SVA NYC: The Artist Residency Project, Summer 2020
Edie Beaucage is participating in the new SVA: The Artist Residency Project for the month of July 2020.
This new, fully online residency program has been designed for fine artists working across discipline, medium and platform. While the ability to travel and gather in person remains an uncertainty for many, the Artist Residency Project aims to deliver a robust residency experience to participants all over the world directly through online platforms. Working with SVA’s distinguished faculty, participants will be encouraged to develop their practice without regard to limitations of location or the necessity for travel. The goal of the program is to create an inclusive online space where artists can thrive, nurture their practice and build an active, engaged community across borders.
Faculty will conduct remote studio visits and discuss each participant's work on an individual basis, as well as facilitate group critiques and reading groups. Alongside these visits, daily activities and ways to connect will keep participants engaged with their community of artists, and a cohort of professional mentors spanning the fields of art, design and contemporary practice. Special lectures by guest artists, critics and gallery directors will provide further insight into the realities of the working artist in the present moment.
Large Format Public Art Project, Harbor Park Garage, Baltimore, April 2019
Downtown Baltimore got a surprise this April, with the reveal of a large format work of art affixed to the side of Harbor Park Garage, a parking garage located at 55 Market Place. The artwork, which is visible from the Jones Falls Expressway, is a custom piece by artist Edie Beaucage.
The piece is a 70-foot tall vinyl banner based on a series of paintings created and digitized by Beaucage. The banner is indicative of Beaucage’s signature style. It is vibrant, with broad, visible brushstrokes conveying action and energy, and light, bright colors...
Artsy Edie Beaucage, October 2019
Works available now on Artsy where you may follow Edie Beaucage Exhibitions
"Artsy is powered by The Art Genome Project — "an ongoing study of the characteristics that distinguish and connect works of art."A collaboration between art historians and engineers, The Art Genome Project draws upon art-historical scholarship and artificial intelligence to assign values to artwork based on over 1211 characteristics or "genes." These genes ranges from color to "Content: Private of Personal Space" to period to "Technique: Documentary Photography" to "Group Portrait." The Art Genome Project aims to help users uncover works of art based on personal taste and preference to facilitate education and discovery of art. Matthew Israel serves as the Director of The Art Genome Project and Artsy's Lead Curator."
Conde Nast UK House & Garden November 2019
"Hanz Electro Technic" Digital and "Sweetish Tales" in Print House and Garden UK
Voyage LA Interview Edie Beaucage, March 2019
In this interview, Edie talks about her personal history, what she is looking for in her work and what she thinks the future of our artists community in Los Angels could look like in the future.
Edie: "LA is THE place to be for painters today! The art schools here have stellar faculty: Otis College of Art and Design, UCLA, Cal Arts, and Art Center are creating about 100 talented MFA graduates every year. I think it would be great if each school had as many scholarships as possible to accept artists from everywhere and become more affordable. How about Snap Chat, Instagram and Google sponsoring scholarships and residencies all over town? I suggested in a meeting for the future of Santa Monica Airport (who will be transformed in a few years into a new type of Industrial/Art Park) that Silicon Beach could sponsor studio spaces available for grads for two years after graduation to get them started."
Frances Anderton's KCRW DnA explores moments in Otis College of Art and Design history. October 2018.
Otis history tracks with LA’s growth as an art and design capital -- from its founding on Wilshire Boulevard through its transition with artist Billy Al Bengston in the 1950s.
Alum Garth Trinidad (yes, that’s KCRW’s own DJ Garth Trinidad) recalls the struggles in the 1990s and remarks on its blossoming in Westchester today.
Edie Beaucage talks about being part of the new generation that has revived painting in the 2010's.
Annie Seaton, Art and Cake LA, Review "Sequencer-Spectrum-Reverb" October 2016
"Hipsters sporting beards and mustaches inhabit this world on canvas. They sport beanies and pork pie hats. Multiple personality-driven works, such as Local Fluff and Super Bubble are über cool and seem to kick-back with one another, both painting to painting and within their own framed worlds. Like Davis, who painted compositions of his time living in New York during the birth of the Jazz age and incorporated pop symbols, such as spark plug logos from the ‘20s and ‘50s, Beaucage paints from the experiential view of today’s music festivals, such as Coachella, Burning Man and the Electric Daisy Carnival. One half expects Beaucage’s subjects to whip out their iPhones and furiously text one another or snapchat selfies when the gallery goes dark."
Sharon Mizota, LA Times, Review "Chill Bivouac Rhymes" July 2015.
"Edith Beaucage's work has always been bold, but in her latest exhibition at CB1 Gallery, it achieves a new level of confidence and bravura... Beaucage's sun-drenched, acid-hued palette and the assurance with which she renders loose portraits — in broad, fluid strokes as relaxed as her subjects. The lush, Arcadian surroundings get the same treatment. Trees are little more than wavering verticals: a kelp forest in a rainbow of shades. Mountains, lakes and sky are rendered breezily in lemon yellows and cobalt blues, appearing to glow with energy".
John Seed review Chill Bivouac Rhymes in Huffington Post, July 2015:
"Beaucage's canvases, even the large ones, have almost no evidence of editing, scraping or revision. They are what they are: unadulterated marzipan pleasures that unfold in a looseleaf Eden...To prepare for Chill Bivouac Rhymes Beaucage made a maquette of the gallery space — complete with tiny paintings and models — and also generated a sequence of studies on paper. In the back room of CB1 Edith showed me a selection of these works, which have the bold immediacy of unfiltered ideas. They “rhyme” with each other in the sense that they present clusters of themes within a consistent range of feeling, as do the larger works on view."
John David O'Brien review Chill Bivouac Rhymes in Artillery Magazine (Print and Online), September 2015:
"The figures dance about in light delineation embedded in a swirl of audacious swathes of color field painting. “Chill Bivouac Rhymes” is also the lively storyboard for the scenes from an operatic love story. She, Ekaterina, is the exotic young Bolshoi ballerina who, in the course of this tale, jilts her Russian lover after finding an entirely new and irresistible illumination while at a forest rave, and then runs off with her surfer guy until they both disappear into an explosion of light. To accomplish all this, the gallery is turned into a stage set". Artillery Magazine
Tamara Akcay in Beautiful Decay, 2015, Review "Chill Bivouac Rhymes"
"The ‘Chill Bivouac Rhymes’ series is built as a loose leaf narrative. A ballerina, her entourage, her Russian lover, a rave and a specific, yet invented location: Yellow Boa Canyon.
The paintings depict the characters interacting with each other in the fantasy land created by the artist. Edith Beaucage’s strokes are ‘broad, fluid and relaxed’. Translating a world of floating moments and effortless motions. The characters are blended with the landscape. The same tonality of colors and the same brushstrokes are used for each of them. The artist captures a couple kissing, a girl dancing, a men smoking and a teenager sleeping. Never omitting to add-on the wandering, lingering rhythm which ends up altering the mood and spirit of the viewer."
Carren Jao KCET Artbound review "LA Heat". Chinese American Museum, March 2014
Edith Beaucage sought to capture the courage it took to chart one's path as an immigrant in "Dragon Frederick Louis of Rimouski," a lush painting full of bold strokes and melting colors. "I'm not Asian, I'm French-Canadian, but I connected with their story of immigration. I believe that all immigrants have to have a dragon with them to undertake such a big move. They have to be courageous. These two men were that and their story had that underlying American theme of being able to do what you want in a new place."
Features Article, Preview, ArtWeek LA,Chill Bivouac Rhymes 2015
"The viewer will discover the paintings by looking through sculptures and painting installation. Twelve feet tall multicolor trees, an octagon geometric shape and freestanding painted campers are installed on the gallery floor to produce a deep focus space. The inclusion of the three levels of foreground, middle ground and extreme background objects create for the viewer a effect similar to a depth of field composition in cinematography; allowing the viewer to focus on both close and distant planes.
In addition to paintings, Beaucage has created enamel on iron pieces that where fired at 1450° F; fusing glass to metal. Influenced by Limoges enamelings from the mid 1600s, her ravers are incapsulated in a deep glossy tranced out spaces."
Shana Nys Dambrot, Review "Bidibidiba", Whitehot Magazine, 2013
“What I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface: I read on, I skip, I look up, I dip in again.” Roland Barthes wrote that in Le Plaisir Du Texte, in which he argues for a critical approach to text that explicitly includes taking pleasure as a facet of serious analysis. Language is important to Beaucage, but like Barthes, this can be more for its cadence than its content -- she’s more Jabberwocky than Ozymandias. And while she may be a painter rather than a writer, when it comes to how she constructs the “text” of her compositions, that bit about the pleasure of inflicting harm on a narrative by skipping around within it all willy-nilly, taking it gleefully out of order -- going about it all wrong so to speak -- is very much analogous to how she composes and treats her own he fine surfaces -- those of her canvases. She too does it all wrong, and she does it with zest -- and it’s an absolute pleasure." White Hot Magazine.
John Seed, Huffington Post: Q and A on ".hurluberlu" 2011
"JS: Can you tell me what a "hurluberlu" is?
EB: A hurluberlu is a type of person that is referred to in Quebec as a fellow that is a little crazy; sweet and original in his way of thinking, and in how he dresses himself and behaves.
In each of my paintings you will find a hurluberlu juxtaposed with an abstraction that mimics what happens in a social space. The social space is therefore the unifying factor and is meant to stimulate discourse with the audience, to include the viewer. The meaning that derives from this interaction is voluntarily open.
By conceiving each image in relation to a "hurluberlu" I was able to push the abstractions each one inspired into a new aesthetic territory. The painting's titles are followed by .hur because I refer to the group as part of the domain of the hurlerburlu as opposed to internet domains such as .com or .net."
Sharon Mizota, LA Times Art review: 'The art that dare not speak its name' at CB1 Gallery, 2010
"But none of these artists seems to have as much fun as Edith Beaucage, whose confidently spontaneous figures are breezy, casual and exuberantly expressive. Usually isolated on plain white grounds, Beaucage’s characters — and they are characters, not just figures — emerge from strikingly economical means. “Monster With Blue Eyes” is a Muppet-like figure whose “fur” has been quickly delineated in a fan of broad, blue-green brushstrokes. In the diptych “Hexagon” a brushy sketch of a woman on one canvas calmly looks at another, hexagonally shaped canvas painted in thick concentric stripes. It’s a succinct commentary on viewership that makes us aware of our own position in a network of gazes."
2019 Works available now on Artsy where you may follow Edie Beaucage Exhibitions
2019 Public Project, Harbor Park Garage, Baltimore, April 2019
2019 Conde Nast UK House & Garden November 2019 "Hanz Electro Technic" Digital
2019 Voyage LA Interview of Edie Beaucage, March 2019
2018 Frances Anderton DNA KCRW Interview; Otis College celebrate 100, November 2018
2016 Carolina A.Miranda, Date Book, Los Angeles Times, Sequencer-Spectrum-Reverb
2016 Artillery Magazine Vote Saturday Night, B. Western, Sequencer-Spectrum-Reverb
2016 Annie Seaton, Art And Cake, Edith Beaucage is Vibrating off the Walls at Luis De Jesus
2016 Camila Bohemio, WaterWorld, Waterwheel
2016 Volta New York, Skipper, Luis De Jesus Los Angeles, Catalog,p.61, Volta Art Fair
2016 POVarts Lookbook, Volta Ar Fair
2016 Michele Witchipoo,Witchesbrewpress, Volta Art Fair
2016 Los Angeles Review of Books, Featured Artist, March Edition
2015 Sharon Mizota, LA Times, Feeling the pull of Edith Beaucage’s Vibrant Hallucination
2015 John Seed, Huffington Post, Edith Beaucage: Chill Bivouac Rhymes’ at CB1 Gallery
2015 John David O’Brien, Artillery Magazine, Edith Beaucage CB1 gallery (digital and print)
2015 Joanne Mattera Art Blog, Fair Fetched: Some Paintings, Miami Fairs
2015 Heike Dempster, Rooms Magazine, Miami Artweek 2015 Highlights
2015 Dorothee Dupuis, Terremoto, Geneva-Mexico City, Art Basel Miami Beach Art week 2015
2015 AO, Art Observed, Untitled Art Fair, Luis De Jesus Los Angeles
2015 Beautiful Decay Magazine Featured by Made with Colors
2015 Pattern Pulp ,Chill Bivouac Rhymes, Gallery Pick
2015 Artweek.LA ,Chill Bivouac Rhymes
2015 Art is Hope # 2 Catalog p.44 Piasa, Paris 2015
2014 Annie Buckley Art Forum Picks review of LA Heat, Chinese American Museum
2014 Carren Jao, KCET Artbound, Hot Stuff: L.A.’s Cross-Cultural Condiments, C-A Museum
2014 Art is Hope Catalog p.38 Piasa, Paris 2014
2013 Shana Nys Dambrot, Whitehot Magazine Beaucage @ CB1Gallery
2013 Shana Nys Dambrot, Some Fine Women Catalog Essay,
2013 Video Vast Space Projects, Some Fine Women, Eric Minh Swenson. Music by Grant Tyler
2012 Art Slant Split Realities group show Nan Ray Gallery, Woodbury Univerity
2012 Must see show New American Painting Bidibidiba.
2012 Bill Bush Huffington Post This week in LA: Bidibidiba
2012 Downtown Art KCET checklist: Bidibidiba
2012 TOAN Magazine, Bidibidiba
2012 Kyle Fitzpatrick LA I AM YOURS Bidibidiba
2011 John Seed Huffington Post .hurluberlu Interview
2011 Shana Nys Dambrot, LA Weekly "Beaucoup de Beaucage" .hurluberlu Preview
2011 Video: LA Downtown News, .hurluberlu Edith Beaucage at CB1 Gallery
2010 Sharon Mizota, LA Times, Art review: ’The art that dare not speak its name’ CB1 Gallery,”