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After graduating with a degree in Fine Arts from the University of New Mexico, I established a store-front art studio and continued my visual arts and music pursuits, but also began interacting with the community. As part of an effort to develop artist live/work spaces in downtown Albuquerque, I worked with the Mayor and spear-headed the development of a city-wide art center, the Albuquerque United Artist (AUA). Also I was one of 6 artists who occupied the first fully developed live/work space in the downtown area. Later I spear-headed and directed a not-for-profit performing arts center, The Broadway Jazz Club. Beside running the club with it's local and visiting musicians and poets, I also produced two major concerts, one featuring Sonny Rollins, and another featuring John Mclaughlin.

 

In 1983 I moved to New York City, settling in Red Hook Brooklyn, on the New York City waterfront. I found an empty historic firehouse and made it my home. During my 32 years in Red Hook I have been studying the creative process; producing drawings, paintings, monotypes, photographs; writing songs and music; screenplays, proposals; and exhibiting my work domestically and abroad. I've taught drawing and painting classes; creatively consulted on a number of new new businesses; co-directed a Soho gallery; and conceived, curated and particpated in a successful exhibition that received a positive review in ArtNews magazine.  I appreciate all the amazing international talent found in New York City which has been very inspirational and influential. I directed a Chelsea gallery for four years and I continue to explore all my many parallel and complementary media.

After three years of intense focus and work, I finished a new book about the Creative Process as an inner transformative process. Watch for news of its release.

 

Resume of Exhibitions, Events, Education and Publications

 

SOLO EXHIBITIONS

2020

Debut STONE PEOPLE Sculptures

Zoom Reception (Covid-Safe)

April 27,2020

2020 

Debut of New SPIME WARP Self Portrait Photographs

2019

Red Hook Open Studio

2019

Debut of SPIME WARP Self Portrait Photographs

2019

Debut of Artifacts 2019

2018

Debut of Skeletons: Photographs

2018

Debut of Phantom Spirits: Photographs

2018

Published Book- "The Creative Process:

A PRIMER Gurdjieff to Picasso and Beyond"

 

2016

Debut of MISSION X: A Journey Through SubSpace, Video

2015 

Debut of the IN MY TOMB: Six Photographs by Richard Gins

 

2015

Debut of SPIME WARP: New Photographs by Richard Gins

 

2014 

Debut of the INNER/OUTER Drawings, Video  

 

2011

 QUANTUM: Paintings, Drawings, Monotypes. Salomon Arts, Tribeca, New York City

 

2008

 Urban Art Works: Monotypes & Ink Drawings, Tea Lounge Gallery, Brooklyn, NY

 

2007

 Thirty Five Years of Self Portraits, Sunny's Red Hook Artist Space, Brooklyn

 

2003

 Ridge Street Gallery at Teddy's, Williamsburg, NY, Paintings and Monotypes

 

2002 

 Monotypes, "Abstract Portrait Series" Montserrat Gallery, Soho, NY

 

2002

 Paintings and Photography, Red Hook Blue Gallery, Red Hook, Brooklyn, NY

 

1995 

 Subway Riders: A collection of ink line drawings done on the NYC Subway, 

 Kentler International Drawing Space, Red Hook, Brooklyn.

 

1994

 Recent Paintings, Galerie Seghaier, Vienna, Austria

 

1993 

 Recent Drawings, Monotypes, Photography Galerie Seghaier, Vienna, Austria

 

1992     

 Recent Drawings, Galerie Seghaier, Vienna, Austria

 

1991 

 Recent Monotypes & Drawings, Margaruite Oestreicher Fine Arts, New Orleans

 

1989

 Recent Work, Paintings & Monotypes, Penson Gallery, Soho, New York

 

1988

 "Night People" Monotypes, Drawings and Photography, The Tunnel, New York City

 

1987

 Exhibition - Alliance of Figurative Artists, New York

 

1987

 Monotypes, Sterling Gallery, New York

 

1987

 Drawings, Paintings, Monotypes, Photography, Citibank, 57th St. New York

 

1986

 Recent Monotypes, Hugh Piney Gallery, Soho, New York

 

1985

 "1+3=2", A Collection of Figurative Works, Hugh Piney Gallery, Soho, New York

 

1983

 Moved to New York. Established Firehouse Studio.

 

1982

 Family Portrait – Cityscapes, Central Six Gallery, Albuquerque, New Mexico

 

1981

 Ink Drawings, Tanoan Country Club, Albuquerque, New Mexico

 

1981

 One Man Show, Farmington Civic Center, Farmington, New Mexico

 

1981

 Monotypes, Albuquerque Country Club, Albuquerque, New Mexico

 

1980

 Recent Monotypes. Central Six Gallery, Albuquerque, New Mexico

 

1979

 Drawings, Ken Phillips Gallery, Denver, Colorado

 

GROUP EXHIBITIONS

 

2016

"Dos Rios" Paintings of Richard Gins and Oskar Lopez, Rakso Zepol Gallery, Quepos, Costa Rica

2015

A FRESH LOOK: New Self Portraits, Group Show, Curator and artist, Richard Gins, Montserrat Gallery, Chelsea, NYC

 

2015

The Kentler Flatfiles: Red Hook Artists-The 90's, Peninsula Art Space, Red Hook, Brooklyn,  Curated by Florence Neal 

 

2014

 LARGE & SMALL: Selections from the Kentler Flat Files, Kentler International Drawing Center, Red Hook, Brooklyn, NY

 

2010

 Noho Art Walk, Noho, New York City

2010

 Kentler International Drawing Space, Red Hook Brooklyn, NY

 

2009

 NYC City Drawings, Dona Levy Gallerie, St. Tropez, France.

 

2004 

 Diesel Gallery, Collectors Auction, Red Hook, Brooklyn, NY

 

2003

 “Love, Hopes, Sex & Dreams”  Superfine Gallery, DUMBO, Brooklyn, NY

 

2003

 A Fresh Look: An Invitational Exhibition of 19 Artist's New Self Portraits

Curated by Richard Gins & participant, Diesel Gallery, Red Hook, Brooklyn, NY

 

2002 

 "Three on a Match" Gallery OneTwentyEight, New York, NY

 

2002

 "Red Hook" 450 Broadway Gallery, Soho, NY

 

2000

 Small Works Exhibition, Kentler International Drawing Center, Red Hook, Brooklyn,

NY

2000

 "Red Hook 8" Group Exhibition, Kentler International Drawing Center, Brooklyn, NY

 

1999

 Small Works Exhibition, Kentler International Drawing Center, Red Hook,  

 

1998

 Guest Artist, Images from Austria, Suzanne Seghaier, curator, New Century

Artist, Inc. Soho, NY

 

1998

 "Alumni Artists", Simms Fine Art Center Gallery, Albuquerque Academy, NM

 

1993

 Brooklyn Waterfront Artists Association, Beard St. Pier, Red Hook, Brooklyn, NYC

 

1990

 Guest Artist, Galerie Seghaier, Vienna, Austria

 

1990

 Invitational - Tanzania Wildlife Fund, New York

 

1989

 23 French Artists & One American, Contemporary French Art Gallery, New York

 

1988

 Four Artists, Four Countries, Penson Gallery, Soho, New York

 

1987

 Micro '87, Now Gallery, East Village, New York

 

1986

 Micro '86 Now Gallery, East Village, New York

 

1986

 Is There Synchronicity? The Monotype Experiment, Hugh Piney Gallery, Soho, New

York (Conceived, curated & participated by Richard Gins) 

 

1985

 Mini-Max, Now Gallery, East Village, New York

 

1985

 After Dante's Inferno, C.U.A.N.D.O., East Village, New York

 

1985

 I.A.E. Artists, Cafe Americano Gallery, Tribeca, New York

 

1985

 Getting It Off, Civilian Warfare Gallery, New York

 

1985

 Micro Wave, Now Gallery, East Village, New York

 

1982

 Armory Show, Armory for the Arts, Santa Fe, New Mexico

 

1981

 13 Albuquerque Artists, University of New Mexico

 

REVIEWS, TEACHING, LECTURES, PUBLICATIONS

 

2011

 Interview by Kirpal Gordon, Giant Step Press,

 

2000

 Lecture on Subway Riders...Drawings 1983-1996, NYC Transit Museum

 

1997

Figure drawing Workshop, Soho New York

 

1996 

 Painting on the cover of the Chronogram publication, New Paltz, N.Y

 

1994 

 Article: "Artist as Social Worker" featured in various NYC newspapers.

 

 1992

 Monotype Workshop, University of Costa Rica

 

1992

 Taught Workshop to visiting summer art class, University of Michigan

 

1991

 Lecture/ Workshop on Monotypes, Printmaking Dept. Tulane University

 1990

 Featured Artist, "Artist in Art City" Japan Travel Bureau, Special Manhattan Edition

 

1987

 Guest Lecturer, Artists Alliance, East Broadway, New York

 

1987

 Downtown Magazine, published drawings with a review of current show

 

1985

 Art Speak Magazine, Review of "1+3=2" A Figurative Collection of Work”

 

1986

 ArtNews, Vasari Diary, Article on the Monoprint Experiment (May issue)

 

EDUCATION AND RELATED EXPERIENCE

 

 1985-1987

 Co-founder and Artistic Director of the Hugh Piney Gallery, Soho, NY

 

 1978-1980

 Spearheaded and directed Broadway Jazz Club Not-For-Profit Organization

 

 1979-1980

 Spearheaded Albuquerque United Artist Not-For-Profit Art Organization

 University of New Mexico Intaglio Workshop (monotypes)

 Senior Citizen Drawing Workshop Project, Albuquerque, NM

 Teaching Artist, Alternative High School Art Program, Albuquerque, NM

 

1975 University of New Mexico, Aluminum Plate Lithography

 

1974 BFA, University of New Mexico ( Studied with Garo Antresian)

 

Taking Giant Steps

The official blog of Giant Steps Press.

http://giantstepspress.blogspot.com/2011/12/art-of-seeing-interview-with-richard.html

 

The Art of Seeing: An Interview with RICHARD GINS

 

 

KIRPAL GORDON: Let’s start with your opening last month at Salomon Arts. It was a knock-out to see so much of your work, both large scale and small, centered on a theme that drew together so many elements of your craft. 

 

RICHARD GINS: My recent show at Salomon Arts was an opportunity for me to pull together a specific body of work that has been evolving since 1974. When I made the first spontaneous drawing with geometric rectangular shapes imposing their will on the figure, I knew immediately that this very simple image was profound and important. With the strong interplay between rigid shapes and the fluid organic lines of the captive, squeezed figure, it held great potential to formally express many of the esoteric ideas I was studying. Over the years this idea evolved, each time reflecting my growing understanding of the struggle and process of human transformation into higher consciousness. First the obstructed images represented a kind blame, where there was something affecting us outside of ourselves, outside of our control; then the geometric shapes became windows to suggest a hidden inner world; and finally the shapes became the figure itself, with an inner figure inside, painfully unaligned with its outer shell, but now clearly it was an inner process, one we can work on to change, to align and to evolve. I want to do a more comprehensive show of the full scope of this visual evolution and for this I will need a much larger space. I was pleased that many people appreciated and understood the originality of this work and that it expressed to them important realities about the human condition.

 

KIRPAL GORDON: The show was also filled with plenty of surprises and discoveries. One thing I stumbled upon that I hadn’t known anything about was your project with the New York City subway system and the MTA Museum.  

 

 

RICHARD GINS: My “Subway Rider” book was an effort to package a huge body of work based on direct drawing from life while riding the NYC subway over a 16-year period. The subway is probably the most culturally diverse place on the planet and so interesting. Drawing this captive audience, however fleeting it may be, demands that I quickly find my subjects and get my lines down on paper before my subjects leave the train. These simple line drawings capture some essence of humanity. My book was sold at the NYC Transit Museum where I had a public book signing and gave a talk about drawing. I still work from life as a discipline to keep my ability “to see” honed to a sharp edge.

 

KIRPAL GORDON: You were born in 1950 so it was possible for you to study and make art without the traditional reliance on drawing, but your “Subway Rider” is a celebration of a daily dedication to sketching.

 

RICHARD GINS: All painting in whatever genre, from realism to pop, still requires a foundation in drawing. I believe that the most fundamental skill a visual artist must develop is his ability “to see.” Without this, there is no understanding of the relationships between all the visual elements. It was clear early in my career that drawing from life is the discipline needed to learn this skill. Drawing from life helps to keep the link between hand and eye and between the outer world and our perception of it. I think that drawing in ink has also contributed to the quality of my line drawings because you cannot erase and must commit to letting your line flow with a character of the moment. Besides drawing from life, I have two other lines of work that have become part of continual practice. One is that I start with no preconception or agenda in order to find new ideas and images that spring from a blank page. This is very difficult and needs continual practice too. The other practice is to work on the themes and ideas already in development and to explore new possibilities and variations. All three of these lines of work must be worked on simultaneously. They overlap and together bring a more complex and complete vision of my work as an artist.

 

KIRPAL GORDON: I like what you say, especially in regard to your monotypes, the thing that first drew me to your work way back in the Eighties when you were showing at Hugh Piney Gallery. 

 

RICHARD GINS: Yes, that show at Hugh Piney Gallery was exciting. It was written up as the “most current show in the city” because all the work were monotypes done within a week of the show. I conceived, curated and participated in the show along with many well known artists. I collaborated with Bob Blackburn’s Printmaking Studio and there was a sweet after party at the Palladium and a great write up about me and the show in ArtNews. I love to do monotypes because they are the perfect marriage of painting and printmaking. It has the sensibility of working in full color like a painter yet they have the unmistakable qualities that can only be achieved by printing the color on paper. I studied with a famous lithographer and did many editions, but I found making color prints slow and cumbersome having to use separate color plates and multiple printings for a single print. This went against my sensibility that color is an emotional experience, so I gravitated to monotypes which allowed me to work in full color directly on a plexi or metal plate. Once the plate is painted with the ink, the plate is run through an etching press to produce the one unique print. The plate can then be clean and a new image made or the residual image can be worked back into allowing for a kind of serial evolution of the image. I am willing to sacrifice the commercially viable multiple-image edition for a series of unique prints. I also like process where ink can be added as well as wiped away quickly allowing the image to go through many changes. There is also a time restraint because the image must be printed before the thin layer of ink dries. Monotypes are conducive to my long interest in gestural mark making and textures with its rich and versatile techniques. I have pushed this medium very hard yet still feel I have only scratched the surface, no pun intended.

 

KIRPAL GORDON: How are things in the visual arts now compared to when you were coming up? 

 

RICHARD GINS: One of my most influential teachers told me some 38 years ago that I shouldn’t expect my first important exhibition before age 50. I understood he was saying it takes years to develop skills and ideas worthy of a show. But nowadays, students leave their formal training and immediately want a gallery and fame. This, coupled with an art industry that is more about marketing and making money than a real understanding of what the creative process is about, makes navigating all that much more complicated and superficial. I feel that my best work is yet to come and feel that, in the pursuit of art, experience creates depth. But now my age is a hindrance as the market place looks for the next big thing coming out of their exclusive collegial pipelines. So now like years past, finding the resources to continue to make my art feels so very familiar. But we must continue our struggle.

 

 

KIRPAL GORDON: Although you are a native New Mexican, as long as I’ve known you, you’ve lived in the Red Hook section of Brooklyn. Was this by design or accident? 

 

RICHARD GINS: I guess some of both. When I lived in New Mexico, I was so energetic and wanted to create and connect with other creative people to compare notes and collaborate. New Mexico definitely has many creative people and a long tradition of regional art as well as links to the New York School that goes back to the 1920’s and 30’s, but everyone there was so spread out with no real connecting point. So I spearheaded the first artist living/studio building in downtownAlbuquerque; a not-for-profit arts organization/center; and a not-for-profit performing arts organization/forum. I was using up more energy than I was getting back so I moved to NYC. When I moved I did have a lead on a temporary studio sublet on the edge of Red Hook. I miss the clear light and big vistas of NM but the waterfront in Red Hook Brooklyn did offered me clear light and a view of the horizon.  When I found an abandoned firehouse there, I knew this small vibrant beach style community was going to be my home.  I also enjoy painting outside from the landscape with my french easel and have made paintings on the waterfront in Brooklyn as well as in Costa Rica where I have a house for many years.  I have always been innately urban and needed to be in a more challenging environment artistically and one that offered more energy and opportunities in return. New York has surely offered me this. 

 

 

KIRPAL GORDON: How have your philosophical interests changed your approach to visual art?

 

RICHARD GINS: My interest in philosophy, religion and the esoteric schools of spiritual transformation started me on a journey years ago to “know thyself” and to try to understand reality and what the “creative process” is really about. Most of my work is about discovery within a creative process and the content itself in many of the works speaks to this mystery with metaphors of masks, windows and other suggestions of an inner hidden world. Picasso taught me so much about creativity. His understanding that “it’s not what you are doing but how you are doing it” gave him the ability to transcend the medium and express his inner power as a creative man. He confirmed my experience that the key to enter the creative process is the “risk” we take of not knowing where the journey is going and making the connection between creation and destruction as part of the same process. These ideas prompted me to explore various media (photography, video, writing, community organizing, social problem-solving, inventions, etc) all of which are connected in this non-linear, organic creative process. Most people accept the assumption that art is inevitably part of defining the creative process but this vital life process transcends making art and becomes the process necessary for our spiritual development. If one does not make this separation, then a person’s creative possibility depends on whether they consider themselves an artist or not, or feel they understand art or not. And just because a person does call himself an artist, it does not equate with creativity, consciousness or level of spirituality. It is not until we begin from the premise that whatever work we do in life, it is either done creatively or it’s not; whether we take risks in our lives or not; whether we are willing to destroy that which is limiting and familiar to us in order to find something new that has the power to expand and transform who and what we really are. This is my work as a man and as an artist and I feel I must share this vital understanding with other if we as a collective are going to reach a “critical mass“ capable of changing the destructive path we are on. I hope to finish a book I’ve been working on for many years about the creative process.

 

 

KIRPAL GORDON: Thank you Richard. I look forward to seeing new works.

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