A selection from a solo exhibit at the Eleanor
All work is brush, ink and pencil on paper.
I collaborated with the poet Ingrid Keir for a show
at Chris Komater's online project space.
These ink paintings
paper are each approximately 18 x 24 inches. Ingrid's poems can
at the original
exhibit. A book is available of this show here.
Kyle Knobel and poet Ingrid Keir collaborate on a body of work centered
around their apartment. Ingrid says, "since we are married and
live together, and this
place is the first and last thing we see each
day, it seemed a good place to form
a show around."
The first image of the show is a watercolor painting
of the typewriter belonging to
Ingrid's grandfather, also a writer.
From Kyle, "I was interested in the sort of aggregate
in this little machine, now passed down to another artist in the family."
Ingrid's selection of writing revolves around events
that are both incidental and
specific to the home. The apartment
as studio, as
kitchen, as place to spend time, as
a place for love and for
This book was featured as part of the group show
of artists considering global warming.
Made as a limited
edition of five books, Checklist for the Apocalypse is hand-painted
in ink. Flip through
Excerpt of review by Chris Komater
Far from the hub of the San Francisco art scene, Michael
Damm, Kyle Knobel and
Leonie Guyer have created works of art that interact
with each other and
their location. The site-activated installations are
located in an empty storefront in a
far-away corner of Oakland's Fruitvale
district. Organizer Damm
has fittingly named the
temporary gallery Remote Satellite.
Kyle Knobel fills the.. wall with a row of 45 pencil
drawings of the same pair of
handlebars, rendered in outline only, each nearly
the next, with slight variations.
Each minute shift in perspective evokes
particular moment of the artist's experience.
Like the exercise of
trying to draw a perfect circle, the repetition reveals
the limitations of
hand and eye, yet played out as formal spectacle. The
images, arranged horizontally,
read almost like film stills, connecting
Damm's cinematic abstraction of the site. The use
the handlebars, likely something one would find in the streets
through Knobel's repetitive and meditative representation.
Storefront windows. Permanent marker and found theater
gels on sheets of acetate,
fabric and lights.
Review by Meredith Tromble
Alternative spaces like this will never happen again in San Francisco
so it's nice to see it here, said painter Roy Tomlinson, looking around the funky gallery 21 Grand in Oakland. A relaxed crowd turned out for the opening of New Place-Oriented Work onight, featuring art by Sarah Cain, Michael
Damm, Leonie Guyer, Kyle Knobel and Katherine Van Dyke.
Nobody's work was working too hard. Guyer's wall paintings are about the
size of a playing card; Van Dyke, who was also painting on the wall, covered more ground but kept it white on white. Cain's intervention, a white mound with a corona of smoke marks climbing up the wall, was almost flamboyant in comparison. Damm's video Elsewhere scrolled along urban storefronts, revealing patterns everywhere. Viewing Knobel's video required climbing into a stuffy curtained black box, not the most appealing prospect on a warm summer night,
but it was beautiful.
Ink on paper, with areas excized
via an exacto knife.
Spraypaint on paper, 9x7 feet.
Installation materials are paper and ink. Scott MacLeod writes:
I have walked or driven by the video, performance
and art-space ATA
times. I'm surprised to be surprised by the fluorescent
red and white burst (the type one
usually only sees announcing
and the like) covering the entirety of its
storefront windows. The jagged
shape punctures the monochromatic surface
of the block with
an ironic glee announcing - what exactly? A sale? There's no information,
no price, no 'half off' inside the burst, nothing except ATA's doorway.
So the burst is
announcing itself, and announcing ATA, inverting the
standard relationship whereby a
gallery presents art. Here the art presents
and the gallery, in effect celebrating art
itself, its presence in the
landscape (and socialscape) and ATA's long standing
as a locus for.
Scott MacLeod has been presenting live, time-based,
and/or static work in the Bay Area and internationally
Approximate dimensions are 20 feet by 9 feet, Medium:
Eleanor Harwood Gallery. High Life. San Francisco
Triple Base. On Losing & Finding
One's Line. San Francisco 2005
Edo Salon. San Francisco 2003
Adobe Books Gallery. San Francisco
Build Gallery. San Francisco 2003
Artists Television Access (ATA). San Francisco 2002
Bevy Gallery. Dunkirk NY 1996
Truesilver Gallery. Nice One 2012
Forthrite Printing. Nothing/Everything. Oakland CA 2010
Soap Gallery. The Junk Mail Show. San
Gallery 16. Sonny Smith's 100 Records. San
Marjorie Wood. Collaboration with Ingrid Keir, including
The Hallway Gallery. Pattern. San
The LAB. Postcard 11. San
Eleanor Harwood Gallery. Miami Art Fair (Aqua). Miami FL 2007
Eleanor Harwood Gallery. Albedo. San
Adobe Books. Miami Art Fair (Aqua). Miami FL 2006
Remote Satellite. Oakland 2005
Headlands Center for the Arts. Close Calls. Sausalito 2004
Mimi Barr Gallery. Books!Awesome! San Francisco 2004
Tangent Gallery. The Bay Area Show. Detroit
Southern Exposure. Monster Drawing Rally. San Francisco 2004
21 Grand Gallery. Place-Oriented Work. Oakland 2003
The LAB. Q: Where you at? San Francisco
Quotidian Gallery. Blood Show. San
The LAB. The Last Hurrah. San
Independent Media Center. 2 Decades of Ephemeral
Art. Seattle WA 2001
Southern Exposure. Postcard 5. San
DeBasement. San Francisco 2000
4 Walls. Postcard 4. San Francisco 1999
Gallery 82. Allentown. Buffalo NY 1998
Ford Street Lofts. Break My Heart 14. Buffalo NY 1998
Napoleon Street Studios. First Annual. San Francisco 1997
UC Berkeley gallery. 21 pieces Left to Right. Berkeley CA 1995
JT Christian Gallery. Explorations in Paint II. Fredonia NY 1995
Adobe Books. Taraval. San
21 Grand. Taraval. Oakland
Artists Television Access (ATA). OK.
San Francisco 2001
John Simms Center. OK. San
Artists Television Access (ATA). Street Sweeper.
San Francisco 2000
Record/Play 001. Book of images by K. Knobel.
44 pp., color 2007
For Their Love... Book of security envelopes.
2nd edition, 40 pp., b&w xerox 2007
Toward the Light. Book w/ I. Keir, design/photos
by K. Knobel. 52pp. color 2007
Satellite magazine. Interview w/ doc film-maker
J. Jones. 4 pp., color 2006
SECA Catalog. SF MOMA. Cover image for Sarah Cain exhibit.
1 p., b&w 2006
Record/Play 000. Book of interviews of Bay
Area visual artists. 50 pp, color 2004
SF MOMA. 10 minute video for museum visitors. 2002
Somatic Lapse. Performance w/ R. Nordschow.
Video by K. Knobel.
...... 21 Grand. Oakland CA 2002
...... Yerba Buena Center for the Arts. San Francisco 2002
...... New Langton Arts. San Francisco 2001
Location/Dislocation. Guerilla outdoor video projection.
San Francisco 2001
Appointment Project. Performance and book.
Bay Area 2000
Secret Box. Performance. Secrets exchanged
in person & anonymously.
...... Hallwalls Gallery. Buffalo NY 1999
...... Anon Salon. San Francisco 1998
Another Step Forwards, Walking Backwards.
Artists: Allissa Anderson, Matt Furie, Reggie Sparks, Minnette Lehmann.
Adobe Books. 2004
What We Saw When We Got There.
A show of conceptually based drawing, with ‘drawing’ defined in its
broadest possible terms.
The work is grounded in an investigation of place, yet
are disparate in focus & content, ranging
from digital projection & video
to maps & architectural plans.
Co-curator: Michael Damm.
Artists: Nathan Burazer, Sarah Cain, Rita DiLorenzo, Amanda Eicher, Lucy Harvey,
Amanda Hughen, Zoey Kroll, Albert Reyes, Jennifer Starkweather.
The LAB. 2003
Q: Where are you at? Q: Where is your drawing at?
A group drawing show without theme nor guiding hand. Work for sale during the
exhibit’s opening night.
Co-curator: Michael Damm.
Forty artists participate
The LAB. 2003
4-in-1 Project Room.
An exhibition of four solo artists’ projects housed within one gallery
space. The show proposes
an alternative to the traditional theme show format
by foregrounding the autonomy of each
artists’ work, and opening up the
possibility of overlapping readings while leaving that space unmediated.
The LAB. 2002
The LAB Foyer Program
Start a new project space that is to host a series of one person shows. Focus
on artists at the
beginning of their public careers.
Solo shows: Tohru Kanayama, Amy Rathbone, Jo Jackson, Sarah Cain, Darren Jenkins,
The LAB. 2000-2002
San Francisco State University. MA Interdisciplinary Arts
State University of New York at Fredonia. BFA Painting.