HALSEY MCKAY GALLERY

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OVERVIEW | CV | PRESS | GALLERY EXHIBITIONS

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Halsey McKay Gallery is thrilled to present STILL, new work by Chris Duncan, accompanied with essays by artists, Ernesto Burgos, Dionne Lee, Robert Aiki Aubrey Lowe, and curator Lawrence Rinder. STILL, offers seven new works that are an amalgam of textile, photography and painting along with a sculptural time capsule that encases Duncan’s debut full length record, With Light, and one of his signature hand-made books. These works will be available in the viewing room until June 30.

Continuing his exploration of the sun as metaphor, inspiration and fabricator, Chris Duncan’s works begin by absorbing its rays over prolonged periods. Color fabric is wrapped, pinned and draped, around specific objects and left to absorb the elements of their surrounding environment.   Without the use of dye, emulsion or any purposefully manipulated chemical process, imagery emerges through months of ultraviolet sun bleaching. These exposures act as markers of time and an outlet for Duncan to capture sites and objects that are part of his life and practice.

Where previous compositions were unwrapped to reveal completed, almost narrative, depictions of the skylight of his studio, windows of his home, drums, stereo speakers, and bricks, these new works begin from failed exposures. Lacking any captured likeness to their origins, these latest pieces begin from an abstract haze. Solid shapes of color are sewn around these ethereal fields as loose borders that imply portals or openings to the sea. Fine lines of geometry are then hand-painted onto the fabric, creating further illusory space, and reclaiming them as authored paintings.

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Sun Exposure by Lawrence Rinder

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Some two thousand years ago, the Roman philosopher Lucretius gave this remarkable description of images:

These almost airy substances, are drawn

From surfaces; you might call them film, or bark,

Something like skin, that keeps the look, the shape

Of what it held before its wandering.¹

An image, for Lucretius, is a two-dimensional phenomenon that bears an indexical relationship to its point of origin. That is to say, the image is a “skin” or “bark” that has been drawn directly—even physically–from its source and records in itself not just the look, but also the character, of that which it represents. 

Sunlight is an image. It appears to be everywhere, permeating space and reflecting off of objects like a bright, disembodied ether. It is, in fact, the sun’s picture. Try an experiment the next time you are under a leafy tree: you’ll notice that the sun’s rays fall upon the ground in countless small circles. These aren’t just any old circles: they are images of the sun. Proof of this can be found during an eclipse when you will notice these circles becoming crescents as the moon shades the giver of light in real time.

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Most pictures are images of reflected light. We see things because the sun’s rays (or artificial light) has bounced off of them and, dividing in spectral colors and variations of brightness, creates the impression of a thing. Pictures of sunlight would seem to be something different. Here we are dealing with the source, the energy that enables all seeing, yet which is, as we have seen, already a picture. Given its ubiquity and mysteriousness, you’d think that more artists would have tried to capture images of light, that is light as it falls directly from the sun. Two or three come to mind: James Turrell, Charles Ross, and the young Bay Area photographer Chris McCaw. Each of these has found ways to capture something of the essence of sunlight as an image. 

In keeping with Lucretius’s observation about images retaining something of their source beyond mere appearance, we can see in McCaw’s photographs, that even as sunlight creates an image by means of a camera obscura it can even burn the paper on which the image appears.  Ross’s “images” meanwhile, are nothing but the burn.  

Christopher Duncan’s sun exposure works similarly capture the ability of an image of sunlight to express (in the Lucretian sense) the sun’s inherent properties of fire and heat.  In Duncan’s case, this is expressed through fading, which is the oxidation—or very slow burning—of the dye in the material on which the image is rendered. We have all seen things fade in sunlight. It is a commonplace of our everyday lives. However, like the miniature Suns that dance beneath every tree in daylight, Duncan’s works bear the unmistakable appearance of images. 

Duncan’s sun exposures are different from a direct projection of the sun itself. Rather, they capture the patterns that sunlight creates as it meets and interacts with material that has been folded, draped, tied, and left in place for six to twelve months. The resulting marks—caused solely by the relatively greater exposure of some areas of the material over others—create the striking impression of the force that made them: the light of the sun. Meanwhile, the rays and undulations in his works evoke the appearance of beams of light or, at times, reflected light undulating in darkness. It is because we see them as both images and indexes of light that these works acquire their uncanny allure.

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Delving deeper into the appearance of these images, while they are the result of exposure to the sun over a prolonged period from a single location, each work possesses a distinct feeling of movement. There is a sense that a dynamic activity has been frozen like a “film still” to use the artist’s words. This appearance of movement, besides resembling beams of sunlight, also suggests, at times, light reflecting off of moving liquid or some other kind of viscous material such as smoke. The sensation of turbulence in these works is present not only in the “sun exposures” themselves but also in the irregularity of the rectilinear fabric pieces and the variable coloration of the thin painted “frames.” All of these elements combine to endow the works with a slightly off kilter feeling. To return to Lucretius, we can analogize this sensation with what the Roman philosopher called the “swerve.” Lucretius arrived at this concept not through direct observation but through deduction. He postulated that for there to be manifest physical existence, the most elemental particles of matter, i.e. atoms, must be subject to a force that causes them to slightly swerve in the course of their motion, thereby setting up a disturbance that, when played out over time and space, results in the peculiar patterns and aggregations that ultimately become what we recognize as physical form. Long thought to be a weak point in Lucretius’ theories, his concept of the “swerve” has recently come back into favor, especially in the field of fluid dynamics. 

The title of Lucretius’ only surviving text, “On the Nature of Things,’ could apply as well to Duncan’s art. In these diminutive works, he presents evidence of some of the fundamental processes and principles of existence. And, much as Lucretius’ expressed his pioneering discoveries through the lyrical medium of poetry, Duncan expresses his meditations on being through the sensuous medium of visual art. The synthesis of intellect and sensuality is a core feature of Epicureanism, the Greek philosophy to which Lucretius ascribed. Often misunderstood as a form of hedonism, Epicureanism acknowledged the limits of mortality, recognized the oneness of things, aimed to achieve peace through the elimination of fear, and embraced pleasure as the ultimate purpose of life. Like Epicurean yantras, Duncan’s “sun exposures” provide a point of focus, a visual foundation, for meditations on the nature of things.

1. Titus Lucretius Carus, The Way Things Are, trans. Rolfe Humphries (Indianapolis: Indiana University Press, 1968) p. 120.

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DIONNE LEE on CHRIS DUNCAN

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I’ve been looking out my windows a lot lately. While this is certainly a result of spending most of the last year indoors, I’ve always enjoyed peering through them and thinking about direction, line of sight, and sitting with how far my eyes will allow me to see. Experiencing seasonal shifts from inside has allowed my attention to drift towards the subtle changes of my immediate ecosystem: where the light falls in my apartment, the way my plants bend to follow this light, and even my cats changing their resting spots throughout the year for sunbathing. I was reminded of these observations when I visited Chris Duncan’s studio a few weeks ago and viewed a different set of windows, made from fabric and light, that offered a new understanding of how the sun travels through space and time. In my apartment these shifts in light are fleeting–no trace left behind. Duncan’s work is all of the traces folded into each other. The changing of tones come from fabric folded over by the artist or flipped by a gust of wind, maybe falling over again from another gust months later.

I live in Oakland, California, and have visited Pacifica and Ukiah, where some of these fabrics have been exposed, but I’ve never been to Asbury Park, New Jersey. Duncan’s work offers a view of a place I have yet to meet and a new perspective on those that may already feel familiar. A wave coming towards the Atlantic shore becomes a wisp of light blue against a backdrop of cerulean, capturing what is in a constant state of flow, and allowing natural occurrences to tell the story of place.

From spring to summer, I am fighting with the sun. My apartment gets too hot too fast, the edges of my plants brown, and so sometimes the curtains need to be drawn. For some reason this inconsequential gesture makes me feel guilty, like I am rejecting a gift. I also feel a minor sadness as I watch my thin curtains slowly fade through the seasons and consider what is lost when I interrupt the invisible hand of light and time. Duncan’s hand is present through the tugging of seams, an attempt to make sense of where the light may have begun to fade or reveal the vulnerabilities of a living document. To preserve this work means to keep it out of the sun, yet the necessity of preservation is a question worth grappling with as the work’s power lies in its ability to record an infinite amount of passing time; a reminder for why it is sometimes necessary to leave the curtain open.

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ERNESTO BURGOS on CHRIS DUNCAN

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Are words like ‘success’ or ‘failure’ valid when speaking of the results nature can create? If one surrenders any outcome to a force or control beyond their own imposition then how can the idea of failure exist? Failure through whose eyes? For what means? 

These are some of the questions that come to mind when thinking about Chris’ work.  Through chance and now with some direction he exposes fabrics to elements of sunlight, air and rain that create registers of time on the material, creating a type of imagery and mark which references the architectural sites where they have been made to inhabit.

It is a never-ending dance when an artist tries to attain the ‘mistake’ or surprise that they have haphazardly experienced. We want to give direction to things to attain an experience proportional to the one we never knew we wanted. This constant search becomes the barometer of success. What happens to those registers if they are not able to produce such an experience? Are we allowing nature to follow its own course or are we asking nature to follow ours? What is the intersection or the relationship between the naturally occurring and man’s intervention?

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One of the interesting twists in Chris’ work is what he decides to do with those registries that don’t seem to suit his initial needs. After letting nature and fabric envelop an architectural setting (which I see as liquid over solid) he seems to invert certain roles. He now begins to add a new sense of reframing and internal architecture to that which had organically overcame the external architecture by sewing and painting over the fabric and its registries. Now does the fabric become the architecture and the artist taking on the role of the elements as he imposes and exposes his own natural processes and elements onto this newly emerged architecture? 

Do we as artists start to assume the roles of the natural? Do we believe that our hand or eye can elevate nothing into something the same way the sun does when it leaves its mark on a discarded fabric? 

This can be a very slippery path to be on but it’s the one we are already on. Another reason to insert ourselves. To reevaluate what was meaningful in a moment we didn’t seek out and build off of it. What other choice is there?

Chris has positioned himself right in the middle of these intersecting materials, ideas and elements.

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Imposition and submission. 

He has chosen to allow himself to be pulled back and forth between these two extremes. Somewhere amidst this space of ideas and questioning he is looking for the right conditions which will allow for him to be aware enough and acute enough to step up or down to respond to the needs of his role in that particular moment. No combination is ever quite the same. From time to times these ideas and materials are able to join in marriage,  and many times they reject and divorce each other. 

We all do.

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Robert Aiki Aubrey Lowe on Chris Duncan’s STILL

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Throughout the whole of 2020 into 2021 we have learned to pivot into a new way of living and thinking. We have on a whole become more accustomed to ideas of isolation, quiet and stillness. Christopher Robin Duncan through his multidisciplinary practice over some years now has been investigating similar notions of patience and calm through the process of slow manipulation of objects, whether tangible or ephemeral, over durations of time.

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Christopher’s work with glacial sound vibrations, plays with the textures and nuance of tuning forks, harmonica and feedback in the long form which echoes his work with textiles, which very much relies on the light of the sun as paintbrush and collaborator. This cultivation of technique leads to the new.

For his exhibition STILL, these new works present the abundance of slow craft.

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A collection of his first sound recording effort complete with Long Play record and handmade book housed in a sculptural box made in an edition of 6 encapsulates contemplation of working with and absorption of light. The ocean sized sound of the recording relates to the power of the light and endlessness of time.

In past works he has focused on specific recognizable objects in his photographic draping process, but a set of seven new works highlight the failure to capture attempted objects, therefore displaying the absence of form, but in doing so, create new consideration of forms in a landscape.

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STILL is a lovely, thoughtful continuation of such processes relying on sunlight, sound, thread, paint and a calendar year to produce truly stunning pastoral works for Halsey McKay gallery. STILL provides the space we need.

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Chris Duncan was born in 1974 in Perth Amboy, NJ. Duncan holds an MFA from Stanford University and a BFA from the California College of Arts and Crafts. Recent solo exhibitions have been with Rebecca Camacho Presents, San Francisco, CA; Cooper Cole Gallery, Toronto, Canada; Eighteen Gallery, Copenhagen, Denmark; and Halsey McKay, New York, and East Hampton, NY. His work has been included in exhibitions at The Berkeley Art Museum, Berkeley, CA; Museum Of Modern Art, NY, New York; Bemis Center for Contemporary Art, Omaha, NE; De Rosa Preserve, Napa, CA; and The Marjorie Barrick Museum at the University of Las Vegas Nevada. Duncan’s work is held in the collections of the Museum Of Modern Art, New York, NY; SFMoMA, San Francisco, CA; The Kemper Art Museum, St. Louis, MO; Berkeley Art Museum, Berkeley, CA and the Arsenal, Montreal, Canada. Outside of his studio practice he organizes events and runs a small artist book press and record label called LAND AND SEA with his wife. He currently lives and works in Oakland, California.

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EDUCATION
2013 MFA, Stanford University, Palo Alto, CA
2003 BFA, California College of Arts and Crafts, San Francisco, CA

SOLO EXHIBITIONS
2020 Respite, Rebecca Camacho Presents, San Francisco, CA
2020 Elapse, Eighteen Gallery, Copenhagen, Denmark
2019 Without the Sun I Fall Silent, Halsey Mckay Gallery, East Hampton, NY
2018 12 Symbols, Human Resources, Los Angeles, CA
2017 Our Love Will Still Be There, Romer Young Gallery, San Francisco, CA
2016 12 Symbols, Halsey McKay Gallery, New York, NY
Art Cologne + NADA Collaborations, Halsey Mckay Gallery & V1 Gallery, Cologne, Germany
2015 The Time It Takes To Take The Time, V1 Gallery, Copenhagen, Denmark
Media Based Time, Et al., San Francisco, CA
Year, The Elaine deKooning House, East Hampton, NY
2014 The Sun and The Air, Halsey McKay Gallery, East Hampton, NY
A Different Kind of Tension, Cooper Cole Gallery, Toronto, ON Canada
2013 New Minimalism, Cooper Cole Gallery, Toronto, ON Canada
2012 Wake Up and Fight, Halsey McKay Gallery, Impulse,  New York, NY
Balance, Morgan Lehman Gallery, New York, NY
2011 Patterns and Light, Halsey McKay Gallery, East Hampton, NY
2010 Eye Against I, Baer Ridgway Exhibitions, San Francisco, CA
2009  NADA Miami,  Baer Ridgway Exhibitions, Miami Beach, FL
2008 The Faith Void Split, Jeff Bailey Gallery, New York, NY
2007 The Beginning, The Middle, The End, Gregory Lind Gallery, San Francisco, CA
2006 The Continued Exploitation of Pink and Brown, Jeff Bailey Gallery, New York, NY
The Playing Field, Nakaochiai Gallery, Tokyo, Japan
Dark Times, Motel Gallery, Portland, OR
2005 Where We Meet, Lump Gallery, Raleigh, NC

GROUP EXHIBITIONS
2019 Inner Ear Vision: Sound as Medium, Bemis Center for Contemporary Arts, Omaha, NE
Vanishing Act, Halsey McKay Gallery, East Hampton, NY
2018 Night, Shortly, Susan Inglett Gallery, New York, NY
10,000 Degrees Fahrenheit, SF Arts Commission Gallery, San Francisco, CA
Night Shade, presented by Halsey McKay Gallery and Curagenda at Blender Workspace, New York, NY
Way Bay II, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA
The Case Against Reality, Marinaro Gallery, New York, NY
2017 Ernesto Burgos & Chris Duncan, Halsey McKay Gallery, East Hampton, NY
Mine, V1 Gallery, Copenhagen, DK
Process, curated by Matthew Gardocki, Marjorie Barrick Museum of Art, University of Las Vegas Nevada, NV
2016 Material Matters: Water Pigment and Light, Van Every/Smith Gallery, Davidson College, Davidson, NC
November’s Bone, Halsey McKay Gallery, East Hampton, NY
Heliotropes, curated by Matthew Nichols, Geary Contemporary, New York, NY
I Look For Clues in Your Dreams, curated by Heather Marx, Berkeley Art Center, Berkeley, CA
Collected, Pier 24 Photography, San Francisco, CA
2015 Hear This, Palo Alto Arts Center, Palo Alto, CA
Pattern::::Chaos, Cinders, Brooklyn, NY
2014  Openings, curated by Jessica Silverman, Fused Space, San Francisco, CA
Ghost Current, curated by Ryan Wallace, V1 Gallery, Copenhagen, Denmark
After Space, Loyal Gallery, Stockholm, Sweden
The Possible, curated by Lawrence Rinder and David Wilson, Berkeley Art Museum, Berkeley, CA
Ain’tings, curated by Ryan Steadman, Robert Blumenthal Gallery, New York, NY
2013 Paint Off, Paint On, Halsey McKay Gallery, East Hampton, NY
Unseen, Cult Aimee Friberg Exhibitions, San Fancisco, CA
Beatnic Meteor, DiRosa Preserve, Napa, CA
Group Show, Eli Ridgway Gallery, San Francisco, CA
MFA Thesis Exhibition, Thomas Welton Gallery, Stanford University, Stanford, CA
2012 Millennium Magazines, MoMA, New York, NY
THE SUN (sound gathering), Liminal Space, Oakland, CA
Horizon, San Francisco Arts Commission Gallery, San Francisco, CA.
Aura & Angst, Halsey McKay Gallery, East Hampton, NY
Color Theory, Sonoma Valley Museum of Art, Sonoma, CA.
Transmission lines (2 person show with Ryan Wallace), Cooper Cole Gallery, Toronto, Canada
2011 RTC Collaborations, Western Exhibitions, Chicago, IL
Abstraction Now, Berkeley Art Museum, Berkeley,CA
Sound and Shape, collaborative sound installation, Guerrero Gallery, San Francisco, CA
Beneath The Picture, Curated by Kent Baer, Ambach & Rice, Seattle, WA
Island Press-3 Decades of Printmaking, curated by Karen K. Butler, Kemper Art Museum, St. louis, MO
2010 THE SUN (performance), Southern Exposure. San Francisco, CA
The Power of Selection, Pt. 3, Curated by Ryan Travis Christian, Western Exhibitions, Chicago,IL
Default State Network, curated by Ryan Wallace, Morgan Lehman Gallery, New York, NY
Paper!Awesome!, curated by Brion Nuda Rosch, Baer Ridgway Exhibitions, San Francisco, CA
Out Of Order, curated by Gail Dawson, San Francisco State University Gallery, San Francisco, CA
THE SUN CEREMONY, curated by David Wilson, Berkeley Art Museum, Berkeley, Ca
Residency Project I, Kala Art Institute, Berkeley, CA
2009 HOT AND COLD-THE END IS HERE, final hot and cold release exhibition, Baer Ridgeway Exhibitions, San Francisco, CA
MOVE(curated by Rich Jacobs)15th Anniversary Show, New Image Art Gallery, Los Angeles, CA
Infinity, curated by Andrew Schoultz, Scion Space, Los Angeles, CA
2008 KICK OUT THE JAMS-Hot and Cold 2 zine release exhibition, The Luggage Store, San Francisco, CA
Apocabliss,(curated by Maya Hayuk) Alice, Brussels, Belgium
Surf Zombies, Cell Project Space, London, UK
Hope Springs Eternal, 96 Guillespe, London, UK
Americana, Wattis Institute, San Francisco, CA
2007 Hope and Despair, Cell Project Space, London, UK (curated by Bob Matthews)
Distinctive Messengers, 489 Broome Street, New York, NY (curated by Simon Watson and Craig Hensala, Scenic)
U MUST NOT KNOW BOUT ME-Hot and cold 3 zine release, Eleanor Harwood Gallery, San Francisco, CA
All Is Well That Begins Well and Has No End, NYU Washington Square East Galleries, New York, NY(curated by Jan Van Woensel, Ernesto Burgos, and Jonah Groeneboer)
The Unknown Quantity, Gregory Lind Gallery, San Francisco, CA
2006 Infinity in Finite Things, Western Project, Los Angeles, CA
ZusammenKunst, Galerie Hafemann, Wiesbaden, Germany
Men and Materials, Jeff Bailey Gallery, New York, NY
I Used to Believe, David Castillo Gallery, Miami, FL (curated by Melissa Diaz)
West Coast Windows, Samson Projects, Boston, MA (curated by Oliver Halsman Rosenburg)
Variegated Radiant Dream Plot, (w/ David Dupuis, Jovi Schnell), Gregory Lind Gallery, San Francisco, CA
2005 Kults, Werewolves and Sarcastic Hippies, Yerba Buena Center for the Arts, San Francisco, CA
Shelter From the Storm, Allston Skirt, Boston, MA
Young Mountain, The Sharon Arts Center Gallery, Peterborough, NH
Op-Ish, Samson Projects, Boston, MA
Tsunami Relief Auction, White Box, New York, NY
2004 Gondola Mayo Funnel, Mimi Barr, San Francisco, CA
Life and Death, 111 Minna Gallery, San Francisco, CA
Around And Every Day, Adobe Books, San Francisco, CA
Collectors Edition, Triple Base, San Francisco, CA
Books!Awesome!, Mimi Barr, San Francisco, CA
Portrait Show, Needles and Pens, San Francisco, CA
Heartswork, traveling exhibition, Lump Gallery, Raleigh, NC, Covivant Gallery, Tampa, FL, Space 1026, Philadelphia, PA
2003 Keepsake, juice design, San Francisco, CA
2002 Spring to Autumn Period, Southern Exposure, San Francisco, CA

BIBLIOGRAPHY
Forbes, Alexander, The 8 Best Booths at Art Cologne, Artsy Editorial, April 15, 2016
Lutz, Leora, Review: Chris Duncan Media Based Time at Et al., SFAQ, 5.8,2015
Hamer, Katy, Chris Duncan at the Elaine de Kooning House, Eyes Towards the Dove, 4.22,2015
Landes, Jennifer, deKooning House, Subject and Object, East Hampton Star, 3, 31, 2015
Menendez, Franklin. ARTFORUM, January 2011
Kesler, Christine. Chris Duncan: Eye Against I, Art Practical, September 2010
Tilghman, Parker. Vertigo, Art Slant, September 11th, 2010
Andrews, Brian.  Chris Duncan, Shotgun Review, October 4th, 2009
Bad at Sports-podcast interview, episode 228- NADA 2009
Curcio, Seth. Daily Serving, August 30th, 2009
NY Arts: Vol. 13. Chris Duncan, 2008
The NADA Emerging Artist Page: Chris Duncan, The L Magazine, January 31, 2007, p. 62
Smith, Roberta, Chris Duncan: The Continued Exploration of Pink and Brown, New York Times, December 15, 2006
Chun, Kimberly, Goldies 2006 Visual Art: Chris Duncan, San Francisco Bay Guardian, November 8-14, 2006
Rawlings, Ashley, Interview with Chris Duncan, tokyoartbeat.com, November 4, 2006
Review The Japan Times, October 19, 2006
Lyman, Ian, The Temple of Light and Sound, Ping Mag, October 4, 2006
Whiteside, Amber, Variegated Radiant Dream Plot, ARTWEEK, April 2006, p.14
Helfand, Glen, Variegated Radiant Dream Plot, Art on Paper, March-April 2006, p. 80-81
Cash, Stephanie, Report From San Francisco II: New and Now, Art In America, January 2006, p. 62
Spalding, David, Review, Artweek, April 2001

PUBLICATIONS
Grey, Land and Sea, 2015
12 Symbols LP, Land and Sea, 2015
ACAB, Land and Sea, 2014
New American Paintings, issue 79. Pg. 48-51
K48 issue 7, image, 2008
K48 issue 6, image, 2006
Planet Magazine, back page(image), Spring 2007
XLR8R Magazine, interview, April 2008
Arrow Magazine, Chris Duncan, Issue 3, Fall 2006, Pg. 42-43, 55-61, Back Cover
McSweeney’s Quarterly Concern, (image) Issue 20, Fall 2006, Pg. 60
The Zine Unbound: Kults, Werewolves and Sarcastic Hippies, exhibition catalogue, Yerba Buena Center for the Arts, Griffin McPartland and Chris Duncan, 2005
Lyric poetry journal, (image) issue 7, 2005
The Drama, (image) issue 4, 2004
May the Circle Be Unbroken, Heartswork exhibition catalog, 2004
Arkitip, (image) Issue 21, 2004
Herbivore Magazine, issues 2 and 3, Crown, Jeremy,2003/2004

CURATORIAL PROJECTS
2012– Sun and Moon, a series of four gatherings and performances at Berkeley Art Museum.
2010–!!!THE SUN!!! improvisational, audience participatory sound project. Events occurred: Kala institute, Berkeley Art museum, Southern exposure.
2010-present-Land and Sea fine art publishing and editions.
2010–SEEING,reading about “seeing” included Lawrence Rinder, Ryan Wallace, Whitney Chadwick, Miranda Mellis amongst others, in conjunction with EYE AGAINST EYE exhibition, Baer Ridgway, San Francisco, CA
2010-BELIEVING, film screening of OCTOBER COUNTRY(Donal Mosher), in conjunction with EYE AGAINST EYE exhibition, Baer Ridgway, San Francisco, CA
2008 3, the work of Ernesto Burgos, Kyle Ranson and Derrick Snodgrass, Gregory Lind Gallery, SF,CA
2004 Heartswork, traveling art exhibition, January-March
2002 Keepsake, 50-person group show
2001 Sketch, with juice design, September
Hot and Cold, zine project with Griffin McPartland. Within each issue between 15-20 artists are invited to participate in hand-built limited edition zine. Project started at 10 and counted down to 0. Group shows curated to accompany release of each issue.

AWARDS &  RESIDENCIES
2015 Headlands Center for the Arts, CA
2014 Elaine deKooning House, East Hampton, NY
2012 ACRE, Steuben, WS
University of Kansas, Lawrence, KS
2010 Kala Institute, Berkeley, CA
2008 Island Press, St. Louis IL
2006 Goldie Award for Visual Art

COLLECTIONS
Berkeley Art Museum, Berkeley, California
Kemper Art Museum, St. Louis, MO
Museum of Modern Art, NY
SF MoMA, San Francisco, CA
The JP Morgan Chase Collection
Wellington Management Company, Boston, MA
The Progressive Art Collection, OH
Jaffe Book Arts Collection, Boca Raton, FL

PANEL DISCUSSIONS/LECTURES
University of Kansas, Lawrence, KS.
Washington University, St. Louis, MO. 2009
“Artists Books”, Southern Exposure, SF,CA. 2011
“Art of Zines 2004′′, San Jose Museum of Modern Art, 9/11/2004