Kiristin Frost, Michelle Carla Handel and Megan Lindeman at Norco Art Gallery, Norco, CA

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Kiristin Frost, Michelle Carla Handel and Megan Lindeman at Norco Art Gallery, Norco, CA  ON VIEW 10/28/17- 12/16/17   Throughout the work in this show and within other bodies of work, I mix oxytocin with paint. Oxytocin is a hormone involved in complex brain activity, such as bonding and trusting. Oxytocin is the tangible substance pulsing through all the intangible qualities that create feelings of connectivity; trust, togetherness, and general bonding and love. I use the molecule as a conceptual anchor in swirling and sometimes ambiguous forms of color and pattern. The colors and patterns are often informed by nebulous emotion and fleeting feelings as well as various visual ephemera from pop culture. Within the “Richness of Darkness” series, oxytocin is the anchor within dark areas of swirling color, references to 90’s era aesthetics (i.e. “Laura Ashley” prints and colors like “hunter green”), as well as shapes and colors referencing the US. Army, the ISIS flag and Afghanistan (seen in works of art belonging to this body of work but not currently on display). The latter of which are entities currently engaged in political and often violent turmoil due in part to US foreign policy in the 90’s, hence the … read more

Interview and Feature in FLOORR Magazine Issue 3

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A recent interview and feature of my work appears in FLOORR Magazine. You can read about why I use actual hormones in my work and why I use long, weird, slang-ish, verbose, sometimes repetitive titles. Hint: they are all gestures to keep me grounded and unambigious.  You can also check out several other international artists whose work and practice are both beautiful and thought provoking.  

Radicalized, Small Threats, and Of Course The Sunrise at 1522 Saint Louis

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1522 Saint Louis is proud to present Radicalized, Small Threats, and Of Course the Sunrise February 6th- March 20th, 2015 In the exhibition – Radicalized, Small Threats, and Of Course the Sunrise – Megan Lindeman mixes nostalgia with emotion and science in new works that deliver an abstract and potent recognition of today’s political climate. Oxytocin (a hormone involved in complicated brain activity like bonding and trusting) is mixed with gouache and painted on canvas and paper in a manner that hints at modernist roots as well as today’s transdisciplinary spirit. Titles like Hunter Green (a color from the 90’s like when I was 12 so that’d be 93′), and the Richness of Darkness, 2015 and Army Green Y’all, Laura Ashley Coveted Flower Print, It’s even Worse Then It Seems, and The Richness of Darkness, 2015 eluded to the roll that color, pattern and nostalgia play in the works. Her titles also elude to the narrative origin of the works that the artist describes as “complicatedly positive.”

Home (-) Free at Elephant

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home(-)free March 14, 2014 – April 2, 2014 Opening Friday, March 14, 2014, 7-10pm Performance 9pm “You want Better cars And a better heart Another start Yo’ own yard And a place to park You wanna
Trust ’em ??” -Trick Daddy, America Elephant is pleased to present home(-)free, an exhibition of new works by Sofía Córdova and Megan Lindeman. Córdova’s and Lindeman’s works both question the nature of freedom as it relates to American-ness. Questions of origin, outsider/insider status, belonging (and not belonging), political and historical patterns come together through photography, painting, video, sound and performance. Lindeman’s project, My Freedom Is Too Big, uses the expansiveness of the Western American landscape as the backdrop for the proclamation of personal freedom. My Freedom Is Too Big began in 2011 at the start of the Arab Spring and presents a collage of abstracted images of protests in Tahrir Square alongside photographs of hand-painted banners floating over the open landscapes of California. The banners, which depict colorfully painted statements such as “My Freedom Is Too Big” and “I’d Like to Tell You Why,” are thrown in the air and photographed in California’s picturesque landscapes. Their depiction plays in contrast to most contemporary visual depictions … read more

New York Art Book Fair at MOMA PS1

Exhibitions, news, Now, Wine Reviews | | No Comments

Two of my wine reviews were recently published in The Kite. The Kite is a uniquely awesome art publication that features the writings and drawings of various artists. In issue 5 you can find contributions by Julien Ceccaldi, Meg Cranston, Tyler Dobson, Eve Fowler, Richard Hawkins, Charles Irvin, Oscar Tuazon, and myself.  On Friday Sept 20, join the party at 6 pm at the Ooga Booga booth in the New York Art Book Fair at MOMA PS1 and celebrate the release of great and unusual writing by great and unusual artists!

Turbulent Times; First It’s The After Party:: Opening at Chime&Co.

Chime&Co. Archive, Exhibitions, Now | | No Comments

Turbulent Times; First It’s The After Party presents the work of Nathan Danilowicz, Mike Erickson, Quinn Gomez-Heitzeberg, Yoshie Sakai, Josh Stone, Astri Swendsrud, Tanya Rubbak and includes painting, sculpture, new media, and performance. Collectively, this work explores the creative acts of celebrating and believing; and presents the necessity of such acts within the context of our current tumultuous times.   April 13th- May 11th, 2013;  Opening April 13th, 2013  7-10pm Mike Erickson’s Dirty Mystical Cheers Platter, 2008-2013 has taken various forms and iterations.  For Turbulent Times; Fist It’s The After Party , the piece is exhibited as shown to the left. As a constant Dirty Mystical Cheers Platter presents  the remnants of casual communing (beer pitchers) and mystic and pedestrian materials of celebration and hope (mardi gras beads and lottery tickets).       The Semi Tropic Spiritualists (Astri Swendsrud and Quinn Gomez-Heitzeberg) preform Semi Tropic Spiritualists Test Site #3 (performance prop show at left).                   Detail of Swendsrud’s Does Such A Luminous Secret Exist? (Black), 2012. Swendrud’s work often uses birthday candles to investigate issues of belief, transformation, and anticipation. Does Such A Luminous Secret Exist? (Black)’s use of symbolic geometry and an ornate framing device leads the viewer to a … read more