International Collage Exhibition 2020
September 29—December 31, 2020
This exhibition was curated by Dr. Anna Klos and exhibited at the Galeria Retroavangarda in Warsaw, Poland. It showcased over 200 collages by artists from 32 countries.
Katzen Museum at American University, Washington, DC
Who is She? Terry Braunstein 2020
June 13, 2020—August 9, 2020
The solo retrospective exhibition Who is She? Terry Braunstein was scheduled to open on June 13, 2020. It was to be the exhibition curated by Claudia Bohn Spector and Sam Mellon that was at the Long Beach Museum of Art in 2013 along with newer works. In February 2020, the Katzen Museum announced that all one person exhibitions for 2020 would be virtual due to the coronavirus. The exhibition was, therefore, exhibited on their website. In April, the museum hosted a discussion between the director, Jack Rasmussen, and the artist about the work and career of Terry Braunstein.
“Reflections” at the Long Beach Museum of Art
Terry Braunstein’s installation, Reflections, has been acquired by the Long Beach Museum of Art and made its debut in the exhibition Women Artists of California—Seven Decades from the Permanent Collection, which was at the museum from January 25—April 26th, 2020.
At this time, the Getty acquired four more of Braunstein’s artists books for their collection, and the Los Angeles County Museum of Art acquired three Cibachrome photographs.
Layer Upon Layer
Works from Terry Braunstein and Victor Raphael’s collaborative series House on Fire and The Wall combine their two artistic practices.
Terry Braunstein and Dinah Berland at Michael Stearns Gallery
This exhibition, “Places Without Walls,” which took place from September 5th—October 26th, featured a sequence of images and poems by Berland and Braunstein. Braunstein created an image and presented it to Berland, who responded to the image with a poem. Then Braunstein created an image inspired by the poem, which was then given to Berland to write a poem in response to the image. These works were not “illustrations,” but, in every case, responses.
On the day of the opening, the work was introduced by Braunstein, and Berland read poetry from the sequence and other newer poems.
Celebrating Local Donors at the Los Angeles County Museum of Art
This exhibition of female photographers was in conjunction with the exhibition of Eleanor Antin and included the work Baggage from the book A Particular Horizon both purchased by LACMA for their collection.
Several other artists included were Catherine Wagner, Catherine Opie, Eileen Cowin and Barbara Kasten.
Chutes and Ladders at SPARC
Twelve assemblages from the suite “Chutes and Ladders”
Artists and Their Books, Books and Their Artists
Three of Terry Braunstein’s books from the Getty Center’s collection are included in the Getty publication by Marcia Reed and Glenn Phillips. Artist’s talk at the Getty on July 10, 2018
Soundpedro 2018
Terry Braunstein’s costume for “Collage Vivante” (Marco Schindelmann) and installation were exhibited at the Angel’s Gate Cultural Center, San Pedro. June 2, 2018
Hope is Maybe
Michael Haerteis at Kunst Verorten initiated this art project in collaboration with Jesuit Refu-gee Service in Munich. Based on interviews with asylum seekers, Michael has collected prominent statements that center around these questions: What do we HOPE for? Does HOPE depend on the country of origin? Our language? Our education? Our faith? Our personal emotions?
In a second step, artists were asked to choose a citation from a list, reflect on it, and create or share an artwork. More than 280 artworks, from over 150 artists around the world were submitted. An international jury selected 75 works of art to become part of the exhibition here at the airport of Munich.
Two works by Terry Braunstein and Victor Raphael are included in this exhibition which continues to travel. In Europe.
Was ist HOFFNUNG? Lässt sie sich definieren? Kann man sie teilen? Nachvollziehen?
Oder ist sie rein subjektives Empfinden, geprägt von unserem kulturellen Hintergrund? Unserer Sprache? Unserer Erfahrung?
Diese Fragen legt Michael Härteis von KUNST VERORTEN zugrunde, als er Asylsuchende zum Begriff Hoffnung befragte. Entstanden ist daraus eine Zitatensammlung, die als Inspira- tionsquelle für internationale KünstlerInnen diente. Mehr als 150 Kunstschaffende aus allen fünf Kontinenten haben über 280 digitale Abbildungen von Kunstwerken eingereicht. Die Ausstellung zeigt nun 75 Werke, die von einer internationalen Jur y ausgewählt wurden.
„Hope is Maybe“ – Hoffnung ist Vielleicht: Diese Antwort eines jungen Mannes aus Nigeria – einem Land, aus dem 2017 ein Großteil der Asylanträge vom Bundesamt negativ beschie- den wurde – hat der Ausstellung ihren Titel gegeben. Das Kunstprojekt Hope is Maybe ist als fortlaufender Prozess konzipiert: Die Über- legungen zur Hoffnung sollen weitergehen, es können weiter Kunstwerke eingereicht werden, die dann in späteren Ausstellungen gezeigt werden. Zusätzlich soll an jedem Veranstal- tungsort ein Hoffnungs-Workshop stattfinden. Das kreative Schaffen der teilnehmenden KünstlerInnen in Verbindung mit den gesam- melten Zitaten bilden die Grundlage zur philo- sophischen Reflexion. „Wir möchten Menschen im Alltag dazu anregen, sich mit Hoffnung aus- einanderzusetzen – mit der eigenen Hoffnung und der anderer, zum Beispiel von Menschen auf der Flucht“, so Bruder Dieter Müller SJ, der Mitglied der Jury war.
Die Ausstellung zeigt Kunstwerke von:
Alex Kamweru (E AK), Alwina Heinz (D), Ana Sladetic (HR), Anja Struck (D), Anna Fr ydman (D), Athanasios Aléxo (I), Barbara Steinman (CDN), Béatrice Lebreton (USA), Beverly Ress (USA), Birgit Hef ter (D), Birgit Lochmann (IRL), Camilla Luihn (N), Carolina Pinzon Rivera (CO), Christine Renner (D), Christou Christos (CY ), Cornelia Rapp (D), Eric Mayen (D), Gabriele Stolz (D), Grace Graupe-Pillard (USA), Hagen Klenner t (D), Holger Her twig (D), Ian Kirkpatrick (GB), Jessica Russo Scherr (D), Jo Dunn (GB), Johannes Gerard (NL), Kerstin Römhild (D), Kevin Ryan (IRL), Kevo Stero (E AK), Klaus Fezer (D), Kuzana Ogg (USA), Lara Mouvée (D), Maria Mathieu (D) , Maria Mijares (USA), Marija Kondres (HR), Mar ta Pieregonczuk (GB), Mar y Rouncefield (GB), Michelle M. Vara (USA), Renata Sinclair (GB), Rochelle Shicoff (USA), Ron Moppett (CDN), Rosa Quint (D), Sarawut Chutiwongpeti ( TH), Shirin Abedinirad (IR), Simone Jimena Rudolphi (GB), Sonia Yousefi Azimi (GB), Susan Plover (GB), Susanne Pohl (D), Tan Chee Hon (MAL), Tanja Fender (D), Terr y Braunstein & Victor Raphael (USA) und Vaiva Kovieraitė-Trumpė (LT ).
COLA 2018
May 3—June 24, 2018
City of Los Angeles Department of Cultural Affairs
Presents the 2017/18
City of Los Angeles (C.O.L.A.) Individual Artist Fellowships
Honoring the City’s Creative Spirit
Los Angeles – The City of Los Angeles Department of Cultural Affairs (DCA) is pleased to announce the 2017/18 City of Los Angeles (C.O.L.A.) Individual Artist Fellowship recipients. These Fellows will produce a new body of work with grants of $10,000 each and their new works will be premiered by the City of Los Angeles in the Spring of 2018.
These Fellows were chosen in three review-rounds by nine interdisciplinary peer panelists who were curators, educators, non-profit gallerists, museum directors, and/or past COLA Fellows
Scent
Installations of small collages, sculptural assemblages, found images and juxtapositions inspired by her explorations into the visual language of scent.
Opening Reception:
Sat., Feb. 24, 6:00 to 8:00 pm
Exhibition: February 24 to March 17.
The Institute for Art and Olfaction
932 Chung King Road
Los Angeles CA. 90012
PUMP 2017
October 7—October 21, 2017
PUMP, a multi-venue, multi-sensory art exhibition which took place at a variety of venues in Long Beach. Attached below is the installation, Heart Man, which was installed at the Packard Building.
Soundpedro 2017
June 3, 2017
An evening of indoor/outdoor site-specific sound installations and ear-oriented multi-sensory presentations. Braunstein created a gallery installation collaboration with Marco Schindelmann.
Who is She? Terry Braunstein, Long Beach Museum of Art
November 20, 2015 – February 14, 2016
Who Is She? – Terry Braunstein
Named after Long Beach artist Terry Braunstein’s eponymous 2013 installation, Who Is She?–Terry Braunstein presented for the first time her original collage work, exhibited to date mostly in photographical reproductions. The exhibition highlighted the artist’s process of culling and clipping, selecting and fusing what is separate and incongruous, the show laid bare the roots of Braunstein’s art, which include early 20th century European modernism and mid-century American assemblage. It also conveyed a new appreciation for her exquisitely skillful and delicate technique in an age of easy digital manipulation. Additionally, the exhibition featured original copies of Braunstein’s celebrated artists books, new assemblage sculptures, as well as models and photographic prints created in conjunction with the dance set Who Is She?
Curated by Claudia Bohn-Spector and Sam Mellon, the exhibition featured nearly 100 pieces and it was her first major museum career-spanning retrospective. It also featured a catalogue with essays by Bohn-Spector and by writer/poet Tosh Berman, and published by the Long Beach Museum of Art and Thistle & Weed Press. In her near forty-year career, Braunstein has engaged a breathtaking array of artistic media and settings—photography, painting, mosaic, printmaking, stone, steel, brass, public art, performance, site-specific sculpture, and even video—revealing layers of hidden meaning beneath the seemingly mundane and obvious.
Engaging and provocative, with deep roots in the art of Surrealism, Braunstein examines life’s passages and other human experiences by creating a compelling visual syntax that is dreamlike, paradoxical, and highly poetic.
Catalog Who is She: Terry Braunstein
Available for purchase $40. Contact the artist on this website.
“Though her art uses the techniques of collage and the aesthetics of photography, Braunstein considers herself neither a collagist nor a photographer. But while Braunstein always uses found images, never using the camera to create images, her art is in fact more closely related to photography than to collage, particularly to aspects of darkroom photography in her manipulating, clarifying, extracting, combining, and reproducing existing images. Her sole use of the camera is mechanical, to reproduce her collaged images so that in their final material form her words may appear to be authentic photo documentation rather than pieced paper constructions. She exploits the appearance of photography to deny the fact of her paper collages and in order to simulate documentary “reality.” Braunstein thus uses the camera for one of its oldest and original purposes: to fictionalize, much as such pioneering photographers as Oscar G Rejlander (1813-1875), Henry Peach Robinson (1830-1901 or the cinematographer Georges Méliès (1861-1938) created images that never existed except in their art.”
“In addition to the photo collages or montages, Braunstein also creates books. The books have a far more hand-wrought quality, and are put into the world more as objects — as things — than as images of other things. But there are close similarities of concept and techniques with the photographs. As always, Braunstein utilizes existing sources — other books — to create her own books. She combines images extracted from her usual sources of magazines, books and printed matter, with illustrations or text pages from bound volumes such as children’s storybooks or scientific manuals. Some of her books “read” like normal books — that is, from one page to the next, in a sequence from first to last, and often there is a visual, if not always logical, narrative. But other of her books are sculptural with holes, windows and other contours cut through the pages, so that in turning from page to page, new information accumulates layer upon layer; these books are read not only from one page to another, but from one page through another. In the hands of the reader, one of Braunstein’s sculptural books becomes a kinetic sculpture whose visual and intelligible content changes with each turn of the page.”
“The magic of Terry’s work is that she has given new meaning and unexpected context to a common symbol we all recognize. The combination of the grand scale and the intimate, often nostalgic images act to draw visitors to the site and invite interaction. Rarely, in public art projects, is the resolution of formal issues so beautifully married with the subject matter, which, for so many, is the heart of the memorial. Happily, Terry’s sculpture is an object of extraordinary beauty that succeeds on all levels and for all ages.”
“There are as many definitions of “art” as there are expressions of it. If art is defined as a visual philosophy of life or a search for meaning, Terry Braunstein creates it. Whether expressed as a poignant view of human behavior, a nostalgic perception of things past, an honest look at life and loss, the wisdom learned from collective experience, desperate longing for love and desire, or anxious hope for the future, Braunstein’s art explores it all. Working in a variety of media that includes . . . . installations. . . she creates work that stimulates the mind and the heart on myriad levels.
“To create a picture in the way that Terry Braunstein does is, in essence, to reassemble pieces of our familiar world into a surprising, yet convincing, new world. . . . There are no ready answers to the questions Braunstein poses, and no promise of a resolution forthcoming. In fact, there seem only to be more questions, and more cross-references. By importing the loaded content of mass media imagery into her artistic landscape, she not only challenges the assumptions implicit in contemporary culture but also addresses one of the basic aesthetic dilemmas: the interpretive gap between appearance and truth.”