- Kate Newby
A puzzling light and moving.
It is a predictable pattern: An exhibition is planned, the work is created and installed in the space, culminating in an opening and celebration of the artist and the work. The artist leaves, returns to the studio - seldom seeing their exhibition again.
What would be possible if an artist is given time, support, encouragement, and permission to carry forward and reflect? An invitation to return to their work. A chance to alter it, begin again or perhaps keep it the same?
The lumber room welcomes New Zealand/New York based artist, Kate Newby, to investigate the idea of prolonged engagement with a space, with her work and with a community. Newby’s sense of time ranges from the instant to the geologic, it is both nimble and gradual. A keen observer and an engaged maker, her objects summon deeper and extended inquiry. Chris Krauss aptly notes, Newby’s objects “seem like the remnants of investigations. The way things need to be shifted around in order to see. Disruption of habit.” (1)
Newby has been working towards this point in time for the past two years. Officially the project begins October 6th, 2018 and will continue for a year’s time or when Kate has had enough, whichever comes first.
Just this morning, talking with Newby, we express our excitement for her return. We talk about the time in between, away from here, what will emerge in this time, what will drop away. Already ideas are in motion for works, writing, and events for when Newby is here and when she is elsewhere.
(1) Chris Krauss essay Splodges of Color. Kate Newby “Swifts little verbs pushing the big nouns around” Chinati Foundation, Marfa Texas
Kate Newby (Born 1979 in Auckland, New Zealand) lives and works in Brooklyn, New York. In 2012 she was awarded the renowned Walter’s Prize. Newby graduated with a Doctor of Fine Arts (2015) from the University of Auckland’s Elam School of Fine Arts.
Recent solo shows include Ican't nail the days down, Kunsthalle Wien, Vienna (2018) Swift little verbs pushing the big nouns around, Michael Lett, Auckland (2018); Let me be the wind that pulls your hair, Artpace, San Antonio (2017); The January February March, The Poor Farm, Wisconsin (2016); I memorized it I loved it so much, Laurel Gitlen, New York (2015): Two aspirins a vitamin C tablet and some baking soda, Laurel Doody, Los Angeles (2015); I feel like a truck on a wet highway, Lulu, Mexico City (2014); Maybe I won‘t go to sleep at all., La Loge, Brussels (2013); and Let the other thing in, Fogo Island Gallery, Newfoundland (2013); among others. Her works have also been shown in international group exhibitions, including Further Thoughts on Earthy Materials, Kunsthaus Hamburg, DE, (2018); 21st Biennale of Sydney (2018); Scrap Metal, Toronto (2017); Index – The Swedish Contemporary Art Foundation, Stockholm (2017); Sculpture Center, New York (2017); Casa del Lago, Mexico City (2015); Auckland Art Gallery Toi o Tamaki, Auckland (2015); and Arnolfini, Bristol (2014).
Kate undertook residencies at The Chinati Foundation, TX (2017), Artpace, TX (2017) and Fogo Island (2013).
The lumber room extends its heartfelt thanks to Kate’s many local collaborators who generously offered their knowledge, skill, time and enthusiasm for Kate and her work: Chanda Zea, Dylan Beck, Ezra Lomahaftew, Trent Laughery and Evan Kirby at the Oregon College of Art and Craft, who were gracious and generous beyond compare. Matilda Adair, ceramicist, with a steady and nimble presence every day. Chris Baird and Rainen Knecht who take their skills to eleven every time with humor and grace. Ted Sawyer and Tom Jacobs made glass happen on short notice for Kate, and did so with the highest level of professionalism and engagement. Mark Burden for a lesson in wood. Sara Moen for a lesson in fiber. Jim at Gilmer Woods, the staff at CC and F Roofing, all of whom followed Kate’s lead and found the materials she had imagined. Gabi Vallesinor and Sarah Coderre on a Sunday packing, lifting and moving. Always thankful for Rob Halverson, Randy Higgins, Libby Werbel and Jeanine Jablonski who help myself and the artist make it all happen, often on short notice.