Since becoming a member of State of the Art Gallery I have been exploring the relationship between my former large impermanent sand installations (made on-site for the duration of the exhibition) and the permanent photographic details of the installations that were made into prints. By presenting small “installations” on pedestals that contain both the image and the object, the tension between permanence and impermanence continues.
The work in the New Members Show in 2015 combined actual glass and sand on a base panel in front of a metal print of the same subject (a large glass and sand installation made and photographed in the studio). This 2016 series of small pedestal “installations” continues to examine the image and and the object relationship. Other than the FOSSIL FIGURES diptych, all images are printed on the base panel with the real objects placed on top of the printed panel. The commonly used title, STILL LIFE, in this case, emphasizes the difference between an object represented in the past as a photographic image and the actual presence of the object itself. Some of the combinations suggest poetic or humorous relationships. All of the objects I’ve chosen are individual examples of “the collective”, offered as unique containers of meaning.
Born in Evanston, Illinois, Connie Zehr received a BFA in sculpture at Ohio State University in 1960. She has created on-site ephemeral installations in museums and galleries nationally and internationally including: The Whitney Museum of American Art (New York City, NY); The Museum of Contemporary Art (Chicago, IL); Pasadena Art Museum (Pasadena, CA); Taipei Fine Art Museum (Taipei, Taiwan); Salvatori Ala Galeria (Milan, Italy); Wadsworth Atheneum (Hartford, CT); Newspace Gallery (Los Angeles, CA); and numerous university galleries.
In 1987, the Los Angeles Municipal Art Gallery in Barnsdall Park (Los Angeles, CA) mounted an 18 year retrospective exhibition where she recreated scaled down versions of six major sand installations in the 10,000 sq. ft. space. Ten years later, in the same space, she participated in an exhibition, “SENSUALITY IN THE ABSTRACT,” where she created three new installations (consecutively) over a three month period and exhibited the first “iris” prints relating to those installations.
She is included in “Sunshine Muse,” by Peter Plagens; “Originals,” by Eleanor Munro; and “L.A. Rising,” by Lynn Kienholz. Connie is an Emeritus Professor of Art at Claremont Graduate University where she taught in the art department from 1982-2009 and was Chairperson from 2001-2008. She now resides in New York.