Paintings -  Drawings - Teaching   

Jamie

Bollenbach

Studio: 1148 NW 14th Ave NW

155 Nickerson St. #2 Seattle, WA 98109  206.650.0591

Web: JamieBollenbach.com                                                                         Email: JamieBollenbach@gmail.com                                                                                             

Curriculum Vitae

- List of Professional References        

- Statement of Teaching Philosophy

Visual Artist

Area of Specialization: Contemporary Painting in Traditional Media 

Introductory Statement:  

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.  


Education

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.)

Grants

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

Curation   

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.

Bibliography


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  

Publications, Print

“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.

Professional Service                 

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

Skills Summary

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.

Public

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.

Non-Profit

Management:        

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.

Hobbies &

Curious Skills:

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.

Workshops/ Demonstrations

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

Professional Organizations

College Art Association, Member.

American Civil Liberties Union of Washington, Speaker,

ACLU-WA Public Speakers Bureau


References

1.         Philip Govedare, Associate Professor of Art,

University of Washington School of Art,

P.O.B. 353440, Seattle, Washington  98195

(206) 543-0749  email: pgov@u.washington.edu

2.        Al Cosio, SF-M.O.M.A.

Cosio-Delaunay Art Consultant Group

770 Van Ness Avenue, Suite 105

San Francisco, CA 94102 - USA

email: acosio@sfmoma.org

(415) 347.1282

www.cosio-delaunay.com

3.        Dewitt Cheng, Independent Art Critic and Curator

            Former: Stanford Art Spaces Curator, Stanford University

3438 Taraval Street

SF CA 94116

            415-412-8499

acdcmr@earthlink.net

         

 

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

NKudumu@fryemuseum.org

www.fryemuseum.org

         

5.         Amanda Dellinger, Gallery Manager
           Pivot Art and Culture, Seattle, WA

            609 Westlake Ave N, Seattle, WA 98109

Amanda Dellinger <amdellinger@gmail.com>
Tel
: On request.

         


Paintings -  Drawings - Teaching   

Jamie

Bollenbach

Studio: 1148 NW 14th Ave NW

155 Nickerson St. #2 Seattle, WA 98109  206.650.0591

Web: JamieBollenbach.com                                                                         Email: JamieBollenbach@gmail.com    

 

Statement of Teaching Philosophy

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.