Yulia Pinkusevich met me at her studio, a space where seemingly countless inspiring projects and imagined spaces unfold. She dives in, regardless of what materials might be involved; "When I am captivated by an idea, the concept will set me down an exploratory path."
A collaboration with Andrea Steves and Francois Hughes, Double Vision explores the Cold War history of the Nike Missile Program and its counterparts in the USSR. The project began in the Bay Area’s Marin Headlands, which is home to the Nike Missile Battery, part of a nationwide nuclear missile defense system active from 1951 to 1972. The ongoing project gathers materials from former Nike veterans and archives to create interactive experiences using low power FM transmission and video installation at a variety of former military sites.
The goal of the Lucid Art Residency Program is to provide artists with a serene, retreat-like natural environment for creative exploration and inquiry into arts and consciousness.
The Lucid Art Foundation encourages exploration of nonrepresentational art through multimedia, conceptual, ecological, and interdisciplinary approaches. During the three-week residency (generally taking place from March to November of each year), artists will have the opportunity to explore the practice of lucid art, with special emphasis on the integration of art, process, and inner awareness. Through this practice, a deeper foundation is created that fosters individual artistic growth and development, as well as the understanding of the artist's role in society.
What It’s Like to Be an Artist in Residence at Facebook
By Casey Lesser
Oct 31, 2017
Solo exhibition at Black Crown Gallery, Oakland
June 30 - August 5, 2017
The Recollection of Stones Unturned is a solo exhibition of “hybrid paintings” by Yulia Pinkusevich that examine the collaboration between humans and machines in these early days of extraterrestrial exploration. Drawing upon photographs taken by autonomous robots from the Martian surface and employing the latest laser-based technologies as a tool for creating, Pinkusevich considers the position of humankind in a present in which speculative fictions are becoming technological realities—our machine-aided capabilities expanding the reach of our species in both space and time.
Central to Pinkusevich’s work is the pivotal moment in which robots—as proxies for humans—began simultaneously making photographs of and altering the terrain of Mars. The resulting images gaze back into the deep time of extraterrestrial geologies—landscapes formed over the course of eons—while the interventions look forward as the starting point of a possible future of human interplanetary colonization. These excavations into the Martian ground are echoed in the process of creating these “hybrid paintings”; Pinkusevich employs laser cutters to etch through layers of hand-applied acrylic paint, each pass revealing a new color and further resolving the image. The etched surface of the resulting works begin to take on a topographic dimension, visually paralleling the landscapes depicted. In completing the pieces by drawing over and under the paint surface with colored pastels, Pinkusevich recapitulates the human-machine authorship of the original photographs.
For many of the works on display artifact takes on a dual presence: the image itself as an artifact of contemporary technology, produced in part for the consideration of future generations; and digital artifacts evident as errors, inclusions and blank spots as a result of the many transmissions and translations that the photographic images are subjected to between exposure and painting. The binary presence of artifact speaks to the imprecise translation from technologically-produced data to human experience, and the impossibility of projecting with any clarity the future of humanity.
Artists Hold On to Modernism in a Fractured WorldA Review of “Reality Check” at the Ukrainian Institute of Modern Art
NOVEMBER 8, 2016 AT 10:30 AM
by Chris Miller
The Recollections of Stone Unturned
November 4 – December 23, 2016
Kent Fine Art
New York, NY
How Freedom Shaped Ukrainian Art, At Home and Abroad
Vice • Art
August 28, 2016
by B. David Zarley
The exhibition 'Reality Check' celebrates 25 years of Ukrainian independence and the effects of freedom.
"Reality Check: Directions in Contemporary Art since Ukrainian Independence" at The Ukraine Institute of Modern Art (UIMA
REALITY CHECK: DIRECTIONS IN CONTEMPORARY ART SINCE UKRAINIAN INDEPENDENCE
The Ukraine Institute of Modern Art
August 26 – November 27, 2016
Recently, I was a part of a discussion on Place and the Future of Urban Living. Set in the stunning Oakland Old Train Station. A short video capturing our night and Rimma Boshernitsan, CEO speaking about the mission.
DIALOGUE is a San Francisco-based agency, focused on helping companies gain a competitive advantage by designing experiences of human connection. Work with us or read our blog at http://www.in-dialogue.co.
For the last few months I have been an Artist in Residence at Autodesk’s Pier 9 Workshop, a state of the art industrial shop and advanced manufacturing facility. Artists of diverse backgrounds are invited to train on software and equipment, as well as encouraged to use these new industrial technologies in unconventional ways. With this in mind I began collaborating with the latest machines to create a new type of painting.
The work that grew out of these investigations looks for the tension between digital and analog processes. These paintings of new geologies are based on autonomous robotic photography of NASA, ESA and JPL labs and created in part by hand and in part with Epilog’s and Meta Beam laser cutters.
As I collaborate with these machines, be it my MacBook pro, the JPL instruments on the Mars Rover or the Metabeam and Epilog lasers at Pier 9, I embrace the glitches that occur throughout the process, viewing each glitch as our machines opportunity for creative self-expression. Creating a truly collaborative human + machine paintings.
To learn more about Yulia’s work at Pier 9, check out the video of her artist lecture below.
The laser etching part, also featuring the artwork inspired by Rosetta and Philae’s images of Comet 67P, starts about 15 min into the talk:
A step by step Instructable to explain the techniques used to create the artwork can be found here: http://www.instructables.com/id/Charcoal-and-Acrylic-Laser-Raster-Etchings/
Images courtesy of the artist.
Yulia Pinkusevich is an interdisciplinary artist whose vision is influenced by our rapidly evolving urban landscape and the impact of globalization on the everyday. Her works physically engage with the surrounding environment and call upon architectural framework as a construct to guide the viewer through a direct experience.
Born and raised in the USSR and relocating to New York City at a young age, Pinkusevich’s background is rooted in change. Her ability to adapt and observe has served as a central tool for harnessing a unique and fluid vision. Concerned with breaking through conventional perspectives, Pinkusevich creates illusions of impossible spaces and non-places that shift viewpoints away from logic and play with the viewer’s subconscious understanding of space.
Yulia Pinkusevich’s work has been shown extensively in the US and abroad, in cluding site-specific installations in Paris and Buenos Aires. She has been awarded residency grants from Autodesk, Facebook HQ, Cite des Arts International in Paris, Recology SF, Redux in South Carolina, Headland Center for the Arts, Goldwell Open Air Museum, and The Wurlitzer Foundation, among others. She was also the recipient of The San Francisco Foundations 2011 Phelan, Murphy & Cadogan Fellowship in the Fine Arts as well as Stanford University SiCA’s Spark and ASSU Grants. Pinkusevich holds a BFA from Rutgers and an MFA from Stanford University. She was a lecturer at Stanford University and now is an Assistant Professor of Art at Mills College while maintaining a studio in Oakland, California.
The Ukrainian Diaspora: Women Artists 1908–2015
The Ukrainian Museum
New York, NY
October 18, 2015 – February 14, 2016
Adrienne Kochman, Guest Curator
“Stanford's newest building spotlights art and art history”
October 7, 2015
by Robin Wander
Stanford's new McMurtry Building was feted by the media, the campus community and officially welcomed into the campus fold. The first new building of the academic year, McMurtry houses the Department of Art & Art History.
I’m honored to be a part of the Fall 2015 cohort at Autodesk’s, Pier 9 Artist in Residence. I’m going to be learning a lot while working in this state of the art shop. If you wish to learn more about this program here is a short video about it below.
PUSHING BOUNDAIRES: Heidi Fasnacht, Yulia Pinkusevich, and Dannielle Tegeder
Kent Fine Art
May 29 – June 24, 2015
Santa Cruz Museum of Art
December 19, 2014 – April 19, 2015
Open to the public December 19th
Opening reception: January 2nd 5-9 PM with special performances by Henry Kaiser, Kadet Kuhne, Elia Vargas and Jason Wyman. Find out more here.
Everybody’s Ocean works just like our relationship to the ocean: it constantly evolves. The ocean represents anything from womb to tomb. We personify it as a wrathful god, a seductive spirit, or an indomitable force. The four oceans of the world cover 71% of the Earth’s surface and link us to primordial pasts. The ocean is a living, shared space and one of the greatest unexplored mysteries of the world. Everybody interprets the ocean in different ways. Your work has unique inspiration. Let’s share it with each other.
ALTER SPACE PRESENTS Thresholds: Shadow Self by Yulia Pinkusevich
March 15 – 29, 2014
OPENING: March 15, 2014 from 7-10pm
Thresholds: Shadow Self, is a site-specific installation by Yulia Pinkusevich, located in the
basement of the gallery. Pinkusevich has embedded an architecturally scaled structure into the existing space that explores notions of shadow, light, barrier and threshold. Utilizing 30+
reclaimed doors that she collected during her time at RecologySF (SF Dump), this immersive
environment aims to evoke personal inquiry and examination, prompting visitors to embark in an act of investigation as they navigate the maze-like arrangement through its series of doors.
Pinkusevich’s Thresholds is inspired by the Jungian philosophy of shadow, that which hides in the subconscious darkness of the human psyche. Even though the shadow exists in the psyche, waiting to reveal itself through human action, it seldom manifests in real life. This installation creates a dialogue with the body that is aimed at prompting a deeper awareness of the journey into one’s self, shining light on dark corners of the psyche while playing with the viewers perceptions of space.
“Art’s not psychology, some art can be psychological but I don’t claim to be able to solve
people’s problems through an installation. I do hope it makes you ponder a bit or think about
why- I think art is meant to be an experience, I control certain aspects of it but I can’t control
how it’s perceived, that belongs to the audience.”
Yulia Pinkusevich is an interdisciplinary visual artist. Born in 1982 in Kharkov, Ukraine she holds a Masters of Fine Arts from at Stanford University and Bachelors of Fine Arts from Rutgers University Mason Gross School of the Arts. Yulia has been awarded residency grants from Recology (SF Dump), Cite des Arts International in Paris, Headlands Center for the Arts, Redux in South Carolina, Goldwell Open Air Museum and The Wurlitzer Foundation. She received The San Francisco Foundations 2011 Phelan, Murphy & Cadogan Fellowship in the Fine Arts as well as Stanford University SiCA’s Spark and ASSU Grants. She currently lectures at Stanford University and resides in East Palo Alto, California.
Alter Space 1158 Howard St San Francisco CA
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