YVONNE ESTRADA | BIOGAPHY

Yvonne Estrada Biography

Born in Bogota, Colombia in 1960
lives and works in New York

Yvonne Estrada Selected Solo & Group Exhibitions

2012

"Blue" Von Lintel Gallery, New York, NY

"Discursive Abstraction: Works on Paper from the 1950's to the present" Bernard Jacobson Gallery, New York, NY

2011

"30 A Brooklyn Salon" Celebrating 30 Years of Contemporary Art. BRIC Rotunda Gallery, Brooklyn, NY

2011

"After Paradise" Jason McCoy Gallery, New York, NY

2009

"Present Tense" A.P.E. Available Potential Enterprise. Northampton, MA

2008

"Linear Manifestations" Jeannie Freilich Contemporary. New York, NY
"INFINITE LINE Contemporary Drawing in Time and Space" BRIC, Rotunda Gallery. Brooklyn, NY

2007

"Shaken not deterred" Inspired New York, Bombay Saphire. New York, NY
"9: Gallery Artists" Jeannie Freiilich Fine Art. New York, NY.

2006

"100 artists - 100 watercolors" Jeannie Freilich Fine Art. New York, NY

2005

" Yvonne Estrada, Draw / Paint" METAPHOR Contemporary Art. Brooklyn, NY
"Out of Bounds / 37 days at Wave Hill" Glyndor Gallery, Wave Hill. Bronx, NY 

2004

"Breathing Space" METAPHOR Contemporary Art, Brooklyn, NY
"Sensitive Dependence on Initial Conditions" Kerrigan Campbell Art + Projects. New York, NY
"Urbes Interiores" Biblioteca Luis Angel Arango. Bogota, Colombia.  

2003

"In the realm of the absurd" Sacred Heart University. Fairfield, CT
"Brooklyn on 57 ST" Nohra Haime Gallery. New York, NY
"Yvonne Estrada / Works on Paper" Von Lintel Gallery. New York, NY

2002

"Painting" ATM Gallery. New York, NY 

2001

"Pierogi: Flat Files" H&R Block Artspace. Kansas City, MO

2000

"Haulin' Ass, Pierogi in L.A." Post Gallery. Los Angeles, CA
"Sensibility and Surface" Henry Street Settlement. New York, NY
"Snapshot" Contemporary Museum. Baltimore, MD
"Multiple Sensations; Series, Collections, Obsessions" Pierogi Flat Files, Yerba Buena ArtCenter for the Arts. San Francisco, CA
"Superduper New York" Pierogi. Brooklyn, New York, NY 

1999

"Group Show" Bingo Hall Gallery. Brooklyn, NY               

1998

"Brooklyn Salon" The Rotunda Gallery. Brooklyn, NY

1997

"The Press Of My Foot To The Earth Springs A Hundred Affections" The Rotunda Gallery. Brooklyn, NY
"Berkshire Art Association 1997 exhibition of works on paper" The Berkshire Museum. Pitsfield, Ma
"Hispanic Heritage Month" Chase Manhattan Bank, Metro Tech Center. Brooklyn, NY

1996

"Twentieth Annual Small Works" 80 Washington Square East Galleries. New York, NY

1993

"Living Rites" Carla Stellweg Gallery. New York, NY

1992

"The Enduring Thread / El Hilo Perpetuo" The Rotunda Gallery. Brooklyn, NY

1987

"Yvonne Estrada / Edward G. McDowell Travel Grant " Art Students League. New York, NY

1986

"Abstract Visions" Museum of Contemporary Hispanic Art, The Benjamin N. Cardozo School of Law. New York, NY
"Colombian Artist in the World" Museum of Contemporary Hispanic Art. New York, NY 
"Colombian  Artist in New York" Museo de Arte Actual, Fundacion Gilberto Alzate Avendano. Bogota, Colombia

1985

"Colombian Art in the World / New Artist" Museum of Modern Art. Bogota, Colombia
"Colombia in Venezuela" Galeria del Distrito Federal. Caracas, Venezuela

1984

"Four Artist in New York" Rayo Museo. Rodanillo, Valle, Colombia

Yvonne Estrada Grants & Awards

2010

Acadia Summer Arts Program - Residency Grant. Bar Harbor, ME

2004

New York Foundation for the Arts - Painting Fellowship. New York, NY

2001

Finalist for the MTA, Arts for Transit. New York, NY

1986

Skowhegan School for Painting and Sculpture - Residency Grant. Skowhegan, ME
"Edward G. McDowell Travel Grant" One year travel grant to Europe. Art Students League, New York, NY            

1985-84

Nesha Cohen Grant for Advance Studies in sculpture, and 82-83 Merit Scholarships. Art Students League, New York. NY

1980

Icetex Scholarship for studies of fine arts abroad. Bogota, Colombia.

Yvonne Estrada Education

1986-1987

Traveled through Europe and Greece under the Edward G. McDowell Travel Grant. Art Students League. New York, NY

1986

Skowhegan School of Painting and Sculpture. Skowhegan, ME

1980 -1986

Art Students League. Fine Arts International Students Program & advanced studies in sculpture.

1978-80

David Manzur Studio. Bogota, Colombia

Yvonne Estrada Bibliography

2011

"30 A Brooklyn Salon" Celebrating 30 years of Contemporary Art. Exhibition Catalogue, BRIC Rotunda Gallery, Brooklyn NY.

2011

"30 Years Brooklyn Art:Work 2011 Gala"Catalogue.

2009

"Present Tense" Catalogue, David Gibson

2005

"Out Of Bounds, Wave Hill" Brooklyn Rail. Ben La Rocco
"37 days at Wave Hill / Winter 2005" Catalogue, Jennifer McGregor
"Yvonne Estrada Draw / Paint"  METAPHOR Contemporary Art, Julian Jackson

2004

"Sensitive Dependence on Initial Conditions" Kerrigan Campbell Art + Projects. Lisa Hatchadoorian
"Urbes Interiores" Museo de Arte del Banco de la Republica, Biblioteca Luis Angel Arango. Catalogue, José Ignacio Roca.

2003

"in the realm of the absurd" Nohra Haime Gallery of Contemporary Art. Sacred Heart University, Fairfield, CT

1997

"The Press Of My Foot To The Earth Springs A Thousand Affections" Catalogue, Byron Kim

1992

"The Enduring Thread / El Hilo Perpetuo" Art Nexus #51. Bertha Sichel
"The Enduring Thread /El Hilo Perpetuo" Catalogue, Elizabeth Ferrer

1988

Catalogue for the National Association of Women Artist, Invited Juror

1986

"A potpourri of works on paper" Art Speak, Sherli Evans

1985-86

Seasonal Catalogues, Art Students League

1985

"Colombian Art In The World / New Artist" Museum of Modern Art, Bogota, Colombia. Catalogue, Eduardo Serrano
"The Return of The Marvelous Plague, Art in The World" ("El Retorno de La Plaga Maravillosa, Arte en el Mundo") Gabriel Garcia Marquez. El Tiempo, 1985
"Colombian Art in The World, New Artist" Antonio Cruz Cardenas. El Tiempo 6-16/85
"New Artist in the Museum of Modern Art" (From the ateliers new artist visit MAM - The Museum of Modern Art, Bogota, Colombia) Alberto Casas Santamaria. El Espectador #115, 6-9/85

JOHN CHIARA | 'Fort at Lime Point' – New Yorker Review

Goings On About Town: Art

John Chiara

"The San Francisco-based photographer has scaled down his homemade picture-making device from a box the size of a small U-Haul to a more portable, but still far from handheld, contraption. Chiara’s deliberately fallible, low-tech approach allows him to access something elemental and evocative about the photographic process—a far cry from the digitally tweaked perfection of so much current work. The unique images he makes without film or negatives are subject to light leaks, woozy focus, color shifts, and other accidents—all of which add layers of intrigue and confusion to otherwise ordinary landscapes. As foliage and architecture dissolve into abstraction, it becomes increasingly clear that mystery is Chiara’s real subject."

The New Yorker

JOHN CHIARA | 'Fort at Lime Point' – Art Practical Review

John Chiara

Bunker Road at Coastal Trail, Fort Barry Range (Right), 

2011; image on Ilfochrome paper

unique photograph; 33 1/4 x 28 3/4 in. 

"John Chiara’s milky, murky, mesmerizing pictures of Northern California landscapes at Von Lintel Gallery, in New York—1890s artillery nest roads, sun-rich scrub, sloping San Francisco neighborhoods—work slowly and plaintively. Gradually, shrubs, weeds, and mid-century flat-roofed hillside homes give way to fine details and a suffering that suggests estrangement and unresolved events.

Chiara was raised in the 1970s and ’80s in the Bay Area and watched patiently as his father slowly developed prints in a makeshift darkroom inside the family’s garage. Today, he crawls in and out of a large-scale hand-built camera he transports to outdoor locations on a flatbed trailer and prints directly onto paper he cuts out of the camera. The results are jagged, lustrous pictures.

In interviews, Chiara mentions legendary photographer Richard Misrach, a mentor, and Lewis Baltz, a member of the seminal New Topographic photographers, with whom he shares a tendency to list the precise location where photographs were taken.¹ However, it is Chiara’s interest in chance that recalls Italian conceptualist Silvio Wolf, whose photochemical Horizons (2003–2009) produced hypnotic, emotional results. It also aligns him with American landscape photographer Bryan Graf and his Wildlife Analysis pictures.

For the patient, Fort at Lime Point incrementally releases a kind of sadness. Chiara’s pictures, which wear his cuts and tape, call to mind found photographs, and the inscrutable way memory works, or grief. There’s a burnt, raw quality here. There’s also eloquence."

Read full review @ Art Practical

The Great Room: New York Magazine | NY Mag. Home Design

The Great Room: Doug Meyer's Redecorated One-Bedroom

The 2,398-Sheet Apartment 

By Wendy Goodman

 VLG Artists featured:

From Left to Right: Yvonne Estrada, Mark Sheinkman, Antonio Murado;
Far Right: Antonio Murado

"When it came time to redecorate his one-bedroom rental, Doug Meyer took no shortcuts, installing piece after piece of colored paper with the help of his brother, Gene. 

Just this past summer, interior designer Doug Meyer’s West Side apartment overlooking the High Line and the Hudson River was submerged in soothing layers of cool greens: chartreuse floors, Kelly walls, upholstered furniture the shade of asparagus. But, as he’s prone to do, Doug got antsy. “I keep one incarnation for several months while new ideas are incubating for the next version,” he says of the apartment where he’s lived for three years.  Along with his brother and design partner, Gene, Doug had long been a bit of a paper fetishist, fascinated by the effects of layering tones and textures. And having grown up in Kentucky with a mother who preferred bright-orange living spaces to the neighbors’ usual eggshell-and-avocado schemes, both brothers are color enthusiasts, to put it mildly. (Says Gene, “It hurts when I see the modern world dressed in black. The right colors can transform anything into something arresting that transcends style.”) So together they began papering over Doug’s bedroom walls with colored sheets of 8½-by-11-inch paper, each digitally printed with one of 223 designs. “The idea was a riff on early wallpapers from the 1400s, which were actually small squares of paper printed with wood blocks,” Gene explains."

Read full article @ NY Magazine

JOHN CHIARA – 'Fort at Lime Point' Daily Serving Review

Laney at 5th, Federal Building, 2011. 
Image on Endura transparency, 
unique photograph 33 1/2 x 28 1/4 inches

"Every photographer has wished, at some point, that they could substitute the lens for their own eye. John Chiara does the next best thing: he crawls inside his homemade camera, the size of a small Uhual trailer, in order to make unique photographs. He may not be able to be the camera's retina, but he can certainly inhabit its brain. The results are monumentally large (Chiara develops the prints in a large sewage pipe), and the intuitive process unpredictable and time-consuming. Chiara's anachronistic imaging system maps the landscape in front of him, laying bare photography's own inner workings in doing so.

For Fort at Lime Point,  John Chiara’s second solo exhibition in New York City at Von Lintel Gallery,  the San Francisco based photographer has crafted some of his most subtle and uneasy work to date. Chiara has long chartered the sublimity of nature and its sometimes uneasy cohabitation with the structures upon its surface; this body of work, however, is anchored to a site of specific historical gravity.

Funston at Cascade, 2011. Image on Ilfochrome paper, unique photograph 33 1/4 x 28 1/4 inches

Fort Lime Point is a little known military base, established on the San Francisco Bay during the Civil War. However, due to a lengthy litigation, the military was unable to begin excavating the site until a year after the war was over, in 1866. They did so by leveling the found with 24,000 pounds of gunpowder, attempting the level a base at the foot of the Golden Gate Bridge. Rubble still exists there, left over from the blast over a century ago. The site is a reminder not only of extreme intervention with natural resources, but a failed attempt at creating a military defense base. It is a telling choice of location, and one that reflects back nicely on Chiara’s medium and process; this site, like the haunting photographs that depict it (and neighboring areas) in this show, is a waking memory of its own flawed history. And like the images, the place decays and morphs in front of our eyes."

Read full review @ Daily Serving

JOHN CHIARA | 'Fort at Lime Point' Opening Photos

JOHN CHIARA | Fort at Lime Point - Opening Reception: Thursday, Nov 17 6 — 8 PM;

John Chiara
Oak at 4th, Federal Building, 2011
image on Endura transparency, unique photograph
33 x 28 inches

JOHN CHIARA | Fort at Lime Point
November 17 — January 7

Opening Reception: Thursday, Nov 17 6 — 8 PM

Von Lintel Gallery is pleased to present Fort at Lime Point—new work by San Francisco-based photographer John Chiara.

John Chiara's process of making images is physical, unmediated and intuitive. He uses super-sized custom cameras that hold only photographic paper (no film) onto which his imagery is directly recorded, inviting aberrations and anomalies of process along the way. This time-intensive method allows him to slow down in our point-and-click era to shed light on the non-descript, in-between spaces of our landscape. Chiara transforms these ephemeral moments into hazy portals where past and present seem to overlap.

Chiara's exhibition at Von Lintel Gallery offers a bi-optic way of looking. Photographs of fortress landscapes, site-line overlooks and monuments of abstract expressionism are installed as diptychs and stereographic images. With his starkly surreal, imperfectly rendered and otherworldly landscapes, Chiara's work suggests an entirely different way of regarding photographic imagery. The artist's one-of-a-kind photographs are characterized by what would typically be considered photographic glitches. But these "imperfections" actually occur through deliberate strategies of chance and Chiara's respectful subversion of traditional techniques. The result offers a fresh perspective.

John Chiara's work has been reviewed in numerous publications including the Washington Post, the New Yorker and Artforum. In 2011, the Pilara Foundation commissioned John Chiara's Bridge Project for their permanent collection. It is currently on view as part of Here at Pier 24 Photography, home of the Pilara Foundation in San Francisco. This will be Chiara's second solo exhibition with Von Lintel Gallery.

VON LINTEL GALLERY