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[[File:Hilarybrace09f.jpg|thumb|right|250px|'Untitled (09f)' by Hilary Brace, Charcoal on Mylar]]
[[File:Hilarybrace09f.jpg|thumb|right|250px|'Untitled (09f)' by Hilary Brace, Charcoal on Mylar]]
'''Hilary Brace''' is an American artist based in Santa Barbara, CA who makes drawings, photographs and prints. Brace is most widely known for her [[charcoal]] on [[Mylar]] (polyester film) drawings of cloud-inhabited landscapes, which she first exhibited in a solo exhibition in 1997 <ref>{{cite web|url=http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=2921&page_tab=Bio_and_links|title=Hilary Brace on artnet|publisher=artnet.com}}</ref>.
'''Hilary Brace''' is an American artist based in Santa Barbara, CA who makes drawings, photographs and prints. Brace is most widely known for her [[charcoal]] on [[Mylar]] (polyester film) drawings of cloud-inhabited landscapes, which she first exhibited in a solo exhibition in 1997.<ref>{{cite web|url=http://www.artnet.com/Artists/ArtistHomePage.aspx?artist_id=2921&page_tab=Bio_and_links|title=Hilary Brace on artnet|publisher=artnet.com}}</ref>


==Education and Representation==
==Education and Representation==
Hilary Brace received her MFA degree from the University of California, Santa Barbara in 1985 and her BFA (1983) and BA degrees (in Painting and Art History) from Western Washington State University in Bellingham, WA. Over the past 25 years Brace has exhibited her work regularly in public institutions and commercial galleries. She is the recipient of numerous national and regional awards, including a [[Guggenheim Fellowship]] (2006), [[National Endowment for the Arts]] Fellowship (1993), California Arts Fellowship, and two grants from the [[Pollock-Krasner Foundation]]. Her work is represented in Los Angeles by [http://www.craigkrullgallery.com/Brace/index.html Craig Krull Gallery] and in New York by [http://www.edwardthorpgallery.com/artists/brac/brac_images.html Edward Thorp Gallery].
Hilary Brace received her MFA degree from the University of California, Santa Barbara in 1985 and her BFA (1983) and BA degrees (in Painting and Art History) from Western Washington State University in Bellingham, WA. Over the past 25 years Brace has exhibited her work regularly in public institutions and commercial galleries. She is the recipient of numerous national and regional awards, including a [[Guggenheim Fellowship]] (2006), [[National Endowment for the Arts]] Fellowship (1993), California Arts Fellowship, and two grants from the [[Pollock-Krasner Foundation]]. Her work is represented in Los Angeles by [http://www.craigkrullgallery.com/Brace/index.html Craig Krull Gallery] and in New York by [http://www.edwardthorpgallery.com/artists/brac/brac_images.html Edward Thorp Gallery].

<br><br>Brace's charcoal on Mylar drawings are included in numerous private and public collections including the Boise Art Museum, [[Nora Eccles Harrison Museum of Art]], the Santa Barbara Museum of Art and Western Washington State University Art Museum. Other institutions that have exhibited Brace's drawings include the Weatherspoon Art Museum at the University of North Carolina, Greensboro, NC, Frye Art Museum, Seattle, WA, South Texas Institute of Art, Corpus Christi, TX, Columbus Museum, Columbus GA, Telfair Museum of Art, Savannah, GA, Los Angeles Municipal Art Gallery, Riverside Art Museum, Riverside, CA, and the Schneider Museum of Art, Southern Oregon University, Ashland, OR.
Brace's charcoal on Mylar drawings are included in numerous private and public collections including the Boise Art Museum, [[Nora Eccles Harrison Museum of Art]], the Santa Barbara Museum of Art and Western Washington State University Art Museum. Other institutions that have exhibited Brace's drawings include the Weatherspoon Art Museum at the University of North Carolina, Greensboro, NC, Frye Art Museum, Seattle, WA, South Texas Institute of Art, Corpus Christi, TX, Columbus Museum, Columbus GA, Telfair Museum of Art, Savannah, GA, Los Angeles Municipal Art Gallery, Riverside Art Museum, Riverside, CA, and the Schneider Museum of Art, Southern Oregon University, Ashland, OR.


==Charcoal Drawings==
==Charcoal Drawings==
In reviewing Hilary Brace’s charcoal on [[Mylar]] drawings for the [[New York Times]], Ken Johnson wrote, “once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft”<ref>{{cite web|url=http://www.nytimes.com/2002/04/19/arts/art-in-review-hilary-brace.html|title=The New York Times: ART IN REVIEW; Hilary Brace|publisher=The New York Times}}</ref>. Despite the photographic veracity of her technique, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her current smaller, nearly postcard-sized charcoal drawings, along with her earlier charcoals, are made in a reductive manner by first darkening the entire surface with charcoal and then removing the medium with various hand-made tools, allowing the image to emerge through chance and intuition <ref>{{cite web|url=http://www.craigkrullgallery.com/Exhibition/PRBrace.html|title=Hilary Brace Recent Drawings at Craig Krull Gallery|publisher=craigkrullgallery.com}}</ref>. For works of somewhat larger scale, greater complexity and more refined technique, Brace creates studies in a similarly explorative manner while she refers to photographs of sculptural [[tableaus]] and other diverse means of garnering information. Consequently, these recent works are more deceptively photographic.
In reviewing Hilary Brace’s charcoal on [[Mylar]] drawings for the [[New York Times]], Ken Johnson wrote, “once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft”.<ref>{{cite web|url=http://www.nytimes.com/2002/04/19/arts/art-in-review-hilary-brace.html|title=The New York Times: ART IN REVIEW; Hilary Brace|publisher=The New York Times}}</ref> Despite the photographic veracity of her technique, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her current smaller, nearly postcard-sized charcoal drawings, along with her earlier charcoals, are made in a reductive manner by first darkening the entire surface with charcoal and then removing the medium with various hand-made tools, allowing the image to emerge through chance and intuition.<ref>{{cite web|url=http://www.craigkrullgallery.com/Exhibition/PRBrace.html|title=Hilary Brace Recent Drawings at Craig Krull Gallery|publisher=craigkrullgallery.com}}</ref> For works of somewhat larger scale, greater complexity and more refined technique, Brace creates studies in a similarly explorative manner while she refers to photographs of sculptural [[tableaus]] and other diverse means of garnering information. Consequently, these recent works are more deceptively photographic.


"Brace’s fictional spaces depict nameless, placeless spectacles staged by clouds but suggesting such continuity between states of matter - solid, liquid and gaseous – that they are equally convincing as skyscapes, seascapes or sometimes landscapes." <ref>{{citation|last=Ollman|first=Leah|title=Hilary Brace|newspaper=Art in America|pages=160-161|date=September, 2006}}</ref> In Brace's words, as a drawing develops, the image "moves from vague suggestion to refinement as a remote, nascent world takes on a clear and obtainable presence."<ref>{{cite web|url=http://www.hilarybrace.com|title=Hilary Brace's website|publisher=Hilary Brace}}</ref> Writing for the [[Los Angeles Times]], Christopher Knight stated that “the feeling is less one of romantic yearning for something up there, out of reach, than it is full immersion in something stunning, primordial and elusive but immediately at hand.” <ref>{{citation|last=Knight|first=Christopher|title=Above It All|newspaper=Los Angeles Times|date=February 23, 2001|url=http://pqasb.pqarchiver.com/latimes/access/68984610.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+23%2C+2001&author=CHRISTOPHER+KNIGHT&pub=Los+Angeles+Times&edition=&startpage=F.24&desc=Art+Reviews%3B+Chilling%2C+Illuminating+%2736+Olympic+Images}}</ref> Despite their small scale, as Leah Ollman observed in [[Art in America]], these drawings “suggest a vastness at the opposite end of the experiential spectrum, scaled more to the imagination than to the body. What Brace’s stunning little drawings do is put those two realms– the private and the cosmic – within reach of each other.”<ref>{{citation|last=Ollman|first=Leah|title=Hilary Brace|newspaper=Art in America|pages=160-161|date=September, 2006}}</ref>
"Brace’s fictional spaces depict nameless, placeless spectacles staged by clouds but suggesting such continuity between states of matter - solid, liquid and gaseous – that they are equally convincing as skyscapes, seascapes or sometimes landscapes." <ref>{{citation|last=Ollman|first=Leah|title=Hilary Brace|newspaper=Art in America|pages=160–161|date=September, 2006}}</ref> In Brace's words, as a drawing develops, the image "moves from vague suggestion to refinement as a remote, nascent world takes on a clear and obtainable presence."<ref>{{cite web|url=http://www.hilarybrace.com|title=Hilary Brace's website|publisher=Hilary Brace}}</ref> Writing for the [[Los Angeles Times]], Christopher Knight stated that “the feeling is less one of romantic yearning for something up there, out of reach, than it is full immersion in something stunning, primordial and elusive but immediately at hand.” <ref>{{citation|last=Knight|first=Christopher|title=Above It All|newspaper=Los Angeles Times|date=February 23, 2001|url=http://pqasb.pqarchiver.com/latimes/access/68984610.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+23%2C+2001&author=CHRISTOPHER+KNIGHT&pub=Los+Angeles+Times&edition=&startpage=F.24&desc=Art+Reviews%3B+Chilling%2C+Illuminating+%2736+Olympic+Images}}</ref> Despite their small scale, as Leah Ollman observed in [[Art in America]], these drawings “suggest a vastness at the opposite end of the experiential spectrum, scaled more to the imagination than to the body. What Brace’s stunning little drawings do is put those two realms– the private and the cosmic – within reach of each other.”<ref>{{citation|last=Ollman|first=Leah|title=Hilary Brace|newspaper=Art in America|pages=160–161|date=September, 2006}}</ref>


==Photographs==
==Photographs==
Brace’s photographs of sculptural tableau, which she began producing in 2005, have been exhibited in a number of Southern California venues <ref>{{citation|last=Schwyzer|first=Elizabeth|title=SBMA Exposes Santa Barbara Photographers|newspaper=Santa Barbara Independent|date=July 12, 2007}}</ref>, including a solo exhibition at Craig Krull Gallery<ref>{{citation|last=Ollman|first=Leah|title=Every Picture Tells a Story|newspaper=Los Angeles Times|date=June 24, 2005|url=http://pqasb.pqarchiver.com/latimes/access/858246741.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Jun+24%2C+2005&author=Leah+Ollman&pub=Los+Angeles+Times&edition=&startpage=E.24&desc=AROUND+THE+GALLERIES%3B+Every+picture+tells+a+story}}</ref> and are held in the collection of the Santa Barbara Museum of Art<ref>{{citation|last=Kettmann|first=Matt|title=Santa Barbara Shooters|newspaper=art ltd.|date=August, 2007|url=http://www.artltdmag.com/index.php?subaction=showfull&id=1188591563&archive=&start_from=&ucat=28&page=features}}</ref>.
Brace’s photographs of sculptural tableau, which she began producing in 2005, have been exhibited in a number of Southern California venues,<ref>{{citation|last=Schwyzer|first=Elizabeth|title=SBMA Exposes Santa Barbara Photographers|newspaper=Santa Barbara Independent|date=July 12, 2007}}</ref> including a solo exhibition at Craig Krull Gallery<ref>{{citation|last=Ollman|first=Leah|title=Every Picture Tells a Story|newspaper=Los Angeles Times|date=June 24, 2005|url=http://pqasb.pqarchiver.com/latimes/access/858246741.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Jun+24%2C+2005&author=Leah+Ollman&pub=Los+Angeles+Times&edition=&startpage=E.24&desc=AROUND+THE+GALLERIES%3B+Every+picture+tells+a+story}}</ref> and are held in the collection of the Santa Barbara Museum of Art.<ref>{{citation|last=Kettmann|first=Matt|title=Santa Barbara Shooters|newspaper=art ltd.|date=August, 2007|url=http://www.artltdmag.com/index.php?subaction=showfull&id=1188591563&archive=&start_from=&ucat=28&page=features}}</ref>



==Early Charcoal Drawings==
==Early Charcoal Drawings==
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== External links ==
== External links ==
* [http://www.hilarybrace.com/ Hilary Brace]
* [http://www.hilarybrace.com/ Hilary Brace]
* [http://gallery.me.com/hilarybrace#gallery Hilary Brace on mobileme]
* [http://gallery.me.com/hilarybrace#gallery Hilary Brace on mobileme]
* [http://www.craigkrullgallery.com/Brace/ Hilary Brace at Craig Krull Gallery]
* [http://www.craigkrullgallery.com/Brace/ Hilary Brace at Craig Krull Gallery]
* [http://www.edwardthorpgallery.com/artists/brac/brac_images.html Hilary Brace at Edward Thorp Gallery]
* [http://www.edwardthorpgallery.com/artists/brac/brac_images.html Hilary Brace at Edward Thorp Gallery]



<!--- Categories --->
<!--- Categories --->

⚫
[[Category: American women artists]] [[Category:Living people]]
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Brace, Hilary
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION =
| DATE OF BIRTH = 1956
| PLACE OF BIRTH = Seattle, WA
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Brace, Hilary}}
⚫
[[Category:American women artists]]
[[Category:Living people]]
[[Category:1956 births]]

Revision as of 14:22, 28 December 2010

Hilary Brace
Born1956
Seattle, WA
NationalityAmerican
Alma materWestern Washington State University, University of California Santa Barbara
Known forCharcoal drawings on mylar
AwardsGuggenheim Fellowship, California Arts Council Fellowship
Websitewww.hilarybrace.com
'Untitled (09f)' by Hilary Brace, Charcoal on Mylar

Hilary Brace is an American artist based in Santa Barbara, CA who makes drawings, photographs and prints. Brace is most widely known for her charcoal on Mylar (polyester film) drawings of cloud-inhabited landscapes, which she first exhibited in a solo exhibition in 1997.[1]

Education and Representation

Hilary Brace received her MFA degree from the University of California, Santa Barbara in 1985 and her BFA (1983) and BA degrees (in Painting and Art History) from Western Washington State University in Bellingham, WA. Over the past 25 years Brace has exhibited her work regularly in public institutions and commercial galleries. She is the recipient of numerous national and regional awards, including a Guggenheim Fellowship (2006), National Endowment for the Arts Fellowship (1993), California Arts Fellowship, and two grants from the Pollock-Krasner Foundation. Her work is represented in Los Angeles by Craig Krull Gallery and in New York by Edward Thorp Gallery.

Brace's charcoal on Mylar drawings are included in numerous private and public collections including the Boise Art Museum, Nora Eccles Harrison Museum of Art, the Santa Barbara Museum of Art and Western Washington State University Art Museum. Other institutions that have exhibited Brace's drawings include the Weatherspoon Art Museum at the University of North Carolina, Greensboro, NC, Frye Art Museum, Seattle, WA, South Texas Institute of Art, Corpus Christi, TX, Columbus Museum, Columbus GA, Telfair Museum of Art, Savannah, GA, Los Angeles Municipal Art Gallery, Riverside Art Museum, Riverside, CA, and the Schneider Museum of Art, Southern Oregon University, Ashland, OR.

Charcoal Drawings

In reviewing Hilary Brace’s charcoal on Mylar drawings for the New York Times, Ken Johnson wrote, “once in a while you come across an art of such refined technique that it seems the product of sorcery more than human craft”.[2] Despite the photographic veracity of her technique, Brace composes her images without premeditation, through an explorative process that allows them to unfold in unanticipated directions. Her current smaller, nearly postcard-sized charcoal drawings, along with her earlier charcoals, are made in a reductive manner by first darkening the entire surface with charcoal and then removing the medium with various hand-made tools, allowing the image to emerge through chance and intuition.[3] For works of somewhat larger scale, greater complexity and more refined technique, Brace creates studies in a similarly explorative manner while she refers to photographs of sculptural tableaus and other diverse means of garnering information. Consequently, these recent works are more deceptively photographic.

"Brace’s fictional spaces depict nameless, placeless spectacles staged by clouds but suggesting such continuity between states of matter - solid, liquid and gaseous – that they are equally convincing as skyscapes, seascapes or sometimes landscapes." [4] In Brace's words, as a drawing develops, the image "moves from vague suggestion to refinement as a remote, nascent world takes on a clear and obtainable presence."[5] Writing for the Los Angeles Times, Christopher Knight stated that “the feeling is less one of romantic yearning for something up there, out of reach, than it is full immersion in something stunning, primordial and elusive but immediately at hand.” [6] Despite their small scale, as Leah Ollman observed in Art in America, these drawings “suggest a vastness at the opposite end of the experiential spectrum, scaled more to the imagination than to the body. What Brace’s stunning little drawings do is put those two realms– the private and the cosmic – within reach of each other.”[7]

Photographs

Brace’s photographs of sculptural tableau, which she began producing in 2005, have been exhibited in a number of Southern California venues,[8] including a solo exhibition at Craig Krull Gallery[9] and are held in the collection of the Santa Barbara Museum of Art.[10]

Early Charcoal Drawings

References

  1. ^ "Hilary Brace on artnet". artnet.com.
  2. ^ "The New York Times: ART IN REVIEW; Hilary Brace". The New York Times.
  3. ^ "Hilary Brace Recent Drawings at Craig Krull Gallery". craigkrullgallery.com.
  4. ^ Ollman, Leah (September, 2006), "Hilary Brace", Art in America, pp. 160–161 {{citation}}: Check date values in: |date= (help)
  5. ^ "Hilary Brace's website". Hilary Brace.
  6. ^ Knight, Christopher (February 23, 2001), "Above It All", Los Angeles Times
  7. ^ Ollman, Leah (September, 2006), "Hilary Brace", Art in America, pp. 160–161 {{citation}}: Check date values in: |date= (help)
  8. ^ Schwyzer, Elizabeth (July 12, 2007), "SBMA Exposes Santa Barbara Photographers", Santa Barbara Independent
  9. ^ Ollman, Leah (June 24, 2005), "Every Picture Tells a Story", Los Angeles Times
  10. ^ Kettmann, Matt (August, 2007), "Santa Barbara Shooters", art ltd. {{citation}}: Check date values in: |date= (help)


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