Lindsay August-Salazar

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What is my work about?

Or rather, my practice as a visual artist spans across many disciplines including painting, performance, movement research, and critique of social language. I draw much of my inspiration from neuroscience and philosophy. I currently engage with a variety of media ranging from paint and video to book design and choreographing contemporary dance. I make work to address an embedded language that situates itself outside capitalistic and hegemonic codes and can avail itself to new visual poetic possibilities. I like to see my practice under the lens of interdisciplinary painting, where there is a chameleon like slip between authenticity and appropriation, difference and repetition, figuration and abstraction, male/female, white/othered. I aim to discuss the relation and tension between representation and what escapes representation.

Artist Statement

My work engages with the limits and possibilities of language through the use of gesture, mark making and typography. In Artificial Solutions, a solo show at the University of California Irvine, I showed a series of text based paintings and works on paper that explored a developing coded form that verges on language, but is not married to any particular linguistic skill set. This lettering system is similar and yet independent of the alphabet system. I call this a processing system of the ACCs (Abstract Character Copies), which cannot be identified as letters. Instead, like Rudolph Laban’s system of interchangeable parts, I use them to activate experience in paintings, annotative movement scores, performance pieces and a growing indexical font. Their critical impulse generates an alternative language that communicates to the viewer through repetition and connects the ACCs in the same way that words become phrases.

My most recent work focuses on developing this emerging system of ACCs by looking at the organizational infrastructures that support the various stages of the production of within my practice. In this series entitled How to Expand the Dance Floor, I employ painting as well as demonstrate the infrastructure that houses the production and display of a painting. I present a series of paintings that initially demonstrate different formal concerns in terms of color, line, scale and mark from my last body of work, though upon a closer read, repeating titles and new ACCs are showcased, alluding to the construction of a larger ongoing narrative-like structure.

The paintings primarily play with the established ACC forms, but variation of color, scale and composition are engaged to highlight difference within repetition. This type of recursive looping comes from a self-generative practice of repurposing my works on paper and producing referential content to produce new painting. I cut works on paper to make collages, with these then becoming references in large-scale paintings. The ACCs presented in any particular painting all stem from the same source and are simply replicas of each other. They are highly constructed, meticulously analytical and every move is premeditated.

I not only replicate an ACC, but I often pour paint in the nature of Lynda Benglis to produce a range of thicknesses à la paper collage. Using marble dust, resin and lightweight molding compounds I am able to replicate the reaction of when oil-based paint and water-based paint fail to mix, resulting in a beading effect.  Texture is a crucial element and I believe it provides movement and aids in producing a visceral nearly palpable experience with color. I use bright, bold color to trick the eye into assuming an easy read of a painting but upon closer inspections provide unexpected shifts, using color to play with the assumed layering of the paint. In favoring this mode of attention, a certain level of defiance is instated. I am not interested in mystifying anything, rather I am more concerned with extending or lengthening the time spent digesting the work.

I aim to produce a subtle dance between the viewer and the painting; having them make decisions about whether to tilt their head left or perhaps right to see the painting from a different vantage, stand close enough to read the encaustic or lack-there-of layers or far enough away to see the flattening of the whole work. The primary motivation is not to create uncertainty as a value in itself, but to captivate a viewer just as windows once did and now as screens do. Aware of the smartphones’ allure, I aim to offer an equally seductive but more complex experience that converses with the physical space surrounding painting.

When viewing art there is always a presentational aspect to the process and we are all participants as we partake and negotiate our personal, quiet, subtle dance. When thinking about this quiet dance floor I cannot help but think how to expand the floor to make way for more dancing. In August of this year I initiated a theoretical exhibition space – a proposed utopian gallery that sidesteps proper institutional economic protocol and etiquette. 3 Tage Wach – 3 Days Awake became an infrastructure that houses the production and display of art, blurring the lines that come with dancing in the dark or art and exhibition, studio as gallery, artist as curator/gallery owner, gallery as institution. I simultaneously see my painting studio as a space to provide the Los Angeles art community with a platform to produce and provoke art. Like a set for a play, I built movable walls that effortlessly allow the set to change. Each month for six months a different curator/organizer has been given agency over the course of the month to engage with the public as they see fit. The space opens for three days each month and after four iterations the space has provided a public platform for over one hundred artists, ten curators/organizers and four artist-run spaces. 3 Days Awake has been acknowledged by Art in America, Paris LA, Glasstire and many other local publications.

After January 2015, 3 Days Awake the space will transform into a new type of laboratory that can circulate within a creative community but is not trapped in the virtual world of the Internet; embodied in an older system of information transfer. A book will be released in fall 2015 that compresses interviews, essays, conversations and documentation of the six months, as well as visual images that negotiate the concepts and permutations of painting in this radical time. These will be given to bookstores, artist-run spaces and institutions at no cost to be handled in the way each organization sees fit. Sales of the publication will therefore entirely go towards supporting these self-governing institutions.

At a young age my French, Spanish and Native American father learned quickly not to speak in his native tongue among white people for fear of getting beat up. At an even younger age my Russian, German, Jewish mother learned where in New York City she could get her grandma’s favorite dishes: liver and tongue. I guess you can say, I have learned how to be a chameleon from my heritage.

 

CV 

born, lives and works in Los Angeles

Education

2013 – MFA, University of California, Irvine, Claire Trevor School of the Arts

2009 – Solomon R. Guggenheim Museum, Sackler Education Center

2008 – BA, University of California, Los Angeles, School of the Arts and Architecture

 

Solo Exhibitions

2013 – Contemporary Art Center, “Artificial Solutions”, University of California, Irvine, CA

2010 – On the Walls, “Franklin from the A to the E – Works on Paper”, The Shala, NYC, NY

2008 – UCLA New White Gallery, “Arizona Flats”, LA, CA

2007 – UCLA UG Gallery, “Untitled No. 4-19”, LA, CA

 

Selected Group Exhibitions

2014

– The REDCAT, “Jung Money: Everything Solar”, Studio, Fall, LA, CA

– Emerson Dorch, “3 Stage Transfer Drawing”, Michol Hebron, Miami, FL

– 3 Tage Wach – 3 Days Awake, “A Meerkat’s Whistle”, LA, CA

– Santa Monica Museum of Art, “Incognito”, LA, CA

– Atlantic Center for the Arts, “Inside Out”, New Smyrna Beach, FL

2013

– Public Fiction, “The Stand In (or a glass of milk)”, Curated by Alexandra Gaty and Lauren Mackler, LA, CA

– ForYourArt, “UCI MFA 2013”, LA, CA

– Santa Monica Museum of Art, “Incognito”, LA, CA

– Mulholland Derives with landd. Curated by Stephen Van Dyck, LA, CA

2012

– Offramp Gallery, “Lisa Adams Benefit Exhibition”, Pasadena, CA

– Rhizome Galerie, “Alpaca: Figure, Form, Abstraction, A Traveling Group Exhibition”, Paris, France

– 1k Projects Space, “Alpaca: Figure, Form, Abstraction, A Traveling Group Exhibition”, Amsterdam, Netherlands

– BB Galerie, “Alpaca: Figure, Form, Abstraction, A Traveling Group Exhibition”, Berlin, Germany

– University Arts Gallery, “Fx1”, University of California, Irvine, CA

– Bryan Cave, “Claire Trevor Currents II”, Irvine, CA

– Tierney House, “Annual Art Exhibition”, UCI Chancellor and Mrs. Michael V. Drake, Irvine, CA

2011

– MuHKA, Museum of Contemporary Art, “Love Letter to a Surrogate II”, Antwerp, Belgium

– Bryan Cave, “Claire Trevor Currents”, Irvine, CA

– Tierney House, “Annual Art Exhibition”, UCI Chancellor and Mrs. Michael V. Drake, Irvine, CA

2010

– The Torrance Art Museum presents Zoom2, “Love Letters To A Surrogate”, Warren Neidich, Torrance, CA

– Splinters and Logs, “A foot in, A foot out”, Brooklyn, NY

2009

– Brick & Mortar International Video Art Festival, “Memo no.2”, curated by Natasha Becker, Greenfield, MA

– Splinters and Logs, “A One Time Experience”, Brooklyn, NY

2008

– LACE: Los Angeles Contemporary Exhibition presents R3, Video Art Symposium, Micol Hebron, LA, CA

– Pounder-Kone Artspace, “Bloom, New Angeleno Art”, LA, CA

– UCLA Hillel, “The Home – An Interior”, Juried Exhibition, Lindsay August-Salazar, LA, CA

– UCLA New White Gallery Bi-Annual, Juried Exhibition, Ali Subotnick, LA, CA

– Venice Art Walk at the Garage Gallery, “Memo no. 1”, LA, CA

2007

– UCLA Hillel, “Family”, Juried Exhibition, Jacqueline Cedar, LA, CA

– UCLA UG Gallery, “Fem-In-Art”, LA, CA

2006

– UCLA New Wright Gallery, Bi-Annual Juried Exhibition, Lawrence Rinder, LA, CA

– UCLA Undergraduate Gallery, “Fem-In-Art”, Juried Exhibition, LA, CA

 

Teaching & Field Experience

2014

– Curator/ Organizer, 3 Tage Wach – 3 Days Awake

2011/3

– Associate Professor, UC Irvine: Painting II

– Associate Professor, UC Irvine: Painting I

2010

– Teaching Assistant, Allison Miller, UC Irvine: Painting II

– Teaching Assistant, Bryan Jackson, UC Irvine: Video Production II

– Teaching Assistant, Bryan Jackson, UC Irvine: Video Production I

2008/10

– Solomon R. Guggenheim Museum – Learning Through the Arts Educational Program, Art Instructor & Tour Guide

2008

– UCLA Summer Art Institute, Teaching Assistant

– Regen Projects, Intern Assistant

2007/8

– El Nopal Press, Downtown LA Printing Press, Assistant

– UCLA Digital/Photo Lab Student Technician

2002/4

– Founding member of TOCA (Teens of Contemporary Art) Apprenticeship Program at MOCA

 

Print &Press

2014

– Art In America, “Happening: One Thing Than Another”, October by Maxwell Williams

http://www.artinamericamagazine.com/news-features/previews/the-agenda-this-week-in-los-angeles-6/

– Carets and Sticks, “Weekend in LA”, October by Lindsay Preston Zappas

http://www.caretsandsticks.com/2014/10/weekend-in-la-8/

– Paris, LA, “Secret Recipe HaFo SaFo Hosted at 3 Days Awake”, September by Rachel Morrison

http://www.paris-la.com/secret-recipe-hafo-safo-hosted-at-3-days-awake/

– Art Slant: “No Longer Lonely (but maybe still a bit brutal): September Openings Across Los Angeles”, by Andrew Berardini

http://www.artslant.com/la/articles/show/40713

– Glasstire, “3 Days Awake in West Adams”, August, by Keith Plocek

http://www.glasstire.com/socal/2014/08/11/3-days-awake-in-west-adams/

2013 – Graphite IV Interdisciplinary Arts Journal supported by the Hammer Museum, Spring Issue

2012 – Notes on Looking, Alpaca: Figure, Form, Abstraction (June, July, Aug)

2011 – Higher Arc, Australian Art Publication, Volume 1

2010 – Carol Cheh, “Love Letters to a Surrogate”, presented by Warren Neidich, Torrance Art Museum

2008 – New York Times, Arts Education, Day Glow

 

Awards/ Residencies

2014

– Joan Mitchell Foundation Award

– Artist in Residence: Atlantic Center for the Arts, Dana Schutz, New Smyrna Beach, FL

2013 – Graduate Student Research and Travel Grant, Claire Trevor School of The Arts

2012 – Medici Scholar, Claire Trevor School of The Arts

2011/2 – Sylvia Easton Scholarship, Distinguished Academic Excellence and Research

2010 – The State of California & The Regents of the University California Award

2009 – U.S. Fulbright Program: Institute of International Education, Nominee

2008 – The Werner Z. Hirsch Award in Representational Drawing

2007/8 – Hoyt Art Merit Scholarship

2007 – Yale Norfolk Summer Art Program, Nominee

2005/7 – William Ortega Merit Scholarship

2006/7 – Lillian Levinson Art Award, Nominee

2004 – Ella Okern Merit Scholarship