birgir andrésson

DISSECTING NATURE

Dissecting Nature – Birgir Andrésson, Adam Belt, Stephen Curry, Roman de Salvo, Andy Diaz Hope in collaboration with Laurel Roth, Iran do Espírito Santo, Vernon Fisher, Hreinn Fridfinnsson, Maiko Haruki, Anya Gallaccio, Andy Goldsworthy, Roy McMakin, Lincoln Schatz and James Turrell

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LS-Portrait of Water, 2010 (5999 & 6000)

“Art not only imitates nature, but also completes its deficiencies.” – Aristotle

Quint Contemporary Art is pleased to announce a group exhibition of paintings, sculptures, photographs, video and mixed media works by artists Birgir Andrésson, Adam Belt, Stephen Curry, Roman de Salvo, Andy Diaz Hope in collaboration with Laurel Roth, Iran do Espírito Santo, Vernon Fisher, Hreinn Fridfinnsson, Maiko Haruki, Anya Gallaccio, Andy Goldsworthy, Roy McMakin, Lincoln Schatz and James Turrell. The exhibition, DISSECTING NATURE, will open with a public reception on Saturday, January 14 from 6 to 8 PM.

Dissecting Nature is an exhibition of artwork that uses man-made materials to emulate nature or natural materials to create artistic constructions.

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Birgir Andresson Bio

Birgir Andresson

QUINT: Three Decades of Contemporary Art at the California Center for the Arts, Escondido Museum

Aug ’09Dec
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QUINT: Three Decades of Contemporary Art at the California Center for the Arts, Escondido Museum Photo Credit: Michael James Armstrong

QUINT: Three Decades of Contemporary Art

at the California Center for the Arts, Escondido Museum

August 15 – December 31, 2009

Special preview Saturday, August 15th from 6 – 9PM

340 N. Escondido Blvd.
Escondido, CA 92025
www.artcenter.org

Cocktails, hors d’ oeuvres, entertainment & live music.
$10 per person for non-members, free to Center Members.

RSVP to (760) 839-4120

The California Center for the Arts, Escondido Museum is pleased to present Quint: Three Decades of Contemporary Art. The exhibition, based on the program of one of San Diego County’s most influential galleries, will open on August 15th and continue through December 31st, 2009. Works in the exhibition, the majority of which have been borrowed from Southern California museums and private collections, present an extraordinary survey of the range of regional, national, and international artists supported and promoted by Quint Gallery over nearly thirty years.

Since opening his first gallery in La Jolla in 1981, Mark Quint adopted a unique, almost nomadic approach to the business of contemporary art. Rather than establishing itself in a permanent location and then expanding over time, Quint Gallery would more often adapt its spaces and program according to the needs of the artists it was interested in presenting. From formal gallery and raw open spaces in downtown San Diego, to large industrial workspaces for artists near Miramar Naval Air Base, to unexpected (and often elegant) spaces secluded in back alleys in Hillcrest or La Jolla, Quint Gallery has maintained the flexibility to represent artists employing a wide variety of practices, mediums, and formats.

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Quint Contemporary Art is pleased to present SNAP SHOT

Nov ’08Jan
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Quint Contemporary Art is pleased to present work by Birgir Andresson, Allan McCollum, Jan van Munster and a group of Mug Shot photographs by Anonymous Photographers.

Birgir Andrésson (b. 1955 – d.2007) The exhibition will feature one of the artist’s wall installations from a series entitled Icelandic Colors. Born in the Westmann Islands in 1955, Andrésson went on to study visual arts at the Icelandic Academy of the Arts and then received a graduate degree from the Jan Van Eyck Akademie in Maastricht in Holland.

Andrésson was especially preoccupied in his work with spoken language, and the communication of visual perception, which he explored through text portraits, drawings, wall installations and three-dimensional constructions. The ‘Icelandic Colours’ are one of the strangest and most contradictory subjects in Andresson’s art and, like so many of his themes, they turn up again and again in different contexts. In his text-paintings the text appears on a solid field of color which is identified in a caption in the corner: “Colours: Icelandic Pantone 173, Icelandic Pantone 533.” To begin with this was perhaps just characteristic irony, making fun of pseudo-national trends in interior decoration. Later, however, these colors became a sort of signature that Andresson could use to put his mark on almost any subject he chose.

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