My collaboration with David Lipson was featured in an article in SciArt Magazine, Vol. 29 (February 2018), “Spaces and Places: Science Art Collaborations Emerge at American Geophysical Union Meeting” by Mauri Pelto. A subscription is required to access the article:
Spaces and Places: Science Art Collaborations Emerge at American Geophysical Union Meeting
Here’s the home page for the magazine. It exists in digital form only, and a lifetime subscription is $50.00. Some of the articles are free to read, and I encourage you to check it out even if you don’t want to pay for a subscription!
Icons are at the bottom of the page.
David Lipson and I presented a poster (The Art and Science of Snow Microbiology: Data Paintings of the Finnish Arctic) at the American Geophysical Union Fall 2017 Meeting in New Orleans, LA. We shared our aisle with a number of scientists and artists who were exploring different ways to use artistic methods to present scientific data and concepts.
One of my industrial landscapes, Recycle Yard, was recently featured in an exhibition of urban landscapes at the San Diego Museum of Art, Urban Banality.
July 09, 2016 through October 23, 2016
The city has been a subject of art for several decades: artists observing, criticizing, and celebrating our relationship to the built environment. This selection of American works provides a glimpse into how our urban world has evolved.
Charles Sheeler’s Delmonico Building (1926) anticipates Charles Demuth’s famed My Egypt (1927), which glorifies a grain elevator. Both depict towering structures from a low vantage point, leading the viewer’s gaze upward and breaking down the composition into clean, geometric lines. Sheeler, an architectural photographer, documented New York’s rapid development and went on to create a series of images of the mechanical workings of the Ford Motor Company, devoid of any human presence and championing the sublime power of industry. Meanwhile, Charles Burchfield’s Rainy Night (1929–30) offers a more narrative view, unfolding as late evening lights are reflected in the wet street, a water tower looms in the distance, a woman climbs into a car.
At the height of the Great Depression, the rise of city tower blocks and skies filled with factory emissions dominate works by George Ault and Ruth Powers Ortlieb. Alfred Eisenstaedt, a photojournalist for Life magazine, contrasts the often brutal characteristics of urban architecture with nature and a vulnerable humanity. More recently, concrete freeways, Dumpsters, power stations, and back lots have become the focus of artists such as Ben Aronson and Kim Reasor. The anonymity of the city is conveyed with an aesthetic appreciation of sharp contrasts of light and dark, dissecting planes, and close observation of the makings of our world that are often otherwise overlooked.
Charles E. Burchfield (1893-1967), Rainy Night, 1929-1930; Watercolor over graphite, 30 x 42 inches; The San Diego Museum of Art, Gift of Anne R. and Amy Putnam
It was such an honor for me to see my work hung on the same wall as some of my favorite urban/industrial painting forefathers, such as Charles Burchfield, Charles Demuth, and Charles Sheeler (note: your first name doesn’t have to be Charles to be considered one of my heroes, but it helps!) It is also interesting to contemplate how urban and industrial landscapes have changed since the 1920s and 30s. A lot of the 21st century landscape in Southern California seems to be concerned with receiving, transporting and processing the detritus of various consumer goods.
I am pleased to announce that “Recycle Yard” was donated to the San Diego Museum of Art earlier this year, thanks to the generosity of Bram and Sandy Dijkstra. It is now part of the permanent collection.
Recycle Yard, oil on canvas, 30″x40″ © Kim Reasor 2013
San Diego Museum of Art
Check out this in-depth article on my work and process by Thomas Larson. Originally published June 1, 2016:
Consume, Discard, Repeat: the Industrial Landscapes of Kim Reasor, Thomas Larson, San Diego Reader (pdf)
I have just arrived in Finland where among other things, I will be doing an art/science residency at the University of Helsinki’s Arctic field station in Kilpisjärvi. Kilpisjärvi is located in the northwestern corner of Finland near the point where the Finnish, Norwegian, and Swedish borders meet. I will be posting more about the project both here and at Ars Bioarctica as we (I am collaborating with David Lipson) proceed. For now I am happy to have arrived after an exhausting round of flights, trains, and buses. Taking a day of the precious time in the Arctic to rest and hopefully get rid of a slightly bronchial cough.
69 degrees north!
This was such a good show I went back on the last day of the exhibition (January 18) to spend a few more hours with the works. Many, many great paintings. Set against the backdrop of the Weimar Republic in Germany. The parallels to the modern U.S. are in some ways a bit uncanny. Some of the best portraiture I have ever seen.
The New Objectivity
to LACMA on January 14. Saw “The New Objectivity” and managed to get tickets for “The Rain Room”.
Rain Room at LACMA
Parallel Dimensions, presented by Noel-Baza Fine Art at Art Produce Gallery, now until December 31, 2015, featuring new oil paintings by Kim Reasor.
Art Produce Gallery, 3139 University Ave., San Diego, CA 92104.
The gallery is open 11-6 daily. When the front door is locked, enter through Tostadas Restaurant. We will be in the gallery Thursday-Saturday 12-5pm.