KROWSWORK was founded in 2009 in Oakland California and quickly became known for its ambitious, experimental programming. Krowswork’s gallery shows took many forms, from solo and group exhibitions of emerging and mid-career artists to ambitious video and performance programs. In 2015 the gallery began a combined residency-exhibition cycle to promote a more active, community-engaged view of the creative process. This was followed up in 2016 with another immersive residency cycle dedicated to the elements and matching four artists together in the space at a time. Krowswork has also organized several exhibitions by older, lesser-known artists who followed their own path and arrived at a truly profound vision, including retrospectives of Surrealist artist Sylvia Fein (2014) and visionary painter Mark Baum (2016). The gallery published scholarly catalogues to accompany both exhibitions. Krowswork garnered consistent critical acclaim, with reviews in Art in America, Art Ltd., San Francisco Chronicle, Huffington Post, SFAQ, and many others.

At the end of 2016 Krowswork, after 7 lucky years as a brick-and-mortar gallery, closed. YET Krowswork continues in the form of independent curatorial projects, art retreats, forthcoming publications through krowsworkbooks, and notably the continued representation of the Estate of Mark Baum.

Now that the gallery has dematerialized, it's actually easier to see what took place there, and focus this energy more directly into specific outside projects. The art we sought out and showed was rarely polished or contained. Instead it centered on those artists who are fearlessly spiraling, obliquely seeing, aligning in multiple dimensions at once. The mechanisms by which the artists do this are varied and variable: divine guides; tools of their own contrivance or gifted to them through nature; meditation and intention; prayer; interference patterns; oracles; rituals; gasps and grasps at primal language; automatic gestures; ancestral channels; transparency; the apprehension of certain primordial forms; moving bodies in sync with the invisible; poetry.

From video makers to painters, photographers to performers, sewers to ceramicists to poets--each and all unlimited by categories or perceived audience--the artists we continue to work with understand that ultimately they are transmitters of an invisible, higher force not ever fully knowable but which can nonetheless be teased out through art with that intention.

We feel that in this role of art as channel is where its true power is manifest, and that never have we as a society needed more for it to return fully to that sacred role.

About Jasmine Moorhead, founder/curator of Krowswork. Jasmine holds a B.A. in History of Art (1996) from Yale University, where she focused on both modern & contemporary art as well as African art and art from the African Diaspora. Following college, she studied pottery in a village in Cote d'Ivoire, West Africa, under the guidance of Koua Aya (1938–2017). The daughter of two artists, Jasmine has worked at number of museums and galleries including The Museum of Modern Art, New York, and Dia Center for the Arts, and is also the author of several catalogue essays and articles. She is currently the publications director for a monograph on surrealist-visionary Gordon Onslow Ford at the Lucid Art Foundation. In citing Krowswork as best East Bay gallery in 2013, critic Alex Bigman wrote: “Few have presented a directorial sensibility as focused and bold — or stuck to it so steadfastly.”

Krowswork is named for crows, observant and fearless messengers whose unique perspective helps to bridge the earthly and the divine and reconnect the known with the unknown. Krowswork is a palindrome.

 

Jasmine Moorhead

 

Recent and Forthcoming:

Jasmine's Final Talk at Krowswork, December 21, 2016, a new vision for a way through:
"This Is Not a Metaphor"

MARK BAUM AT THE OUTSIDER ART FAIR,
NEW YORK,
JANUARY 2018

 
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