Other People's Pixels Interview
I'm happy to be a part of this group show "Ineffable Manifestations" at Yale's School of Sacred Music.
I Like Your Work Blog feature
Thank you to the ilikeyourworkpodcast blog for making me the first featured artist in the I Like Your Work Studio Visit. You can see is at the link below,
If you're in Miami please stop by Alfa gallery for "Transform" a group exhibition.
Tempe Digital limited edition print project
I worked with Tempe Digital on a limited edition print project that can be found here, http://www.artsy.net/tempe-digital/artist/laura-mosquera
Known Unknowns at 86 Orchard Street, 2nd floor, New York
I am happy to be a part of a pop-up group exhibition "Known Unknowns" this Sunday night from 8-11pm at 86 Orchard Street, 2nd floor. There are a lot of great artists participating. I hope you can make it.
Known Unknowns explores uncertainty as a creative catalyst. It is an attempt to represent the unanticipated, mistaken, and peculiar. The show features work that is oblique but implicitly promising - making visible the discomfort of not knowing, while managing to find convincingly positive outcomes.
Featuring work by:
Rob de Oude
Anna Sophia Vukovich
Organized by: Cait Carouge, Eleanor King, and Michael Woody
"White On" group exhibition at Alfa Gallery, Miami, FL.on blouinartinfo
"Flatbed Picture Planes" 3-person show at the Center for Art & Theatre
"White On" group exhibition at Alfa Gallery, Miami, FL.
Structural Underpinnings, group exhibition at LeRoy Neiman Gallery at Columbia University
Group Exhibition at Ceres Gallery, NYC
If you're in Chelsea tonight please stop by Ceres Gallery from 6-8. I have this painting in a group show there at 547 w 27th, room 201.
Selected Work on view at I Love You Bedford at 294 Bedford in Brooklyn
Homegrown exhibition at the Art Institute of Chicago
I am honored to be included in the "Homegrown" exhibit at the Art Institute of Chicago.
I am participating in the Last Brucennial with an opening reception Thursday, March 6th, 6-10p
The Last Brucennial
837 Washington St,
March 6 - April 4th
Opening reception: Thursday, March 6th 6-10p
Group Exhibition at the Center for Contemporary Ary in Bedminster, NJ
If you happen to be near Bedminster, NJ tomorrow night stop by the Center for Contemporary Art and check out my painting.
Art in Embassies Program
I am happy to say that "One Splat Band" and "Stop Left Blue" will be leaving tomorrow to be a part of the Art in Embassies program and living in Liberia for the next few years.
I leave in 3 weeks for my residency at the Virginia Center for the Creative Arts. I'm looking forward to very active studio time and discussion with other artists.
"Spectrum" group exhibition
If you happen to be in Savannah, GA on August 12th come by for a group exhibition at Gutstein gallery on Broughton Street. I will have a new painting in the show, "Around and Over".
Hope to see you there.
Selected Works from the MCA Collection: Focus on UBS 12x12 January 9-31, 2010
If you happen to be in Chicago next month stop by the MCA and check this group show.
This exhibition features selected work from the MCA Collection by artists who have previously participated in the MCA's ongoing project series UBS 12 x 12: New Artists / New Work. This series of consecutive exhibitions (with a different artist presented each month) is designed to highlight new work by emerging artists who are based in Chicago, providing a fresh, up-to-the minute view of new developments taking place in the studios of our city. Now in its ninth year, the series has presented the work of ninety artists or collectives.
Artists featured in the exhibition include Angelina Gualdoni, Paula Henderson, Rashid Johnson, Laura Mosquera, and Greg Stimac.
Verge Art Fair
If you happen to be in Miami the end of this week stop by the Verge Art Fair at the Catalina Hotel, 1732 Collins Ave at the ANTIDOTE project space. Have a great time.
Back in Chicago for the MCA
MCA as Muse: Contemporary Art’s New Faces
Saturday, October 27, 1-2 pm
Contemporary art is, by definition, the art of our times. NBC's Leann Trotter hosts a discussion with Time Out Chicago art critic Ruth Lopez, and Ken Fandell, and Laura Mosquera -- the new generation of artists in the MCA Collection -- as they discuss the trends and directions in art today using recently-created works from the MCA Collection.
Registration is not required for this program.
So I move to the south and a group show in Alabama ensues. If by some chance you find yourself in Birmingham on August 31st stop by:
UAB Visual Arts Gallery
900 13th Street South
UAB Visual Arts Gallery presents "Double X: Women Representing Women"
Featuring works by Mona Kuhn, Malerie Marder, Katy Grannan, Elizabeth Young, Diana Shpungin and Nicole Engelmann, Melissa Dadourian and others. (I am in the others group : )
The Big Move
Well, after many many years I'm off to try something new. I'm leaving Chicago July 31st for Savannah to teach full-time at the Savannah College of Art and Design. If you ever find yourself in my new neighborhood drop me a line.
Beauty In the Breakdown - review
Los Angeles Times, Friday, March 4, 2005
Women in a vulnerable state
Chicago-based artist Laura Mosquera is one of a number of young figurative painters who turn moderate, sometimes even clumsy drawing skills to unusually effective ends. Her L.A. solo debut at sixspace shows mostly women in abstract environments, seemingly in a state of suspended animation.
Mosquera paints or draws the environments and clothing as flat, linear patterns. A reclining figure in a blue striped shirt has no actual lower body, just a line green shape that fills in the blank. A woman at a window clasps awkwardly drawn hands that, rather than being hidden by an artist aware of her technical limitations, are emphasized by “jungle-red” spots of crimson nail polish. Another woman is shown reclining on a bed, the wiggly blue dots and lines on the pillow behind her rising like bubbles from a scuba diver’s air-tank.
About three dozen figures populate the show’s five latex and acrylic paintings and nine ink or graphite drawings. Almost all the women are depicted looking away from us, or either their eyes are closed, downcast or averted.
This compositional device is cinematic, used in movies to suggest intimacy between a singular subject and a mass audience. It transforms a viewer into an odd type of voyeur – the self-conscious observer of situations that, in Mosquera’s case, are neither sordid nor sensational, but refreshingly vulnerable.
We Know What Makes You Feel Good - review
New Art Examiner, January - February 2002
by John Brunetti
Delivering a hard-edged neo-pop jolt, Laura Mosquera’s figurative paintings place her in a tradition defined by artists such as Alex Katz and David Hockney. Like these artists who saw in their immediate worlds of the cultured hip and casual elite a rich subject to extend the dialogue of painting. Mosquera casts her own one-act dramas from the artistic community that surrounds her. The resulting paintings are visually cinematic – the cold, clinical voyeurism epitomized by the films of Stanley Kubrick crossed with the lush, metaphorical color and street choreography of Cinemascope musicals such as West Side Story. Mosquera creates tableaux of twenty-first-century, upper-middle-class alienation, recreating the palpable physical and social inertia of gallery openings where people search for familiar faces across clusters of semi-turned, anonymous bodies. Her protagonists exude an external coolness through their garishly patterned retro ‘70’s clothing and casual stances. Yet the self-assuredness of these figures is not all that it initially appears to be. People are often grouped together in twos and threes, but nonetheless appear psychologically isolated. This quality is emphasized by the large expanses of abstract designs that serve as the ground plane for her standing and seated figures. Formally separating and linking figures from background to foreground, these sweeping arcs and cocktail-lounge-inspired geometries define the social arena as a void of ambiguities.
Mosquera successfully recreates the awkward feeling of social gatherings where one warily sizes up fellow guests from across the room based on the coded signals of body language, physical attraction, and style of dress. Through the postures of her figures, Mosquera conveys the personal purgatory of those seeking social acceptance in an often shallow world where who is in or out can be defined by the most subtle nod or gesture. Her people are in a perpetual limbo of reevaluating their own social status, to little visible resolution. Their loud clothing – striped pants, jungle-print skirts, and madras jackets, to name only a few of Mosquera’s Op Art referential fashions – act as an exaggerated external compensation for their seeming inability to achieve an intimate and emotionally fulfilling exchange. Heightening these individuals’ social awkwardness are their contraposto poses so effectively captured by Mosquera’s strong drawing skills. Through the slouches of bent knees and nonchalant waist turns one sees the contemporary bastardization of classical Greek sculpture, as filtered through the fashion poses endlessly replicated in mainstream entertainment media. Mosquera’s images suggest that one’s posture can be worn as much as one’s particular choice of fashion: How you stand says as much about where you come from as who you want to transform yourself into.
Mosquera’s wall painting at the Museum of Contemporary Art, Interesting Things Will Begin To Develop, implies through it’s floor to ceiling scale a promise that the viewer can have a stronger physical, and thus psychological, interaction with the artist’s worlds. One seemingly should be able to immerse oneself in the psychedelic environment of swirling ribbons of exaggerated color and tragically hip people. Yet, while it is an accomplished example of Mosquera’s complex compositional integration of pattern and human gesture, the work appears forced into a scale that subtly undermines the successful proportions of her other paintings. By contrast, the successful panoramic canvases at Monique Meloche gallery, while large in scale, are just slightly smaller than life-size, which separate the images from reality despite their fastidious attention to detail. As a result, the compositions remain contained, echoing the letterbox format of a movie screen and thus making one aware of the invisible barriers that surround people in their privately constructed worlds of artiface.
Mosquera’s painfully quiet, small-scale pencil drawings that were on display in both exhibitions reveal an unexpected and additional dimension to her work. The drawings surprisingly and quite effectively substitute the intense color of the paintings with the stark whiteness of drawing paper, as well as with the subtle tonal values of judiciously selected areas of pattern. The images rely heavily on Mosquera’s skill at using contour line to transform blank areas of paper into the bare flesh of faces, arms, and legs. Her figures always seem on the verge of disappearing into the enveloping, blinding whiteness of their grounds. Through the silvery tones of these understated surfaces, Mosquera conjures images of human chameleons shedding their skins to adapt to their desired environments.
Love What You Don't See - review
The Campus Chronicle, October 26, 2001
Pinnacle Gallery at the corner of Liberty and Habersham Streets provides a striking invitation into Laura Mosquera’s exhibition "Love What You Don’t See," as the large-scale work is clearly visible from the sidewalk. The sleek, contemporary style of Mosquera is encompassed in a complex and yet user-friendly group of paintings that invite the gallery visitor to look up close and into the company of the figures portrayed.
"Love What You Don’t See" is essentially a contemporary psychological examination of moments frozen in time. Mental relationships are the primary focus for this selection of paintings. Mosquera provides viewers with a tangled web to unravel through analyzing patterns and space.
The importance of spatial relationships is what makes the work so entrancing as she establishes events and communication between figures and color fields. The figures wear clothing that may someday act as archival. For now, though, they tell much about the individual who wears animal prints, fishnet stockings or a pin-stripe shirt.
The figures seem to have no established narrative but appear to be on the cusp of an action or moment. The dialogue that is created with the viewer is therefore an important factor in the work. The viewer imagines situations based on response from the tension created, or dismissed, by space and color.
"My interest lies in describing relationships from figure to figure, edge to edge and pattern to plain surface," writes Mosquera in her artist’s statement. "These elements, along with color and composition, are used to describe spatial, architectural and psychological relationships."
"Invented for You," enamel, latex, acrylic on fabric, for example, offers a situation in which an individual will invent a facet of themselves for another. The clothing worn by the characters is an indication of the cover with which contemporary people re-represent themselves with some sort of camouflage.
"The space the figures occupy is not defined, but is still familiar. The people in the paintings are not identified, but the viewer still knows who they are," said Connie Pinkerton, assistant director of galleries. "There is a familiarity inspired by their clothing and hair. It’s like having a dozen SCAD students in Pinnacle Gallery all day."
The statement issued by the Monique Meloche Gallery, Chicago, Ill., which represents Mosquera, is a bit of a task to wade through. However, the work stands willfully behind every word. The arduous effort to decipher and ponder existential thoughts presented by the paintings is well worth the challenge.
You Got Your Wish - review
You Got Your Wish, Art In America, January 2001
Laura Mosquera is a young artist and an astute observer of human behavior who brings a fresh approach to figurative painting, whether working on a monumental or intimate scale. For her recent solo at Bodybuilder and Sportsman, a storefront space that was once a gym, the artist created a large, site-specific mural in the gallery's interior. Also on view were a single canvas and six small drawings that explore the same interpersonal and spatial relationships set forth in the more epic work, a commentary on the anxieties of social interaction.
Mosquera's figures appear youthful, self-conscious and fashionably hip. Extrapolating from photographs taken at parties and art openings, the artist clothes her subjects in the latest styles from Prada and Versace, then arranges them alone and in conversational groupings against sparse backdrops. Her paintings are executed in vibrant palettes and flat, broad shapes, their reductive surfaces reminiscent of advertising billboards, as well as the cool, illustrative portraits of Alex Katz.
Commanding the gallery's north and east walls was the 10-by-26-foot mural Somehow You Just Know, painted in latex, enamel, acrylic and glitter glue on drywall. Strategically placed against its expansive, violet background are six members of the "arterati," positioned alone at different vantage points within the picture plane. Two women, one at each of the composition's left and right margins, stand with their backs to the viewer, while another woman, caught in mid-conversation, sits facing forward in a comfy citrus-orange chair at the painting's center. Other figures (one of whom is critic Jerry Saltz) pose in profile, looking out across an empty abyss. These various shifts in perspective create an uneasy tension among the figures, and between figure and ground, while simultaneously enveloping the viewer in the psychological and architectural spaces of the painting. At the same time, Mosquera's use of various framing devices, such as cropping and the interjection of patterned and geometric fields within the formal narrative, allow her characters to function also as pictorial elements, reinforcing the sense of alienation they exude.
Mosquera has a keen sensitivity to color and design, yet nothing is lost in the accompanying drawings, which employ an economical line to similar ends. Done in black pencil on stark white paper, these works likewise evoke feelings of detachment, emphasizing body language and taking careful note of the voids among the various groups and individuals. At once existential and literal, Mosquera's vignettes are visually seductive, successfully engaging both our need to belong and our sense of self.