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Lynne Avadenka
updated: 03/31/2010
website: www.lynneavadenka.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Fall
Winter
Under the Sun (a)
Under the Sun (b)
A Season
One Generation
Silent Reading (after Jabes)
Silent Reading (after Jabes) detail
Futile Beauty
Futile Beauty (detail)
Fleeting Days
Fleeting Days (detail)
 
 
Portfolio Keywords:  books, language, books, collage, text, memory
 
 
Fall by Lynne Avadenka
Fall
typing, pochoir, relief printing
2010
36" x  0"  x 54" 
Winter by Lynne Avadenka
Winter
typing, pochoir, relief printing
2010
36" x  0"  x 54" 
Under the Sun (a) by Lynne Avadenka
Under the Sun (a)
typing, relief printing
2009
26" x  0"  x 54" 
Under the Sun (b) by Lynne Avadenka
Under the Sun (b)
typing, relief printing
2009
26" x  0"  x 54" 
A Season by Lynne Avadenka
A Season
powdered graphite, paint
2010
21" x  0"  x 80" 
One Generation by Lynne Avadenka
One Generation
powdered graphite, paint
2010
21" x  0"  x 80" 
Silent Reading (after Jabes) by Lynne Avadenka
Silent Reading (after Jabes)
powdered graphite
2009
11" x  0"  x 96" 
Silent Reading (after Jabes) detail by Lynne Avadenka
Silent Reading (after Jabes) detail
powdered graphite
2009
11" x  0"  x 32" 
Futile Beauty by Lynne Avadenka
Futile Beauty
powdered graphite
2009
8" x  0"  x 60" 
Futile Beauty (detail) by Lynne Avadenka
Futile Beauty (detail)
powdered graphite
2009
8" x  0"  x 8" 
Fleeting Days by Lynne Avadenka
Fleeting Days
powdered graphite
2009
8" x  0"  x 60" 
Fleeting Days (detail) by Lynne Avadenka
Fleeting Days (detail)
powdered graphite
2009
8" x  0"  x 24" 

Artist Statement

These are the constants that guide and inspire me, confound and challenge me, and compel me to make art:

The philosophical and physical presence of the book, as repository of memory and loss, as a vehicle for transmitting transcendent information, as a singular object binding together a multiplicity of ideas.

The visual power of word and image combined, the notion that both word and image are formed from abstractions, and both are codes to be deciphered.

An engagement with Judaic subject matter: ritual, ceremony and classic texts, and the resulting synthesis of tradition and modernity.

The mark making of printmaking and calligraphy—repeatable (printed) and unique (hand-drawn).

Exploring the beauty and power of line, and the graphic essence of a letter–whether it can be “read” or not.

Investigating the very nature of visual language.

 

Artist Bio / CV
Lynne Avadenka combines words and images, working in a variety of media. Recent awards include a Kresge Artist Fellowship (2009), the Dorothy Saxe Prize (2009), an International Fellowship from the Memorial Foundation for Jewish Culture (2007 New York, NY), residencies at the Oberpfälzer Küntslerhaus, (2006 Schwandorf, Germany) and the Virginia Center for the Creative Arts, (2005 Amherst, VA), and a grant from the Hadassah-Brandeis Institute (2004 Waltham, MA).

Avadenka has received grants from the National Endowment for the Arts, the Michigan Council for Arts and Cultural Affairs and the Women's Studio Workshop. She has taught at Dartmouth College, Hanover, New Hampshire, the Center for Book Arts in New York, the Penland School of Crafts in Penland, North Carolina and the College for Creative Studies in Detroit.

Solo exhibitions of her work include Then and Now, Lemberg Gallery, Ferndale, MI (2009),Eindruck, Center for Book Arts, New York, NY (2007), Aftermath, HUC-JIRB Museum,New York, NY(2003), Boundaries of the Universe, The Detroit Institute of Arts, Detroit, MI (1999). Recent group exhibitions include Realizing a Future: Contemporary Voices, The Jewish Museum, New York, NY, Signs, Symbols and Gestures at the Gallery Project, Ann Arbor, MI, Sacred Texts/Contemporary Forms, at the Milwaukee Institute of Art and Design, in Milwaukee, WI, and Girl Printers, Smith College, Northampton, MA.

The British Library, London, England and The Meermano Museum, The Hague, The Netherlands recently acquired her work. Other collections include The Library of Congress; Washington, D.C.; The Jewish Museum, New York, NY; The Detroit Institute of Arts, Detroit, MI; The Israel Museum, Jerusalem, Israel; The New York Public Library, New York, NY; The Getty Research Center, Los Angeles, CA; Houghton Library at Harvard College, Cambridge, MA; The Library of the Jewish Theological Seminary of America, New York, NY; The Toledo Museum of Art, Toledo, OH; and the Sackner Archive of Concrete and Visual Poetry, Miami, FLA.