MAKE Blog
Kim Holleman's Micro-Environments Are Very Much Alive
Currently Showing
In-Habitat at Front Room Gallery
ArtCat In-Habitat at Front Room
DUMBO Arts Festival
The L Magazine This Week's Must Sees in Art
81 Front and Pearl Street Triangle
Museum of (Un)Natural History
WNYC'S This Week's Must Sees in Art
All Possible Futures
City Weekly
SLC Gallery
Morgan Fine Arts Open House
Pretty Vacant
Mathematics Collective
Condensations of the Social
Smack Melon
Curated by Sara Reisman
Artists That Play Well With Architects
Superfront
Curated by Mitch McEwan
Terrefarm at Terreform ONE
Guest Artist Lecturer
Trash
Curated by Zenia Assaf
New York Studio Gallery
Brooklyn Utopias
Curated by Katherine Gressel
OSH Gallery
Artwalk 10
Annual Coalition for the Homeless Benefit Art Auction
Hosted by Alec Baldwin and Richard Gere to Benefit CFTH, New York
***
In blending art, science, eco-systems engineering and architecture I seek to highlight issues and provide solutions, however meaningful, absurd, insightful, practical, or visionary.
I use an interdisciplinary approach, which includes: Sculpture, Architectural Model Making, Installation, Environmental Design, Photography, Drawing, and Collage to create a complete spectrum of ideas or experiences.
My art addresses concepts of utopia, utilitarianism, environmentalism, and ideas about perfect form. I examine how the forms that are used in the architectural reality of our world, connect to our ideas about the natural environment, the sublime and the mundane, and our relationship to conceptual and physical space.
I co-opt found physical forms and changing them physically with new matter, created and found. In blending art, science, systems engineering and architecture, I seek to highlight issues and provide solutions, however meaningful, absurd, insightful, practical, or visionary.
In order to present something new born out of something familiar, I infuse my objects with a new identity by manipulating iconography, controlling visual language, and inverting meaning.
BIO
Kim Holleman was born in Tampa, Florida in 1973 and raised in the suburban
area of Palm Beach Gardens. She attended The Cooper Union for The
Advancement of Science and Art in New York and the Rietveld Academie in
Amsterdam, Holland.
Kim’s first solo show in NY: Law of the Land at Black and White Gallery was
chosen Best In Show in the Village Voice (2008) and was later featured again in
the arts section by Alan Gilbert.
Because of Kim’s unique blending of art, architecture and engineering, she has gained recognition across disciplines. Kim was a semi-finalist in the international One Prize competition, a call for proposals regarding sustainable urban practices, sponsored by Terreform ONE, where she also spoke as a visiting artist lecturer for Terrefarm, an urban laboratory focused on interdisciplinary public works projects.
Her award-winning work, Trailer Park: A Mobile Public Park has shown at The
Storefront for Art and Architecture on Lt. Petrosino Square, (2006) Foley Square-
The Supreme Court The Living Room (2008) and The Cooper Union, Rites of
Passage (2010). Her solo show, The Artificial Homemaker at The Rietveld
Pavilion, filmed for the feature documentary De Cultuurshok: Foreign Artists in
Amsterdam aired on Dutch National Television in 1996.
Holleman won the first Artist’s Wanted Competition in 2008. The opening event for Holleman’s second solo show in NY, Circa: 2012 at White Box Chelsea (2008), recorded a record breaking 1,000 people in attendance and was selected by Papermag as the Word of Mouth show to see that week along with After Nature at The New Museum for Contemporary Art.
Kim received her first grant in 2010 from the Puffin Foundation. Her work as been featured in The NY Times,The Metro, L Magazine, NY Arts Magazine, Time Magazine, and Next American City Magazine. in 2011, Kim opened two solo shows at Work and SLC Gallery, respectively, and participated in several group shows in NY.
**
A watershed moment in the theory and practice of art making happened for me while installing an exhibition entitled “Research Architecture” at the Thread Waxing Space in 2000. This selection of work from the The Fonds Regional d'Art Contemporain du Center (FRAC) in Orlean, France, was an eye opening survey of drawings, blueprints, and visionary models embodying European ideas of utopia through design as conceived throughout the 1960's.
The FRAC Collection, "explores the architectural ramifications of concepts such as utopia, anticipation, and criticism" (Research Architecture, Frenchculture.org). Much of the FRAC collection consisted of radical transformation of life and work, conjectures on "evolved living", and prototypes of fantasy structures that were never intended to be built life-size. I have modeled my body of work on their inquiry, but as a sculptor and "everyday engineer", I feel I need to take these concepts and render them life size in experiential, "usable" forms. In some part, I feel I am rendering artistic solutions to what I have experienced as existential and practical problems I have found living in western postmodern culture.
While delving more deeply into European Research Architecture, my mind's eye sought the familiar, turning toward the industries, politics, experience, and icons that spoke in the language of American culture.
Kim Holleman's Micro-Environments Are Very Much Alive
Currently Showing
In-Habitat at Front Room Gallery
ArtCat In-Habitat at Front Room
DUMBO Arts Festival
The L Magazine This Week's Must Sees in Art
81 Front and Pearl Street Triangle
Museum of (Un)Natural History
WNYC'S This Week's Must Sees in Art
All Possible Futures
City Weekly
SLC Gallery
Morgan Fine Arts Open House
Pretty Vacant
Mathematics Collective
Condensations of the Social
Smack Melon
Curated by Sara Reisman
Artists That Play Well With Architects
Superfront
Curated by Mitch McEwan
Terrefarm at Terreform ONE
Guest Artist Lecturer
Trash
Curated by Zenia Assaf
New York Studio Gallery
Brooklyn Utopias
Curated by Katherine Gressel
OSH Gallery
Artwalk 10
Annual Coalition for the Homeless Benefit Art Auction
Hosted by Alec Baldwin and Richard Gere to Benefit CFTH, New York
***
In blending art, science, eco-systems engineering and architecture I seek to highlight issues and provide solutions, however meaningful, absurd, insightful, practical, or visionary.
I use an interdisciplinary approach, which includes: Sculpture, Architectural Model Making, Installation, Environmental Design, Photography, Drawing, and Collage to create a complete spectrum of ideas or experiences.
My art addresses concepts of utopia, utilitarianism, environmentalism, and ideas about perfect form. I examine how the forms that are used in the architectural reality of our world, connect to our ideas about the natural environment, the sublime and the mundane, and our relationship to conceptual and physical space.
I co-opt found physical forms and changing them physically with new matter, created and found. In blending art, science, systems engineering and architecture, I seek to highlight issues and provide solutions, however meaningful, absurd, insightful, practical, or visionary.
In order to present something new born out of something familiar, I infuse my objects with a new identity by manipulating iconography, controlling visual language, and inverting meaning.
BIO
Kim Holleman was born in Tampa, Florida in 1973 and raised in the suburban
area of Palm Beach Gardens. She attended The Cooper Union for The
Advancement of Science and Art in New York and the Rietveld Academie in
Amsterdam, Holland.
Kim’s first solo show in NY: Law of the Land at Black and White Gallery was
chosen Best In Show in the Village Voice (2008) and was later featured again in
the arts section by Alan Gilbert.
Because of Kim’s unique blending of art, architecture and engineering, she has gained recognition across disciplines. Kim was a semi-finalist in the international One Prize competition, a call for proposals regarding sustainable urban practices, sponsored by Terreform ONE, where she also spoke as a visiting artist lecturer for Terrefarm, an urban laboratory focused on interdisciplinary public works projects.
Her award-winning work, Trailer Park: A Mobile Public Park has shown at The
Storefront for Art and Architecture on Lt. Petrosino Square, (2006) Foley Square-
The Supreme Court The Living Room (2008) and The Cooper Union, Rites of
Passage (2010). Her solo show, The Artificial Homemaker at The Rietveld
Pavilion, filmed for the feature documentary De Cultuurshok: Foreign Artists in
Amsterdam aired on Dutch National Television in 1996.
Holleman won the first Artist’s Wanted Competition in 2008. The opening event for Holleman’s second solo show in NY, Circa: 2012 at White Box Chelsea (2008), recorded a record breaking 1,000 people in attendance and was selected by Papermag as the Word of Mouth show to see that week along with After Nature at The New Museum for Contemporary Art.
Kim received her first grant in 2010 from the Puffin Foundation. Her work as been featured in The NY Times,The Metro, L Magazine, NY Arts Magazine, Time Magazine, and Next American City Magazine. in 2011, Kim opened two solo shows at Work and SLC Gallery, respectively, and participated in several group shows in NY.
**
A watershed moment in the theory and practice of art making happened for me while installing an exhibition entitled “Research Architecture” at the Thread Waxing Space in 2000. This selection of work from the The Fonds Regional d'Art Contemporain du Center (FRAC) in Orlean, France, was an eye opening survey of drawings, blueprints, and visionary models embodying European ideas of utopia through design as conceived throughout the 1960's.
The FRAC Collection, "explores the architectural ramifications of concepts such as utopia, anticipation, and criticism" (Research Architecture, Frenchculture.org). Much of the FRAC collection consisted of radical transformation of life and work, conjectures on "evolved living", and prototypes of fantasy structures that were never intended to be built life-size. I have modeled my body of work on their inquiry, but as a sculptor and "everyday engineer", I feel I need to take these concepts and render them life size in experiential, "usable" forms. In some part, I feel I am rendering artistic solutions to what I have experienced as existential and practical problems I have found living in western postmodern culture.
While delving more deeply into European Research Architecture, my mind's eye sought the familiar, turning toward the industries, politics, experience, and icons that spoke in the language of American culture.
