|This biography from the Archives of AskART:|
|Gay Outlaw was born in Mobile, Alabama in 1959. She graduated from the University of Virginia in 1981 with a master's degree in French. Outlaw moved to Paris after graduation and studied at the Ecole de Cuisine Varenne. |
After returning to the United States, she began photographing various objects and then creating her own objects to photograph. Her first sculptural works were made using food and later she began using solid materials.
Many of her works have been exhibited since the early 1990s. Gay Outlaw lives and works in San Francisco, California as of April 2008.
|Biography from Gallery Paule Anglim:|
|Outlaw realizes her abstract forms in a challenging mix of materials
from glass to plastic to felt, to found materials like pencils or
rubber hoses-- at times, she has employed food in her sculptures.
Even as a fan of minimalism, she offers viewers new relationships to
formal art, taking them beyond its past rigors.|
1959 Mobile, Alabama
1981 BA, University of Virginia, Charlottesville, VA
1981-2 École de Cuisine La Varenne, Paris, France
1987-8 The International Center of Photography
Selected Non-Gallery Solo Exhibitions
2005 “Three-legged Inversions,” Mills College Art Museum, Oakland, CA
2003 “New Work by Gay Outlaw,” University of Virginia Art Museum, Charlottesville, VA
University Art Museum, California State University, Long Beach (catalog)
1999 SECA Art Award Exhibition, San Francisco Museum of Modern Art, CA
1998 “Black Hose Mountain and Other Works,” Refusalon, San Francisco, CA
1996 “New Pictures and Sculpture,” Refusalon, San Francisco, CA
1990 The Friends of Photography at the Ansel Adams Center, San Francisco, CA
Selected Group Exhibitions
2005 “Triumvirate 3,” Raid Projects, Los Angeles, CA
“Scents of Purpose: Artists Interpret the Spice Box,” The Jewish Museum of
Contemporary Art, San Francisco, CA
“Anoka Faruqee, Gay Outlaw, Shirley Tse,” Raid Projects, Los Angeles, CA
2003 “The Gray Area, Uncertain Images,” California College of the Arts, Wattis
Institute, San Francisco, CA
2001 Copia: The American Center for Wine, Food and the Arts, Napa, CA
2001 “Personal Abstractions: Lee Bontecou, Gay Outlaw, Diana Cooper” Sculpture Center, New York, NY
2001 “Making the Making,” Apex Art Curatorial Program, New York, NY
1999 “Gay & Graham,” Refusalon, San Francisco, CA
1999 “Far from the Soil,” Rare Art Properties, New York, NY
1998 “Adopt-a-Highway,” Refusalon at Dogenhaus, Dogenhaus Galerie, Leipzig, Germany
1998 “PROJECTions,” Pusan Metropolitan Art Museum, Pusan, Korea
“Thirty-Five Years at Crown Point Press,” California Palace of the
Legion of Honor, Fine Arts Museums of San Francisco, CA
1997 “Stirred, not Shaken,” Refusalon, San Francisco, CA
1996 “Food for Thought,” Kohler Art Center, Sheboygan, WI
1996 “Inside: The Work of St. Clair Cemin, Joel Otterson, and Others,” California Center for the Arts, Escondido, CA
1996 “Photogravure - A Survey: 1903-1996,” Marlborough Graphics, New York, NY
1995 “Division of Labor: Women's Work,” The Bronx Museum, New York, NY
1995 “Gravure Group,” Crown Point Press, San Francisco, CA
1995 "Inscrutable Objects," Ansel Adams Center, San Francisco, CA
1995 “(dis)still(ed) lives,” Houston Cetner for Photography, Houston, TX
1994 “Bad Girls West,” UCLA Wight Art Gallery, Los Angeles, CA
1993 New Langton Arts, San Francisco, CA
1992 “John Cage,” Jernigan Wicker Gallery, San Francisco, CA
1991 G. Gibson Gallery, Seattle, WA
1998 “Dark Matter Redux,” sponsored by the Djerassi Foundation, Woodside, CA
1995 “Tinned Wall / Dark Matter,” Yerba Buena Center for the Arts, San Francisco, CA
Achenbach Foundation for the Graphic Arts, California Palace of the Legion of Honor, San
San Francisco Museum of Modern Art
University of California, Berkeley Art Museum and Pacific Film Archive
David Pagel, ”Everyday Objects, Concisely,” Los Angeles Times, December 5, 2001, p. F2.
Kathan Brown, Gay Outlaw Trial Patterns,” Overview Crown Point Press Newsletter, Fall 2001.
Grace Glueck, “Personal Abstractions,” New York Times, February 16, 2001, p. E2.
Karen Levine, Open, SFMOMA magazine, no. 1, Winter/Spring, 2000, pp. 44-7.
Karen Kerston, “Gay Outlaw and Laurie Reid,” Zing Magazine, vol. 3, no. 11, Winter 2000, pp. 222-3.
Susan Marquez, “Food Glorious Sculpture,” World Sculpture News, vol.6, no. 1, Winter 2000, pp.36-7.
Ken Johnson, “Charles Goldman and Gay Outlaw, New York Times, June 11, 1999, p. E2.
Mark Van Proyen, “San Francisco: e-mail,” Art Issues, no. 57, March/April, 1999, pp.32-3.
Apollinaire Scherr, “Over There,” East Bay Express, January 29, 1999, p. 33.
Betty Klausner, “Gay Outlaw at Refusalon,” Art in America, no.7, July 1998, pp.103-4.
David Hunt, “Gay Outlaw at Refusalon,” Sculpture, vol.17, no.6, July/August 1998, pp.66-7.
David Bonetti, “Different Styles, Different Scales,” San Francisco Examiner, January 29, 1998,
Kenneth Baker, “Outlaw’s Sculptures Literal,” San Francisco Chronicle, January 22, 1998, p. E1.
Glen Helfand, “Gay Outlaw,” San Francisco Bay Guardian, January 14, 1998.
Donna Schumacher, “Gay Outlaw, Public Sculpture at Center for the Arts Theater Plaza,” Art Papers, vol. 20, November/December 1996, p. 44.
Kenneth Baker, “Expressionism, Without All the Self,” San Francisco Chronicle, November 14, 1996, pp.C1, C5.
Glen Helfand, “Witness: Art in the Urban Landscape,” West Magazine, Spring 1996.
Randal Davis, “Defamiliarized Zone,” Artweek, vol. 25, no.11, June 9, 1994, p.19.
Darwyn Marable, Photo Metro, 9, no. 86, February 1991, pp.3-9.
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