Charlotte Street Foundation identifies the needs and fuels the evolution of an ever-changing multidisciplinary arts ecosystem, acting as its primary provocateur. We cultivate the contemporary, the exceptional, and the unexpected in the practice of artists working in and engaging with the Kansas City Art Community
Adriane Herman has had solo exhibitions at Adam Baumgold Gallery (New York), Western Exhibitions (Chicago), the Kansas City Jewish Museum of Contemporary Art, The Center for Maine Contemporary Art, Interlochen Center for the Arts, and Rose Contemporary in Portland, Maine. Numerous group exhibitions include those at The Dalarnas Museum (Falun, Sweden), the Portland Museum of Art, The Brooklyn Museum, The Chapel Street Gallery at Yale University, The Ulrich Museum of Art, The H&R Block Artspace at KCAI, La Esquina, and The International Print Center New York. She has received grants from the Maine Arts Commission, the Charlotte Street Foundation, and public art commissions from Kansas City’s Avenue of the Arts and Denmark’s ET4U. Her work has been written about in journals including The New Yorker, Art on Paper, Art in Print, The Kansas City Star, The New Art Examiner, and Art New England, and the following books: A Survey of Contemporary Printmaking; Printmaking at the Edge; Imprint of Place: Maine Printmaking 1800-2005; The Best of Printmaking; Printmaking: A Complete Guide to Materials and Processes; and Thomas Kinkade: The Artist in the Mall. Herman’s independent efforts to normalize consumption of fine art dovetail with collaborative curatorial efforts such as Slop Art and projects she has undertaken with her students at Maine College of Art and Kansas City Art Institute. She holds a B.A. from Smith College and an M.F.A. from the University of Wisconsin-Madison, as well as a Level II certificate in the Wilton Method of Cake Decorating, and has work in collections including The Whitney Museum of American Art, The Herbert F. Johnson Museum of Art, The Progressive Corporation, The Ulrich Museum of Art, Yale Art Gallery, and The Walker Art Center.
Herman writes: “I trace the seemingly alchemical trajectory from intention to action. Utilizing labor-intensive processes to highlight humble yet remarkable specimens from my archive of found, gifted, and bartered lists, I commune with the ephemeral residue of human commitments, tastes, priorities, accomplishments, and procrastinations. Mining the extraordinary by sifting through the purportedly ordinary has catapulted me past “small talk” with myriad people. At a time when the hand-written list seems on the precipice of extinction, there is much we can learn from such intimate yet anonymous evidence of how others choose to spend their most precious resources of time, energy and attention. My recent series of obsessively surfaced inlaid burnishing clay tablets entitled Finish Lines focuses on the lines people make while crossing things off their lists, offering viewers a vicarious sense of accomplishment while they luxuriate in the beauty of unselfconscious marks.
I observe and reflect back what humans consume both literally and figuratively and am inspired by efforts to jettison what is no longer useful in both realms. Toward that end, I am currently flowing with happenstance and pursuing a practice of photographic skeet shooting intended to suspend moments of release to capture, amplify and ready for redistribution the infectious energy embedded in awkwardly elegant postures of letting go. I welcome invitations to observe and document occasions of release, regardless of how seemingly small, for a new series called “Goods Riddance.”
Learn more about Adriane at her website: http://www.adrianeherman.com