in the physical act of seeing. In the sixties I fell in love with life drawing at RISD, and Jessica Dunne’s drawing group has allowed me to continue this passion.

Jessica Dunne
Jessica Dunne makes enormous paintings of the Bay Area’s tunnels, freeways, and schoolyards as well as smaller atmospheric monotypes and spit-bite aquatints. She lives in San Francisco when she is not off being an artist-in-residence somewhere. A recipient of the Pollock-Krasner Foundation Grant and a Kala Art Institute Fellowship, she has had solo shows in museums and universities around the country, including the Fresno Art Museum, The Flaten Art Museum, Saint Olaf College, and the Frye Art Museum.

Jessica has been awarded residencies by the Bemis Center for Contemporary Art, Yaddo, the Djerassi Resident Artist Program, the Ucross Foundation, Kuenstlerhaus Salzburg (a partner of the Virginia Center for the Creative Arts) and Oberpfaelzer Kuenstlerhaus, a partner of the Djerassi Resident Artist Program, in Germany.

Her work is collected by the Oakland Museum of California, the Fine Arts Museums of San Francisco, and The Library of Congress, and Stanford Special Collections.
https://www.jessicadunne.com
Instagram: @jessicadunnepaint

Karen Ely
Karen Ely is a semi-retired editor and life-long artist living in Sonoma County. She works in mosaic, watercolor, acrylic, oil, and pastel.

Joan Frenkel
I was the Head Sculptor of the San Francisco Opera and of the San Francisco Ballet for over thirty-five years. I sculpted everything from props, statues, and prancing ponies to palaces and mountains. Sculpted large porcelain seashells and low relief tile murals. My work mostly involves painting and cutting paper sculpture mounted in shadow boxes. I received degress from Washington University, St. Louis, MO and the San Francisco Art Institute.

Grace B. Kennedy
“Grace Kennedy has been a member of this drawing group since 2008, around age thirteen. She is a graduate of the Pennsylvania Academy of the Fine Arts in Philadelphia, as well as the University of Pennsylvania. She has shown at the Pafa Museum in Philadelphia, C.R. Ettinger Studio, and the DeYoung Museum in San Francisco.”
http://www.graceart.space/
Instagram @gray_sea23

Olivia Kuser
I’ve been drawing since I was a little girl, but I didn’t draw from the model until my senior year in college, when I took a studio art course as a respite from writing my thesis. What a revelation, both in how hard it was and how fun it was.

Since then, I have looked for opportunities to draw from the model whenever I could. My work isn’t figurative; I’m mostly a landscape painter and printmaker, so drawing from the model doesn’t directly inform my work. It’s great for hand-eye coordination and for learning how to see. Also, since most art making is a completely solitary activity, drawing groups provide a chance to work communally with other artists. I’ve been in this drawing group since sometime in the late eighties or so. Since the pandemic began we have managed to meet only three times, outside, everybody masked, and when the numbers looked ok in the city. This is a drawing from one of those sessions.
http://www.oliviakuser.com

Amy Meyer
When I was a child in Brooklyn, N.Y. I loved to draw. In high school, I took after-school art classes at the Brooklyn Museum and the Art Students League. My interest evolved into a passion continued at Oberlin College where I earned a degree in art and art history. I came back to New York and pursued hopes for a career in art. I earned my MFA in printmaking at the California College of Arts and Crafts (today, CCA) and we raised our family, but I eventually put aside my art work. In 1970, I began looking for a small community project to become involved in and stumbled into the biggest land protection effort in our region: the Golden Gate National Recreation Area (GGNRA). For fourteen years I thought of little else except my family and this open space while conservationist Edgar Wayburn and I led People for a Golden Gate National Recreation Area.
https://www.amywmeyer.com

Anne Subercaseaux
I worked in architectural and engineering firms, initially as a draftsperson and later as a graphic designer, places of work that had a prolonged personal influence. I began to observe and study sights, those which I encountered within urban and natural settings. Commutes over the San Francisco/Oakland Bay Bridge presented a spectrum of structural configurations cast by afternoon light onto the surface of the roadway span.
http://www.annesubercaseaux.com

Tara Sullivan
The pairing of art & medicine has been my path, with a lifelong interest in studying the figure for the visual discipline required. The ability to accurately see and assess is vital for both disciplines. I’m drawn to short, quick poses for the challenge of capturing the essence, the essential-ness of being. Receiving a BFA from the University of Hawaii led to being the founding director of an art studio program at the Rehabilitation Hospital of the Pacific in Honolulu. I currently live in San Francisco, my home of origin, in the outer Parkside after 30 years in Hawaii, and am inspired by the Bay Area Figurative artists.

Meredith Tromble
Meredith Tromble is an intermedia artist and writer whose curiosity about links between imagination and knowledge led her to form collaborations with scientists in addition to making installations, drawings, and performances. Since 2011, Tromble has been artist-in-residence at the Complexity Sciences Center directed by physicist Jim Crutchfield at the University of California, Davis, collaborating with geobiologist Dawn Sumner and others. Her work has been widely presented at venues ranging from the Yerba Buena Center for the Arts, San Francisco and National Academy of Sciences, Washington, D.C. to BioBAT Art Space, Brooklyn. She is also the editor of two books, The Routledge Companion to Biology in Art and Architecture, co-edited with Charissa Terranova, and The Art and Films of Lynn Hershman, University of California Press. She is co-editor of the Bloomsbury book series “Biotechne: Interthinking Art, Science, and Design” and a Professor of Interdisciplinary Studies/Art & Technology at the San Francisco Art Institute.
https://meredithtromble.net

Entangled: Chasing Bull Kelp

Josie Iselin

OCTOBER 22nd – NOVEMBER 29th

OUTDOOR RECEPTION
November 13th 4-7pm
(weather permitting)
Limited indoor access

The Great Highway Gallery is excited to present Entangled: Chasing Bull Kelp. The exhibition will feature: a window installation, prints and sculpture by Josie Iselin.

Artist Links 
www.josieiselin.com
instagram: @josieiselin

Artist Statement
I have been making images of and writing about seaweed for over a decade. Seaweeds are gorgeously varied, vibrantly colored, and interesting. The science behind their life histories and their ecology is not only fascinating, but important for us to know when thinking about the health of our oceans. My scanner has been the optimal tool for bringing these algal neighbors to life; for letting them speak.

But one species in particular has been of greatest concern: Nereocystis luetkeana, or bull kelp. This is the majestic kelp that makes up the kelp forest off our Northern California coastline, it is the kelp that collects on our beaches, right here in San Francisco. While it is a wonder of photosynthetic possibility, growing into 60-80 foot tall kelps—singular stipe with long flowing blades, collecting in massive tangles of biomass on the beaches in fall and winter—its ecology is fragile. Over the past few years, the great bull kelp forests of Sonoma and Mendocino counties have been reduced from enormous forests to tiny patches. The warming ocean, hordes of urchins and lack of top predators leave bull kelp vulnerable.

In my newest book, The Curious World of Seaweed, I devote the second chapter to bull kelp, the story of the extermination of sea otter, and subsequent rise in urchin and abalone populations, noting our human inclination to pull resilience out of complex networks of interactions that keep rich and diverse ecological systems in balance. I followed up with a more in-depth article on bull kelp, sea otter and our California Coast. I am working on a book length examination of this magnificent organism throughout its range from Central California to the Aleutian Islands.

So here at The Great Highway Gallery I want to celebrate Nereocystis luetkeana. This singular kelp that only exists here along this ribbon of ocean along our continent is sculpture and sculptor, primary producer and cyanotype muse. It is home to countless marine animals living in its forests and food for kelp flies and isopods when washed on the beach, in turn generating protein for migrating shore birds. It is my constant reminder that our oceans deserve our reverence and considered regard.

About the Artist
Josie Iselin is the photographer, author and designer of many books exploring our coastal universe. Her newest book, The Curious World of Seaweed (Heyday Books, August 2019), is an ambitious combination of essays and historical as well as contemporary imagery that explores the algal world just beyond the beach. Josie holds a BA in visual and environmental studies from Harvard and an MFA from San Francisco State University. For over twenty-five years she has used her flatbed scanner and computer for generating imagery. Iselin exhibits large-scale fine art prints at select galleries and museums, advocates for ocean health through education and speaks widely on the confluence of art and science. She teaches in the School of Design at San Francisco State University.

Non-Linear Time: THE PASSION OF IMPERMANENCE”

David Kimball Anderson

September 7 – October 18, 2020
By appointment

Artist Links
website http://davidkimballanderson.com
instagram @dkagooddog

Window Installation

The Great Highway is excited to present a new window installation
and works on paper by David Kimball Anderson.

Artist Statement
I register non-linear time in the same category as impermanence. To
fully experience both requires a practice of surrender.
Several months ago, as I began thinking about my opportunity to do
a window with The Great Highway, I decided to install two older
pieces: Fire and Vapor, both from 2013. These works arose during
time I spent in high-altitude Colorado with a mindfulness teacher
friend and remain timely for me today. Since then, world and personal
events have made it ever more necessary that I work to achieve
serenity via acceptance of impermanence.

Vapor refers to the dissolution of ego and the translucent sensation one might enjoy when, if only for a moment, one is relieved
of attachment to identity and ambition. Fire refers to the process of burning past karma or essentially taking a personal
inventory and when wrong, promptly admitting it. Together, these pieces represent my desire to relinquish control, or my
imagined sense of control. When I truly let go and fall deeply into the embrace of the Divine, I experience non-linear time.
In addition to Vapor and Fire, works on paper will be installed in the gallery space. These works represent bodily and
transcendental points of sensation as well as complementary notes on Vapor and Fire.

Nutrient Points 15″ x 18″

About the Artist
Throughout his fifty-year career, Anderson has referenced both the micro and the macro of physical life. From the complexity
of deep space to the molecular structure of matter, Anderson’s work represents all physical life as equally rich in appearance
and contributive to the whole interrelated system we see and touch.

Anderson’s life-long pursuit of merging his spiritual practice with his nature-based artwork, manifests as images of devotional
objects as well as the transcendental reality of the Divine.

Anderson was the 1973 sole recipient of the SECA Award, San Francisco Museum of Modern Art. Anderson was included in
the 1975 Whitney Biennial, Whitney Museum of American Art, NYC. Anderson has been the recipient of three National
Endowment for the Arts Individual Fellowships among other grants and accolades. Anderson lives in Santa Cruz, California.

Heat Points 15″ x 18″

The Great Highway
3649 Lawton St
San Francisco, CA 94122
thegreathighway.com
@thegreathighway

Contact
John Lindsey
info@thegreathighway.com
+1(415) 680-3891

About

The Great Highway is a fine art gallery and working studio featuring contemporary works in all mediums. The gallery has a deep appreciation for images and ideas that explore where lands meet water.

Join Our List

 
Facebook @thegreathighwaygallery
Instagram @thegreathighway

Location and Hours

The Great Highway
3649 Lawton St.
San Francisco, CA 94122

phone: (415) 680-3891
email: info@thegreathighway.com

Hours:
By appointment 7 days a week

The Great Highway Logo