- List of Professional References
- Statement of Teaching Philosophy
Area of Specialization: Contemporary Painting in Traditional Media
I consider art making to be an urgent intellectual matter. The parallels between artistic and scientific thinking inspire me – from observation to progressive experimentation. They share the deepest curiosity. Science drives toward broad theories and repeatable experiments, artistic processes drive toward the nuanced understanding of individual perception, and this is where our experiences, our hope, fear, love and hatred lives. In art-making, I am still most driven by the conscious synthesis of emotion and logic that characterizes humanistic thinking
My subject matter evolved from organic abstraction toward the exploration of transitory human presence, represented temporally in paintings as traces of light and color and gestural mark within a specific shape of space. I begin frequently from a live model. Elements of desolate, imagined landscapes enter the work, pushing figuration to the edge of winking out- my version of the traditional symbol of the soap bubble as the fragility of life.
Recently, handling the subject matter of scale – in this case the overwhelming subject of the U.S. bombing campaign during WWII- necessitated branching out into work for a proposal for a large metal sculpture which was capable of presenting a large dome of space above the viewer, and moving out of sight. This turn in my work appears entirely different from my painting, and presents a technical process- metals- entirely new to me, but it shares the same wrestling with the implication of infinity, the same consequential tension between occupation and emptiness.
Human beings think with far more than mere language: we build our perceptual environment with the physical movement of our hands and the manipulation of matter, the dynamic melding of emotion and logic and the ability of material to create illusion.
Painting endures because artwork can form a particular language within fully conscious human action; great paintings, can teach their own context. Today, painting again surges, resplendent in its intellectual and cultural power; demonstrating its resilience in radically evolving cultural environments.
M.F.A 2002 Painting University of Washington, Seattle
B.A. 1986 Political Science Reed College, Portland, Oregon
Periods of Study, 1987, 1991, 1996:
Art, Art History, Economics University of Alaska, Anchorage
Professional Experience: Studio Artist
1994-Present Studio Artist.
1998-2000 Owner, Bollenbach Art Labs, Portland, OR. (Developed an 11- member studio/ alternative gallery.)
1998 Manager, Sockeye Studios Co-Op, Portland Oregon (Managed small co-op studio).
1997 Project Director, Network of Oregon Artists, (Information service and institutional advocacy for artists).
1994-1996 Occasional Instructor, Steller Secondary School and AVAIL alternative school, Painting and Drawing. Anchorage, Alaska.
Representation: Cosio-Delaunay, San Francisco, CA. Al Cosio, SF MOMA and independent curation.
Professional Experience: Studio Artist Teaching Independently
As Owner, Bollenbach Art Labs, Public Classes held in Seattle, Washington.
Weekly Public Life Drawing Classes, 2009-Present
Open Foundations Courses 2011-Present
Private Tutoring and Mentorship
Ongoing Advanced Critiques for Professional Artists
Subjects: Perspective, Color Theory, Life Drawing, Two Dimensional Design, Artist Professional Practices, Advanced and Intermediate Critique Courses.
Professional Experience: Studio Art Faculty By Academic Institution
Frye Art Museum (Seattle, WA) Teaching Artist 2015-Present
Subject: Introduction to Figure Drawing Summer Intensive Courses
Northwest College of Art (Poulsbo, WA) Visiting Faculty Fall 2009
Subject: Two Dimensional Design/ Artist Practices
Kirkland Arts Center (Kirkland, WA) Instructor Fall 2008 to Present
Subjects: Beg. Drawing; Figure Drawing , Advanced Painting, Color Design, Pragmatic Creativity, (Advanced Critique)
South Seattle Community College Instructor Fall 2008, Win. 2010
Subject: Beg. Painting, non-credit program.
Highline Community College (Des Moines, WA): Visiting Faculty, Jan 2005 to Spring 2008
Subjects: Drawing I and II; Painting, Introduction to Color, Figure Drawing.
University of Washington, Seattle: 2000 to 2005
Subjects Taught: Beginning and Intermediate Drawing, 2-d Design, Figure Drawing, Painting I and Painting II, Introduction to Scientific Illustration.
UW Extension: 2003-2005. (4 Classes) Instructor
UW School of Art: 2002-2003, Visiting Lecturer (3 Classes); 2001-2002, Instructor of Record (5 Classes). (Note: 5 of 5 possible competitive TA appointments.)
ASUW Experimental College: Instructor (1 Class)
T.A. to Prof. Ann Gale, Figure Painting, Fall 2000
International Acad. of Design and Tech, Seattle (WA): Instructor, 2004
Subject: Drawing I (2 Classes)
Edmonds Community College: (Shoreline, WA) Visiting Faculty, 2003
Subject: Introduction to Painting (1 Class)
Clatsop Community College, (Astoria, OR) Instructor, 1999
Subject: Introduction to Painting.
* Special note: Most student evaluations from 2001 are available.
Other Professional Experience
1993-1996 Contributing Editor, Graphic Artist, Poll Manager, Alaska Research Associates/ POL Magazine, Anchorage.
1987-1992 Executive Director, American Civil Liberties Union and Foundation of Alaska. (Lobbyist, Fundraiser, Public Relations and Legal Program Manager for state affiliate of national constitutional rights organization.)
1995 Alaska State Council on the Arts, Project Grant
Partial Exhibition Record
2015 Stanford Art Spaces, “We Will Never Not Have Been”
18 Paintings, Stanford University
2012-13 San Francisco-MOMA, Office Spaces
2011 NOMA Gallery, Solo Exhibition “The Amplitude of Time,”
San Francisco, CA. (Reviews at Bibliography.)
2010 Kirkland Performance Center
2008 Seattle Art Museum Gallery
2008 Ballard Open Studios, Seattle
2007 Seattle Art Museum Gallery
2007 Gallery 6311, Seattle
2007 Highline Gallery, Faculty and Student Show
2007 Ballard Open Studios, Seattle
2006 PONCHO Art Auction, Seattle
2006 Ballard Open Studios, Seattle
2006 Seattle Art Museum Gallery (New works)
2005 Seattle Art Museum Sales Gallery October (new works)
2005 SAM Rental Sales Gallery, June (Artists of Ballard, 8 works)
2005 Pratt Museum, Homer, Alaska
2004 Coupling, Crawl Space Gallery, Seattle, WA
2004 Ballard Open Studios, Seattle,
2002 M.F.A. Thesis Exhibition, Henry Art Gallery, Seattle, WA.
2001 Works in Progress, Jacob Lawrence Gallery, Univ. of Washington.
1999 Studio Show, Bollenbach Art Labs, Portland, OR.
1998 Studio Show, Sockeye Studios, Portland, OR.
1997 Decker-Morris Gallery, Anchorage, AK
1997 Arctic Rose Gallery, Anchorage, AK
1996 Open Studio Tours, Pig Day Studio, Anchorage, AK
1995 Heartbreak, University of Alaska Anchorage, Invitational
2011 Sole Juror, Kenai Visitor’s and Cultural Center, Kenai, Alaska
Statewide open 2-D, 3-D show, “Intersections: The Kenai.”
Invited Talks, Selected
2015 Stanford University Art Spaces, Exhibiting Artist’s Talk
2011 Closing Artist’s Talk, NOMA Gallery, San Francisco
2011 Opening Artist’s Talk, NOMA Gallery, San Francisco
2011 Curator’s Talk, Kenai Cultural Center, Kenai, AK
2010 Visiting Artist Lecture, University of Washington, School of Art, Graduate Painting Program, Lecture, Presentation of Work
2009 Visiting Speaker, The Evergreen State College, Lecture on Work
2009 Class Speaker, Formal Studio Visits, Art Institute of Seattle
2008 Speaker, Critique as Creative Process., Microsoft Corp., Executive Presentations Lunchon, Power Point Design Group.
2008 American Civil Liberties Union: Artist Presenter on Artistic Freedom and Censorship: The Evergreen Press, Northwest Film Forum.
2008 Public Event Speaker, Effective Critiques for Artists, Kirkland Arts Center, Kirkland, WA.
2008 Class Speaker, Formal Studio Visits, Art Institute of Seattle
2007 Class Speaker, Formal Studio Visits, Art Institute of Seattle
2006 Class Speaker, Architectural Design, Highline Community College.
2002 Visiting Artist, University of Alaska Anchorage. Lecture and Presentation of Work, Department of Art and Art History.
Solo Exhibition Review: “Jamie Bollenbach at Noma Gallery, San Francisco,” Photos and Review at Visual Art Source. October, 2011.
Solo Exhibition Review: “Jamie Bollenbach: The Amplitude of Time, NOMA Galllery.” Photos and review by DewittCheng at DewittCheng.com. October, 2011
Solo Exhibition, Photos and Review: Jamie Bollenbach at ArtBusiness.com, by Alan Bamberger. Sept.16, 2011.
“À Seattle, la Solidarité, Ca Existe,” Le Figaro (Paris Daily) Quotes from extensive interview, June 13, 2009.
“The Big Blog,” Seattle Post-Intelligencer website, Quotes, August 11, 2009)
“Art, Passion and Fire” , Interview and Profile, Thunderword (Des Moines, WA) 2008
“Web Life Interview, Weekend Wi-Fi” Seattle Post-Intelligencer Website, 2007
“Liquitex Artist Interviews” Featured Artist Interview, Liquitex Website, 2005-Current
“Technical Notes” Liquitex Newsletter, Article, Photo, 7/2004.
“Respected Young ACLU Director Resigns to Pursue Dreams,”
“Art,” as a Facebook Product/Service, 2009-Present.
JamieBollenbach.com General Website, 2007-Present
Anchorage Daily News, 1992.
Personal Publications, Web-Based
The Amplitude of Time Blog 2007-Present
JamieBollenbach.com Artist Website, 2007-Present
“Eisengeiste,” Group Blog on Politics, comedy, and culture 2003-Present.
Social Media Accounts, Facebook since 2009, Twitter
“Compass-American Guide to Alaska,” Current Edition. Expert reader, Contributor (1997): “Arts and Culture in Alaska.”
Various Articles, Anchorage Daily News, 1996.
“Crisis in the Arts”, POL Magazine, June, 1994. First Place, Coverage of the Arts, Alaska Press Club, 1994.
2004-2006 University of Washington, Visual Arts Advisory Board, Adult Education
2002 President, MFA Class of 2002, University of Washington
2000-02 Senator, Department of Art. Graduate and Professional Student Senate, University of Washington
1995 Invited Participant, Governor’s Conference on the Arts, Alaska
Art: Highly developed oil and acrylic painting, traditional and contemporary drawing, color use and design. Some experience in sculpture, 3-D design, ceramics, basic construction. Introductory experience in modeling and metals.
Speaking: A comfortable, witty and experienced public speaker with particular skills in improvisation, question and answer, and turning difficult concepts into clear and compelling language for general audiences.
Writing: Experienced in grant research and writing, freelance nonfiction writing, significant, non-professional experience in fiction, some in poetry, editing and layout.
Computer: Longtime working familiarity with consumer-level Mac and PC platforms, Photoshop, GIMP, Microsoft Word, Internet. Consistent computer use since 1986. Using Windows 10, Google docs, Google Earth and Maps, Facebook page and product pages, basic familiarity with gaming and 3-d design concepts. Maintain and design own website and several blogs.
Substantial experience in volunteer management, press relations and public contact, fundraising, grant writing, legislative lobbying, extensive public speaking experience, long experience with economically and socially diverse populations.
Music: Guitar, performed in a rock band in the 90s; presently, beginning violin, didgeridoo. Humor writer and blogger. Basic carpentry and cooking. Boating: sailing and kayaking. Outdoors: hiking, cross-country skiing, trail biking, good ecological knowledge and general survival skills. Master rock skipper.
2009-Present Artist & Craftsman Supply, Workshops & Demonstrations
2005-Present Daniel Smith Art Supply, Oil Painting Demonstrations
2006 Williamsburg Art Materials, Seattle
2005 National Art Materials Trade Association Meeting, Chicago, IL
College Art Association, Member.
American Civil Liberties Union of Washington, Speaker,
ACLU-WA Public Speakers Bureau
1. Philip Govedare, Associate Professor of Art,
University of Washington School of Art,
P.O.B. 353440, Seattle, Washington 98195
(206) 543-0749 email: email@example.com
2. Al Cosio, SF-M.O.M.A.
Cosio-Delaunay Art Consultant Group
770 Van Ness Avenue, Suite 105
San Francisco, CA 94102 - USA
3. Dewitt Cheng, Independent Art Critic and Curator
Former: Stanford Art Spaces Curator, Stanford University
3438 Taraval Street
SF CA 94116
4. Negarra Kudumu, Manager of Public Programs
Frye Art Museum
704 Terry Avenue
Seattle, WA 98104 USA
Direct: (206) 432-8249
Tel: (206) 622-9250 x 249
Fax: (206) 223-1707
5. Amanda Dellinger, Gallery Manager
Pivot Art and Culture, Seattle, WA
609 Westlake Ave N, Seattle, WA 98109
Amanda Dellinger <firstname.lastname@example.org>
Tel: On request.
Studio: 1148 NW 14th Ave NW
155 Nickerson St. #2 Seattle, WA 98109 206.650.0591
Web: JamieBollenbach.com Email: JamieBollenbach@gmail.com
Visual art is a poetic language of the eye and senses, of the critical human intellect operating beyond the ordinary reach of the language of words. The source of this grammar springs from all types of human experience, all sight and seeing, and all that can be perceived, remembered and anticipated by the visual sense.
Rarely have I met a student who cannot learn to draw. Recent cognitive science suggests that the concept of talent, particularly in a pedagogical context, is overvalued and even damaging to students’ success. These studies suggest that a student’s mastery of difficult arts and sciences develops through attentive and superior instruction rather than inborn abilities.
I use specific, teachable, highly adaptable grammars for teaching in the visual arts, and am thrilled by the results. I believe that the technical and philosophical principles of Art making can be taught, can be modeled, can embody the accomplishment of pictorial craft and can also transcend it to form a progressive development of thinking in almost any student willing to be motivated. Art students thrive in an environment that melds the eye, hand, heart, and intellect, and I work hard to create that environment in my classes.
Art breathes in perception, and exhales expression. I teach students to rebuild their power of sight, to strip away the assumptions of vision and to reconsider their perception of appearance. Mastering the principles of rendering introduces a powerful way of thinking and leads quickly to tangible results in the student’s technical power. Yet mastering proportionality in drawing, for example, also enables the student to transcend appearance. Even when I insist on a working understanding of perspective, I will assign a Wallace Stevens poem as a source. I am convinced that art instruction functions best in a balance of mastering formal knowledge and inspired, experimental investigation that can, like Art, potentially address any subject.
Painting and drawing must demonstrate their phenomenological utility, never assume it. I often use the metaphor of games: a set of abstract rules strangely creates new opportunities of free action: the lines on a tennis court create the champion, pushing against the rules and playing with nuance and transcendence. If perspective formed Titian and Caravaggio, the push against it created Cezanne, Picasso, Duchamp. In the contemporary context, traditional painting’s visual effects are the still necessary visual system to launch artists as distinct as James Turrell, Julie Mehretu, Anselm Kiefer or Matthew Barney. Yet painting only serves fine art to the extent that it continues to push art farther and deeper.
I work to challenge each and every student, to understand their motives, give them specific tools, push rationalization out of the critique and put the thinking into the work. I work with each student to build an energetic and pragmatic approach to generating creative work. I try to keep the goals clean: is the student’s artwork convincing? Is it interesting to others? Does it function on the terms the student sought? Does it deepen the artist’s understanding of their own subject? I get the best results by combining challenge and support – teaching students to become wholly enveloped and present in making the work, to become responsible for all characteristics of the image, and to see their results in a cool, clear light.