Brenda Louie (original) (raw)

From Wikipedia, the free encyclopedia

Chinese-American artist (b. 1953)

Brenda Louie (born 1953) is a Chinese-born American artist, known for her large, painterly abstractions and multimedia installations that explore a variety of subject matter, including migration, cultural hybridity, and Eastern philosophy. Louie has also been a longtime professor of studio art at California State University Sacramento, and has taught painting and drawing at California State University, Stanislaus, American River College, Sacramento, University of California, Davis, San Francisco Art Institute, and Stanford University.[1]

Louie was born in 1953, in a remote village in Guangdong province, China.[_citation needed_] She escaped the Great Chinese Famine when she was eight years old, traveling with her grandmother by foot to the southern coast, where they took a boat to Hong Kong in order to be reunited with her father, who had escaped the Maoist regime several years earlier.[_citation needed_] She later traveled to the United States in the 1970s to attend college, and settled in Northern California.[2]

Louie's artistic talents were nurtured when she was a child by her father, Chiu Sheung Lui, who was an artist, calligrapher, and musician.[3] Chinese calligraphy in particular was essential to her later artistic development.[4]

Louie initially graduated with a degree in economics from California State University, Sacramento (1982) but returned to the university several years later to study art, receiving a master's degree in painting and drawing in 1991.[5] She went on to receive a MFA degree from Stanford University, where she trained with noted artist Nathan Oliveira.[_citation needed_] In addition to studio art, Louie studied Taoism at California State University, Sacramento and Chinese philosophy, specifically the writings of Mencius, with scholar Philip J. Ivanhoe while at Stanford University.[6]

Much of Louie's work is autobiographical. Her own experiences of migration and a continuous cross-pollination of aesthetics and cultures are often expressed as layered forms, calligraphic gestures, mathematical or cartographic symbols, and/or collaged imagery. Universal issues such as life cycles, and death and mourning also figure into her work.[7] Frequently working in series or large-scale installations, Louie seeks to create immersive experiences for the viewer.[8]

Artist and scholar Chris Daubert notes that "Louie's paintings and installations embody and encompass these many strands of her cultural, familial, and personal histories. In several early works, the relationship between the personal calligraphic style of Huaisu and American abstract expressionist muscularity becomes apparent."[9] In a 1993 exhibition review appearing in the visual arts magazine Art View, critic Randal Davis describes the "sheer visceral impact" of Louie's formal elements and "map making" of the "affective dimension" of her "intercultural experiences."[10]

Notable exhibitions

[edit]

• Annual Crocker-Kingsley Exhibition, Crocker Art Museum (1993; 1995)[_citation needed_]
• Artists Valentines, Richard. L. Nelson Gallery, University of California, Davis, California (1995)[_citation needed_]
• California Abstraction, Biola University Art Gallery, La Mirada, California (1997)[_citation needed_]
• West Coast Painting and Sculpture, Oceanside Art Museum, Oceanside, California (1997)[_citation needed_]
• The Book of Zero, Richard L. Nelson Gallery, University of California, Davis (2004) (Solo)[_citation needed_]
• Shanghai International Art Fair (2005)[_citation needed_]
• Cycle of Life Part III, Ningbo University, Ningbo, China (2007) (Solo)[_citation needed_]
• Cycle of Life Part IV, Institute for East Asian Studies Gallery, University of California, Berkeley, California (2008) (Solo)[_citation needed_]
• Brenda Louie: Flower Series, Library Annex Gallery, California State University Sacramento (2009) (Solo)[_citation needed_]
• Brenda Louie: Going Forward, Looking Back, Library Annex Gallery, California State University Sacramento (2015) (Retrospective)[_citation needed_]
• Poetry is Not a Luxury, Center for Book Arts, Manhattan (2019)[_citation needed_]
• University of California, Davis, Davis, California, United States[_citation needed_]
• California State University, Sacramento, Sacramento, California, United States[_citation needed_]
• Crocker Art Museum, Sacramento, California, United States[_citation needed_]
• China Academy of Art, Hanghzhou, Zhejiang, China[_citation needed_]
• Ningbo University, Ningbo, Zhejiang, China[_citation needed_]

1. ^ Brenda Louie, Sacramento Metropolitan Arts Commission, 2015.
2. ^ Richard Whittaker, 'Brenda Louie--Flowers from the Sky', Works & Conversations, October 31, 2015.
3. ^ Richard Whittaker, 'Brenda Louie--Flowers from the Sky', Works & Conversations, October 31, 2015.
4. ^ Mary-Ann Milford-Lutzker, 'Brenda Louie: Mapping Memories', Moving From Zero: The Art of Brenda Louie, China Academy of Art, Hangzhou, China, 2016.
5. ^ Phil Hitchcock, "Going Forward, Looking Back", California State University Sacramento Library Gallery, 2015.
6. ^ Richard Whittaker, 'Brenda Louie--Flowers from the Sky', Works & Conversations, October 31, 2015.
7. ^ Michele French,'Exhibit offers meditation on issues in life', The Chico Enterprise-Record, October 18, 1992.
8. ^ Victoria Dalkey,'From out of Nothing: Book of Zero provides unexpectedly deep images', Sacramento Bee, April 24, 2004.
9. ^ Christ Daubert, "Brenda Louie: A Calligraphic Journey", Moving From Zero: The Art of Brenda Louie, China Academy of Art, Hangzhou, China, 2016.
10. ^ Randal Davis, 'Map of the Heart: Brenda Louie's Metaphysical Geography', Art View, September 1993.