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UNTITLED. Miami Beach

Ripe Appeal

Exhibiting at UNTITLED. Miami with Denny Gallery. Two person booth: Amanda Valdez & Lauren Seiden.

Booth A07.


CIRRUS: Group Exhibition at Dorfman Projects

Curated by Vanessa Buia
November 6 – January 6, 2015
Opening Reception: Thursday, November 6th 6-9 pm
Wild Goose Chase, 2014

Wild Goose Chase, 2014

Jude Broughan
Sarah Crowner
Jaime Gili
Anna Han
Parker Ito
Matt Jones
Shay Kun
James Case-Leal
Sol LeWitt
Mike Quinn
Julia Rommel
Lauren Silva
Rupert Smith
Ryan Sullivan
TARWUK (Ivana Vuksic and Bruno Pogacnik Wukodrakula)
Amanda Valdez
Artie Vierkant
Siebren Versteeg
Andy Warhol
Much like a Cirrus cloud whose wispy strands of all different sizes and shapes but still similar  form come together momentarily to make a beautiful natural abstraction, the artists of Cirrus come together momentarily to create a vision of contemporary abstraction.
Dorfman Projects is pleased to present Cirrus, a group show curated by Vanessa Buia focusing on the current extremely palpable moment of abstraction in contemporary object making.  In paintings, works on paper, installation, video, and sculpture, Cirrus considers several of its dynamic branches.
From conceptual play alla Artie Vierkant’s musings and mutations of contemporary patents andTARWUK’S myriad level conceptual installations, all the way to Lauren Silva’s brilliantly bold abstract expressionist canvases and Parker Ito’s production line inkjet seductions, the artists inCirrus never cease to push the boundaries of creation.
Julia Rommel erases the traditional gesture, making the alignment, reapplication, and reorientation of canvas to frame and the resulting marks of processes her focus.
Mike Quinn celebrates life’s bittersweet battles with non traditional almost readymade compositions incorporating the materials and forms of addiction and celebration delivering a heavy emotional punch.
Ryan Sullivan whispers smoke on aluminum to form floating, beautiful cloud-like meditations.
Anna Han, in intricate paintings in oil on canvas, brings new breath to geometric abstraction with edgy contemporary color, composition, and scale.  Sarah Crowner and Amanda Valdez  do the same but by isolating sparse geometric shapes with stitching and application processes that bring nuance to deceptively simple form.
Jaime Gili presents highly abstract, multilayered ‘star bursts’ of hard edge geometric abstraction with nods to Latin American Modernism, Futurism, Constructivism, and even the graffiti ethos.
Sol LeWitt’s austere, crisp, yet classically elegant linear drawing illustrates perhaps, in the most simple of terms, the concept of infinity.
Jude Broughan’s playful constructions infuse materials with atmosphere, revealing a sensitivity to objecthood enlivened by visual and intellectual curiosity.
James Case-Leal presents ethereal, perfectly just there markings in spray paint on linen, leaving interpretation tantalizingly to the mind of the viewer.
Shay Kun’s poetic societal inversions, this time taking form in a multicolored liquid red based canvas with elements that could be tears or rain drops, compliments the large scale, digital evolving abstraction of Siebren Viersteg’s New York Times obfuscation and Matt Jones’ poured almost 3-D mythologically framed meditations of theoretical physics.
Andy Warhol’s shadow pieces deal with exactly that- contemplation of the secondary space that both literally and metaphorically defines a shadow.
Rupert Smith’s compositions incorporate diamond dust, deep hues, a seeming presence of fervent emotion and barely there hints of forms to seduce the viewer.
Dorfman Projects was established in 1976 with a focus on established contemporary artists and on expanding and furthering the artistic vision of many of these artists by publishing special projects with them.  Some of the artists exhibited and who have done projects include Lynda Benglis, Donald Sheridan, Laurie Simmons, Roy Lichtenstein, Dennis Oppenheim, Graham Gilmore, and Rupert Smith.


Taking Off: Hot New Painters Group Exhibition at Reynolds Gallery

Conor Backman, Patrick Berran,  Beth Gilfilen,  Nicole Mauser, and Amanda Valdez

September 12 – October 31, 2014

Opening Reception for the Artists
Friday, September 12, 2014
7 – 9 pm


tide of pleasure: double down, 2013

tide of pleasure: double down, 2013


Reynolds Gallery is please to announce Taking Off: Hot New Painters, an exhibition of new paintings by Connor Backman, Patrick Berran, Beth Gilfilen, Nicole Masuer, and Amanda Valdez. These artists are carving out their individual places in the contemporary art world by creating challenging and fresh works. Their diverse styles and approaches smartly embody new directions in paintings for the 21st century. Many of the works echo art historical movements like abstract expressionism, photo realism, and color field painting, yet these artists push these tropes in the current day through their innovative compositions, and media including embroidery thread, cast aqua resin orange peels, and toner transfer. Taking off: Hot New Painters shows the translation of American modernism and post-modernist paintings by a new generation of painters.


Between the Lines: Group Exhibition at Galeria Agustina Ferreyra



Entre Líneas

(Between the lines)

August 9th – September 6th , 2014


Only One, 2012

Only One, 2012


Opening Reception:

Saturday, August 9th from 6 – 9 pm  Gallery Hours: Wed-Sat 12-6 pm or by appointment.


Galería Agustina Ferreyra is pleased to announce Entre Líneas (Between The Lines) with works by Gabriele Beveridge, Adriana Lara, Adriana Minoliti, Beatriz Santiago Muñoz and Amanda Valdez. The exhibition aims to question the existence and implications of a gender aesthetic, from a selection of works that comment on the symbolic value of images, the social and historic load attributed to the idea of women,and the notion of what is generally understood as feminine.

The work of Gabriele Beveridge (Hong Kong, 1985) is composed of a series of found objects and images that blend into sophisticated assemblages thatcomment on different notions about gender, identity and beauty.

In Untitled, 2014, we see a face whose eyes have been removed. The sterility of the image, echoed in the monotone of the sun faded photo, makes the subject lifeless almost like a statue. It has been stripped of all its humanness and all it is left with is just the rigidity of signifiers and expected judgements induced in the spectator by the correlation of certain things we can perceive – a protruding bone,a certain skin tone, a type of hair, pouting full lips, etc. The objects included in the piece, hang from a peg board as a comment on the things we do to our bodies in order to decorate them and make them more becoming, and also speak about the relation between beauty and the material.

Departing from the idea that interior design and decor have been historically linked to women, while geometry and architecture are generally associated with men, Queer Deco, 2011-2012 by Adriana Minoliti (Buenos Aires, 1980) works as a visual confrontation with the traditional identity parameters based in queer theory and feminist critique on sex, gender and architecture. Minoliti aims to break these parameters, using geometry and design,in order to provoke a visceral and immediate response to the images; a response that precedes the rational analysis of the artistic and historic references embedded in the paintings.

Throughout the series we see different geometric beings interact in an intimate and quotidian way over vintage scenarios taken from interior design catalogues from the seventies and eighties. Just like in Beveridge’s work, once the image is stripped of certain elements, in this case, gender and roles, the protagonists of Minoliti’s paintings become empty signifiers filled as gaps by our own personal baggage and experiences.

With the slogan ‘you’ve come a long way, baby’ , Virginia Slims,introduced to the market in the late 60’s, linked its product identity to the discourse and ideas of that era; women’s liberation, emancipation and the empowerment of the young female professionals of the time. The cigarette was originally designed to be thinner and look more ‘elegant’, as well as to produce less smoke than their regular equivalents. The color scheme of its logo and package represented what the brand understood, at the time, that a woman was and aspired to be; elegant and delicate, independent but fragile.

The work of Adriana Lara (Mexico D.F, 1978) uses symbols as foundational structures from which the artist creates new meanings. In Smoking Kills (Virginia Slims), 2014 Lara appeals to the viewer not from the symbolic load of the product, its origins and history, but rather by appropriating the cigarette package as a ready-made marketing form and re-contextualizing it as an object of desire, away from its current prohibitive nature and deprived of its connotations.

On the other hand, the video of Beatriz Santiago Muñoz (San Juan, 1972) , CRÍ-A, 2014, is a comment on animal husbandry, managed reproduction and other ways of transforming the symbolic through concrete actions, creating a metaphor about life and the development of all types of creatures, and on how raising and upbringing become a way or re-organizing the world, not from a role given by gender, but from a discipline, a habit, an everyday construction.

Lastly, the work of Amanda Valdez (Seattle, 1982) oscillates between representation and abstraction, involving the viewer as the link between what is being depicted and its personal symbolic load. In Only One, 2012, pink embroidery is used to make the bulk of the shape. Lightly sewn dark orange thread, creates an outline of two shapes that extend beyond the sturdiness of its base. The paint projecting out from the slit changes into a milky green/ blue-ish color as the viewer moves in relation to the light and the painting. The sense of embodiment and the strong physicality of her work, tell us about the body; our bodies, pain and pleasure, its parts, processes and experiences.


No. 750 Ave. Fernández Juncos Local 1 San Juan, PR 00907 T +1 (787) 302-0071

info@agustinaferreyra.com agustinaferreyra.com


Solo Exhibition: Thick as Thieves Opening September 10th at Denny Gallery



Denny Gallery

261 Broome St

September 10 – October 19th

Opening Reception: Wednesday September 10th 6 – 8 pm

Wednesday – Friday 11 – 6 Saturday & Sunday 12 – 6


Thick as Thieves is Valdez’s second solo exhibition at Denny Gallery. The exhibition will include new paintings made of fabric, paint and embroidery, works on paper, as well as sculptures, a new medium for the artist. The works in the exhibition examine how painting and sculpture can represent the physical experiences and stories of the body, using different modes of making to give a larger sense of time on a historic scale. The works are a matrix of gestures, styles, and materials referring to visual cultures that are both western and non-western, creating a variety of historical references, from quilting and sewing, to tiling and brick-laying, to virtuoso gestural painting. The Bauhaus weaving workshop, Islamic architecture and patterning, pre-modern American quilt design, Byzantine mosaics, and American post-war abstraction are all important sources for Valdez. Her works operate as a reflection of the body, and the histories that the body holds in its physical makeup: scars, sags, symmetries and asymmetries, and a lifetime of emotions. They have a physical presence, feeling as though they mirror something fundamental about one’s own presence and weight. This is just as palpable in the sculptural work as in the painting: clay holds its history in its surface and its internal chemistry, just as the human body does. The art object itself embodies these histories, encapsulating them and thrusting them as signals to the future.


Bemis Center - Image: Colin Conce


Amanda Valdez will take up residence in Omaha, Nebraska as part of the 2014 Bemis Center for Contemporary Arts Center’s Artist-in-Residence Program. For three months she will be given time, space, and support in which to make new work.

Double Down: Solo Exhibition at Prole Drift

tide of pleasure: double down, 2013

tide of pleasure: double down, 2013

September 5 – 28 2013

Opening Reception September 5th 6 – 8 pm

523 Main Street, Seattle
Gallery Hours:
Friday and Saturday 1- 6

tide of pleasure:double down and tide of pleasure:double down are the deviant, slightly garish, mascots of my exhibition Double Down. Brightly colored, with a tinge of recklessness peaking out of the labor intensive care embedded in the handling of materials, these two pieces are emblems of the process and content currently at the center of my practice. Engineering my surfaces, I interweave paint, canvas, fabric, and thread with images that oscillate between abstraction and representation.

My creative process is propelled forward by questions and seeking answers to the problems I set forth. Doubling creates a chance to do something again. It slows down my engagement with the shapes. When I make a painting or drawing, I find many configurations en-route to selecting the one I rest upon for a given work. Doubling down allows me to loop back to certain points, to certain decisions, and follow a new itinerary or proposition.

Castor y Pollux is a constellation installation. Occupying the sky, these mythological twins inhabit the two worlds of Olympus and Hades. The deep blue of cyanotype is combined with drawings of symmetrical shapes, with an allowance for the imperfection of the hand; hard edge symmetry has no currency in this world. The circular points float and connect the imaginary shape these twins come together to form in the night. In approaching the concept of doubling from multiple locations, this insular configuration of the double harks to the inherent multiples selves and states that create the textural world of our interior emotional landscapes.

i sang a song of home consist of seven works on paper in which an irregular circular shape populates the series, varying widely piece to piece. This haphazard doubling back brings an abstracted face to each day of the week: faces and states that often rise and surface with speed, in an overwhelming capacity. Wet Face, Storm Face, Moon Face: to call out a few, can be a subtle reminder of the paradoxes that govern our experience of being human, the capacity for co-existing gorgeousness, pleasure, mystery, clarity, volatility, and suffering all occurring within the bodies that we call home.