Alexander Rutsch Award For Painting

Projection (James Cohan with Bill Viola, 2018), 2018, oil and acrylic on canvas, 36 in x 54 in

Projection (James Cohan with Bill Viola, 2018), 2018, oil and acrylic on canvas, 36 in x 54 in

I am so pleased to share that I was recently selected as the winner of the 2019 Alexander Rutsch Award for Painting. This is a bi-annual juried competition, open to U.S. artists, hosted by the Pelham Art Center in Westchester County, New York. You may read more about this year’s competition and the work and philosophy of artist Alexander Rutsch here.

Along with a cash prize, the award includes a solo exhibition at the Pelham Art Center from May 3rd to June 22nd. I will be in New York for the opening on Friday, May 3rd. The reception and award presentation will run from 6:00 to 8:00 pm that evening. I will also be back in Pelham on Saturday, June 15th to give an Artist Talk from 2:00 to 4:00 pm. Both events are free and open to the public.

To reach the Pelham Art Center from New York City, take the Stamford Local train from Grand Central Station. Pelham is the 4th stop, about 28 minutes from Grand Central. The Art Center is located at 155 Fifth Avenue in Pelham, an easy, three-block walk from the train station.

I would love to see you on May 3rd, June 15th, or both!

Group Show: Summer Mixer at Joshua Liner Gallery, New York

I am pleased to be exhibiting three paintings this month in a group show at Joshua Liner Gallery in New York City.

I’ll be in New York briefly for the opening on Thursday, July 12th from 6-8 pm. If you will be in the area, I would love to see you at the reception!

Joshua Liner Gallery
540 West 28th Street

For more information, here’s a link to a PDF of the gallery invitation:

McKenzieEviteSquare

Entry (Mitchell-Innes & Nash), 2016, oil and acrylic on canvas, 36 in x 36 in

Entry (Mitchell-Innes & Nash), 2016, oil and acrylic on canvas, 36 in x 36 in

April News: Dallas Art Fair And Site: Brooklyn

Landscape 4, Upper East Side (Met Breuer), 2018, oil and acrylic on canvas, 48 in x 72 in

Landscape 4, Upper East Side (Met Breuer), 2018, oil and acrylic on canvas, 48 in x 72 in

Just a quick note to share two upcoming events this month:

David B. Smith Gallery will be exhibiting my paintings in a solo booth at the Dallas Art Fair next week, April 12-15. He may have a few VIP passes left, so please contact me if you will be in Dallas and would like one. I will be down there April 11-13 for the VIP Preview Party and would love to see friends!

I also have a painting in a group show this month at Site: Brooklyn. The exhibition, Abstraction at Large, was juried by Eleanor Heartney, contributing editor to Art in America and ARTnews, and acclaimed author of Critical Condition: American Culture at the Crossroads.

Spectacle (Indianapolis Museum of Art with William Lamson, 2016), 2018, oil and acrylic on canvas, 42 in x 42 in

Spectacle (Indianapolis Museum of Art with William Lamson, 2016), 2018, oil and acrylic on canvas, 42 in x 42 in

The daffodils are blooming outside my Boulder studio this morning! I know everyone is looking forward to warmer weather in the coming weeks– especially all of you back east, who just got hammered by winter this year.

As always, if you are going to be in the Denver/Boulder area in the next few months and would like to connect, please let me know.

Best wishes,
Sarah

Upcoming Exhibition At The University Of Arizona

With/In (Fondation Vincent Van Gogh with Alice Neel, 2017), 2018, oil and acrylic on canvas, 36 in x 54 in

With/In (Fondation Vincent Van Gogh with Alice Neel, 2017), 2018, oil and acrylic on canvas, 36 in x 54 in

If you happen to be in the Tucson/Phoenix area in February or March, I hope you will stop by the Joseph Gross Gallery at the University of Arizona School of Art. I am delighted to be part of this group exhibition:

Elsewhere

Feb 1 – Mar 23, 2018
Artist Lectures and Reception: Thursday, Feb 8th from 4 – 6 pm

Exhibiting Artists:

Kevin Cooley
Tobias Fike
Noémie Goudal
Nazafarin Lotfi
Sarah McKenzie
Dario Robleto
Chris Thorson

Elsewhere is comprised of works that elegantly traverse situational and environmental scenarios that unfold into uncommon encounters, echoing the schism between the known/unknown, tangible/intangible, and terrestrial/celestial. Incorporating ordinary materials and subjects that at first glance appear banal, these artists actively engage the inherent dualities of a meditative, psychological state, while simultaneously referencing the evanescent physicality of being in the world.

Elsewhere is an invitational exhibition co-curated by Brooke Grucella and Martina Shenal, University of Arizona School of Art.

This exhibition is supported by the College of Fine Arts Deans Fund for Excellence, the Dr. Joseph F. Gross Endowment, Lionel Rombach Endowment, and the University of Arizona School of Art.

Gallery Hours: Monday – Friday 8 am – 5 pm, Free to the public every day

The Joseph Gross and Lionel Rombach Galleries are located on the University of Arizona campus between the Museum of Art and the Center for Creative Photography. Parking is available on 2nd Street, east of Park Avenue or in the parking garage north of Speedway on Park Avenue. Please visit us their website: http://cfa.arizona.edu/galleries/

November Update 2017

Happy Holidays!

Landscape 3, Lower East Side (Nathalie Karg Gallery with Jennifer Guidi, 2015), 2017, oil and acrylic on canvas, 48 in x 72 in

Landscape 3, Lower East Side (Nathalie Karg Gallery with Jennifer Guidi, 2015), 2017, oil and acrylic on canvas, 48 in x 72 in

You may have noticed that I’ve been a bit quiet in recent months. 2017 has proven to be a year of both deep introspection and increased activism and engagement within my community here in Colorado. My studio process is influenced by both, of course, and I am intrigued to see how all this is playing out in my paintings over time.

As we near the end of the year, I am pleased to announce that my work has been included in the latest issue of New American Paintings, juried by Valerie Oliver, Senior Curator at the Contemporary Arts Museum Houston. This issue, #132, features artists throughout the Western States region. I am thrilled to see my paintings showcased alongside the fantastic work of several friends and colleagues in the Denver art scene– Kate PetleyDonald FodnessRuth HillerMelissa Furness, and Caleb Hahne.

For a limited time, the issue can be purchased for a discounted rate of $15 (normally $20) here. Please enter the coupon code 132W at checkout. Shipping is included.

I’ve had fun in the studio this fall, making some smaller-scale paintings in addition to my usual, larger canvases. I’m undecided as to whether these small works will stand alone or serve as studies for potential larger paintings down the line, but they’ve introduced a satisfying change of pace and perspective into my working process.

Study (L.E.S.), 2017, oil and acrylic on wood panel, 12 in x 12 in

Study (L.E.S.), 2017, oil and acrylic on wood panel, 12 in x 12 in

Study (Stella), 2017, oil and acrylic on wood panel, 12 in x 12 in

Study (Stella), 2017, oil and acrylic on wood panel, 12 in x 12 in

Study (Chelsea), 2017, oil and acrylic on wood panel, 12 in x 12 in

Study (Chelsea), 2017, oil and acrylic on wood panel, 12 in x 12 in

On the horizon:

From February to April, 2018, I’ll have work in a group show at the Joseph Gross Gallery at the University of Arizona in Tucson. The exhibition, titled Elsewhere, is co-curated by Brooke Grucella, Curator of Galleries, and Martina Shenal, UA Associate Professor of Art.

In the words of the curators: “Elsewhere is comprised of works that elegantly traverse situational and environmental scenarios that unfold into uncommon encounters, echoing the schism between the known/unknown, tangible/intangible, and terrestrial/celestial. Incorporating ordinary materials and subjects that at first glance appear banal, these artists actively engage the inherent dualities of a meditative, psychological state while simultaneously referencing the evanescent physicality of being in the world.”

I’m also looking forward to being part of a panel discussion on Painting/NonPainting at the Clyfford Still Museum in Denver on March 8th.

As always, please let me know if you are in the Denver/Boulder region and want to connect!

Best wishes,
Sarah

Happy New Year!

Let our New Year’s resolution be this: we will be there for one another as fellow members of humanity, in the finest sense of the word.

-Goran Persson

Dear Friends,

Wow, what a whirlwind 2016 was. I could never have predicted in January that the year would unfold in quite the way that it did. If you are connected to me on Facebook, you know that I am not one to keep quiet about politics. As disheartened as I am by the results of our recent election, I feel incredibly grateful to be part of a passionate, progressive, and highly engaged arts community that is more galvanized than ever right now. This brings me hope for the future every day.

One of my proudest accomplishments of 2016 is that I have co-founded a new Denver-based non-profit called Tilt West, along with two fantastic women/partners-in-crime, Whitney Carter and Sarah Wambold. Whitney is the former Director of David B. Smith Gallery in Denver, and currently works from Denver as the Director of Programming and Development for ArtCubed Los Angeles. Sarah Wambold is Director of Digital Media at the Clyfford Still Museum. Tilt West is our effort to foster more critical dialogue and intellectual exchange within the arts and culture community in Colorado. We launched our programming this fall with two round table discussion events, one on Regionalism and Identity, prompted by Cortney Lane Stell, Executive Director and Chief Curator of Black Cube; and a second on Rejection and Denial, prompted by Bobby LeFebre, Spoken-Word Artist, Actor, and Social Worker. Our round tables are modeled after a structure developed by Critical Practices, Inc., a New York-based organization that has been hosting similar conversations for several years.

So far, the response to our first two events has been overwhelmingly positive, and we are excited for the year ahead. In 2017, we will host several more round tables and launch an online publishing platform with critical reviews and commissioned literary and graphic projects. Please check out our website at http://www.tiltwest.org/ for more information, or shoot me a message if you’d like to know more.

2016 was also a busy year for me in the studio, with two artist residencies and three solo exhibitions.White Walls, my show at David B. Smith Gallery in Denver this fall was particularly well-received, resulting in a number of write-ups:

Sarah McKenzie, Art Ltd. Magazine
Sarah McKenzie: The Space Between, Modern in Denver Magazine
Review: White Walls is an Art Show About Art Shows, Westword

After the flurry of professional activity this fall and the intensity of the election, I am holing up a bit in the studio this winter and appreciating the relative peace and quiet. As always, if you find yourself out in the Denver/Boulder area, please look me up.

Wishing you a peaceful and joyous New Year,

Sarah

Upcoming solo shows in Denver and Basalt, CO

Still (Clyfford Still Museum, 2014), 2015, oil and acrylic on canvas, 48 in x 72 in

Still (Clyfford Still Museum, 2014), 2015, oil and acrylic on canvas, 48 in x 72 in

Dear Friends,

I hope you will join me in the coming weeks for the openings of two solo exhibitions of my work in Colorado:

Sarah McKenzie
White Walls

David B. Smith Gallery
1543A Wazee Street
Denver, CO

September 9-October 8, 2016
Opening Reception: Friday, September 9, 2016, 6-8pm
Artist Talk: Wednesday, October 5, 2016, Doors open at 6:30pm

This show–my second solo with David B. Smith Gallery– features my newest series of paintings, exploring the architecture of exhibition space. This is the work that traveled to the Indianapolis Museum of Contemporary Art back in June.

————————————-

Framework: Paintings by Sarah McKenzie

The Art Base Annex Gallery
174 Midland Avenue
Basalt, CO

October 14-November 5, 2016
Opening Reception: Friday, October 14, 2016, 5-7pm

In Basalt, I’ll be exhibiting paintings from the past eight years through to the present, all featuring windows, doorways, and other thresholds.

Gates Factory Window #5 (Long Grid with Pole), 2012, oil and acrylic on canvas, 60 in x 120 in

Gates Factory Window #5 (Long Grid with Pole), 2012, oil and acrylic on canvas, 60 in x 120 in

 

Huffington Post interview and prints available

Exit, 2016, relief and paper lithograph on paper, from an edition of 4, signed and numbered in pencil, image size 8 in x 10.625 in on 14.125 in x 16.5 in paper

Exit, 2016, relief and paper lithograph on paper, from an edition of 4, signed and numbered in pencil, image size 8 in x 10.625 in on 14.125 in x 16.5 in paper

I am excited to share this interview that I did with John Seed for the Huffington Post last week:
http://www.huffingtonpost.com/john-seed/sarah-mckenzie-white-wall_b_10399146.html

I am grateful to John for the opportunity to talk in depth about the paintings in my current show,White Walls, at the Indianapolis Museum of Contemporary Art, curated by Jeffrey Teuton. The show remains up through July 23rd.

I also want to share jpegs of the three print editions that I produced with Zygote Press in Cleveland during my residency there back in January and February. Two of the prints, Exit (shown above) and Assembly (below), are included in the iMOCA exhibition.

Assembly, 2016, relief and Xanté print on paper, from an edition of 3, signed and numbered in pencil, image size 7 in x 10.5 in on 14.125 in x 16.5 in paper

Assembly, 2016, relief and Xanté print on paper, from an edition of 3, signed and numbered in pencil, image size 7 in x 10.5 in on 14.125 in x 16.5 in paper

A third print, Vacancy, shown below, is not technically part of my White Walls series. Instead, this lithograph relates more directly to my Windows series. It is based on a photograph that I shot last summer of a vacant store outside Albany, New York. I knew I eventually wanted to do something with this haunting image. When I went to Zygote to explore how my practice as a painter might translate into various printmaking methods, it felt like the perfect opportunity to move ahead with this image.

Vacancy, 2016, lithograph on paper, from an edition of 10, signed and numbered in pencil on the back, 21.5” x 14.25"

Vacancy, 2016, lithograph on paper, from an edition of 10, signed and numbered in pencil on the back, 21.5” x 14.25″

All three of these print editions are currently available for purchase. The prices (before sales tax and shipping) are as follows:

Exit (edition of 4): $400 unframed
Assembly (edition of 3): $400 unframed
Vacancy (edition of 10): $775 unframed

For more information, please contact either:

David B. Smith Gallery, Denver, CO
https://www.davidbsmithgallery.com/
david@davidbsmithgallery.com
303.893.4234

or

Zygote Press, Cleveland, OH
http://zygotepress.com/
christi@zygotepress.org or liz@zygotepress.org

If you purchase through David B. Smith, you will be helping to support me, but if you purchase through Zygote, you will be helping to support this terrific non-profit that plays an enormous role in the vibrant arts community of Cleveland, Ohio. Either way, I will be happy!

Best wishes and Happy Summer,
Sarah

Upcoming solo show with the
Indianapolis Museum of Contemporary Art

Exit/Sign (Roberts & Tilton with James Hayward, 2015), 2016, oil and acrylic on canvas, 24” x 32”

Exit/Sign (Roberts & Tilton with James Hayward, 2015), 2016, oil and acrylic on canvas, 24” x 32”

Sarah McKenzie: White Walls
Indianapolis Museum of Contemporary Art
iMOCA at the Murphy
1043 Virginia Ave # 5
June 3 – July 23, 2016

Guest Curator: Jeffrey Teuton

Opening Reception: Friday, June 3, 5 pm

For more info:
http://indymoca.org/exhibitions/2016/05/sarah-mckenzie-white-walls/

If your summer travel plans take you through Indiana in the coming weeks, I hope you will check out my forthcoming solo show at iMOCA, titled White Walls. The exhibition will feature 11 new paintings and 2 prints from my ongoing series exploring the architecture of exhibition space.

Door to the River (Whitney Museum with Willem de Kooning, 2015), 2016, oil and acrylic on canvas, 48” x 72”

Door to the River (Whitney Museum with Willem de Kooning, 2015), 2016,
oil and acrylic on canvas, 48” x 72”

I created the two prints in the show during a two-week residency with Zygote Press (http://zygotepress.com/) in Cleveland this winter. I am incredibly grateful to the folks at Zygote for the opportunity to learn a variety of printmaking techniques, and I was fortunate to work with the very talented Christi Birchfield (http://christibirchfield.com/home.html), who helped me turn the ideas in my head into actual images on paper. My residency was generously supported by a Colombel-Soros Award.

Several of the paintings in the iMOCA show were produced during a residency at the Ucross Foundation (http://www.ucrossfoundation.org/) in Wyoming this April/May. I owe my thanks to Raymond Plank, the founder of Ucross, and the wonderful staff at the Foundation. I could not have asked for a better setting in which to work.

For further information about my paintings and prints, please visit my website, https://www.sarahmckenzie.com/, or contact David B. Smith Gallery (https://www.davidbsmithgallery.com/) in Denver.

Entry (Mitchell-Innes & Nash), 2016, 36” x 36”, oil and acrylic on canvas

Entry (Mitchell-Innes & Nash), 2016, 36” x 36”, oil and acrylic on canvas