Bobbie Moline-Kramer: Virtual Solo Exhibition
A convergence of figuration and abstraction, Moline-Kramer's renderings of natural elements intermingle with abstract-expressionist brushstrokes - blending reality with illusion.
A sense of intimacy runs through Bobbie Moline-Kramer's art, revealing itself both visually and materially. We are brought close-up to her images and there is no escaping their emotional effect, whether direct or subliminal.
As Above, So Below is an on-going series of complex, layered paintings. In these highly energetic works, moving fields arise directly from worked pigment - flowing, gestural, and dripped. Within this abstract turmoil, we see the vestiges of the human form and the tightly rendered eyes of monkeys and birds, and glimpses of their bodies. Images appear mysteriously, like a memories, persisting through an atmosphere charged with emotion. The shifting presence of signal and noise suggests the artist's intimate knowledge of their workings as a unified field that is our lives.
All That Remains, a series of square panels, displays crows who occupy bare branches, sometimes sharing them with images of fragmented photographs. The birds are painted with an incisiveness that sets them off like specimens against monochromatic expanses. In some works, the leafless branches are matched by desiccated crows, while in others, the birds are in full feather. The groupings of the crows, as well as the antique images, suggest an extended family portrait, played out as a nature study. Like Audubon, Moline-Kramer is devoted to the kind of keen observation that suggests a preternatural closeness to the living world, and an obligation to tell the truth about it. This work evokes a deep personal history and with this intimacy conveys the mystery of family, with all its sense of loss and continuity. The series also includes a group of raw, fluid drawings of crows, alternately feisty and ghost-like presences, who seem to be valiantly making their way in a difficult world.
-- John Mendelsohn
Bobbie Moline-Kramer, Errant Shapes, 2017
Bobbie Moline-Kramer, Solemn Meditation, 2017
Bobbie Moline-Kramer, Turmoil, 2014
Bobbie Moline-Kramer, Giverny,
Bobbie Moline-Kramer, Blue Line, 2014
Bobbie Moline-Kramer, California Surge
Bobbie Moline-Kramer, Crash
Bobbie Moline-Kramer, Curious, 2009
Bobbie Moline-Kramer, Gentle, 2009
Bobbie Moline-Kramer, Homage to Munch, 2013
Bobbie Moline-Kramer, Peaking Out, 2017
Bobbie Moline-Kramer, Shrouded Silence
Bobbie Moline-Kramer, Trust, 2009
Bobbie Moline-Kramer Virtual Solo Exhibition
Cross Contemporary Partners is pleased to present the paintings of Bobbie Moline-Kramer in their virtual 3-D gallery with the illusion of 12 foot high ceilings and 125 feet of installation space located at: https://bit.ly/bmksoloshow
In 1981, Bobbie Moline-Kramer graduated with a double major in Biology and Illustration
from California State University, Long Beach, and for the next twenty years worked as a
biomedical and commercial illustrator. As a painter, she has built on this highly developed
technical skill set to pioneer a unique fusion of hyperrealism and gestural abstraction,
drawing on personal narrative alongside art-historical reference. Moline-Kramer has
produced several extended series that, while interlinked, are also marked by a conscious
and unusual formal heterogeneity.
“As Above, So Below,” an ongoing series of paintings by Moline-Kramer blends figurative and abstract elements, though here the latter dominates in the form of paint layered over life drawings to create impressionistic landscapes. Elsewhere the identity of her subjects is much more readily apparent; in “All That Remains,” for example, a series prompted in part by the death of her mother, she portrays the uncommunicative members of her extended family as forbidding-looking birds perched on the barren branches of a family tree.
In these and other works, Moline-Kramer builds on the achievements of influences from Jackson Pollock and Joan Mitchell to Edo-period Japanese printmakers, making judicious and powerful use of human and animal symbolism to problematize and illuminate issues of selfhood, materiality, and representation.
Bobbie Moline-Kramer has been the subject of solo exhibitions at Carnegie Museum of Art, Oxnard, CA (2000, 2005, and 2012); Diane Nelson Fine Art Gallery, Laguna Beach, CA (2001 and 2002); Patricia Correia Gallery, Santa Monica, CA (2003); Paul Kopeikin Gallery, Los Angeles (2006); Red House Gallery, Venice, CA (2007); LCG Gallery, Studio City, CA (2010); The Goddard Center, Ardmore, OK; James R. Reynolds Art Gallery, Texas A&M University, College Station, TX; and Red Pipe Gallery, Los Angeles (all 2015); Moorpark College Art Gallery, Moorpark, CA (2016); Hardin Center for Cultural Arts, Gadsden, Al (2017); Waterloo Center for the Arts, Waterloo, IA (2018); and Lichtundfire, New York; Peggy Notebaert Nature Museum, Chicago; and Elizabeth M. Sinnock Gallery, Quincy Arts Center, Quincy, IL (all 2019). Upcoming exhibitions include Lichtundfire Gallery (NYC) and San Luis Obispo Museum of Art (CA).
She has also been featured in group exhibitions at venues including Riverside Museum,
Riverside, CA (1999); Eleanor Ettinger Gallery, New York (1997, 1998, and 1999); Bristol
Art Museum, Bristol, RI (2001); Gallery C, Hermosa Beach, CA (2003 and 2004); Santa
Monica Museum of Art, Santa Monica, CA (2005, 2009, 2011, and 2012); Lyons Wier Gallery,
New York (2005); Longview Museum of Fine Arts, Longview, TX (2007); LCG Gallery, Studio
City, CA (2008 and 2009); Carnegie Museum of Art, Oxnard, CA (2009, 2012, 2015, and
2016); Long Beach Museum of Art, Long Beach, CA (2012); Museum of Contemporary Art,
Los Angeles (2012); Elga Wimmer Gallery, New York (2017); Lichtundfire & Robert Curcio
Projects, New York City (2018); and Neutra Museum, Los Angeles (2019).
Moline-Kramer is represented in numerous public and private collections including those of the Long Beach Museum of Art, Long Beach, CA; Warner Brothers Studios, Los Angeles; the Wall Street Journal, New York; the Smithsonian Institute, Washington, D.C.; Carnegie Art Museum, Oxnard, CA; the Robert Gore-Rifkind Foundation, Los Angeles; and Carrie Horwitch, Horwitch Gallery, Seattle, WA. She is the winner of awards from societies and galleries including the Society of Illustrators (1989 and 1991); California Art Club (1997); Carnegie Art Museum, Oxnard, CA (1998 and 1999); Salmagundi Club, New York (1990); and San Diego Art Institute (2000). Her work has been written about in publications
including Art Calendar; Artdaily; Artscene; Coast; D'Art International Magazine, the Huffington Post; LAist; Los Angeles Times; and Picklebird.