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FLATFILE > DRAWER 3
Sarah Bedford

Born: 07/08/69, Roundup, Montana
Resides: New York, New York


Resume


Selected Group


"Pioneering Spirit: Comité Colbert and Downtown Arts Projects Art Walk -- The Williamsburg Art Scene," Givenchy, New York, NY., 11/03/01 - 11/18/01

"Re/Visions," Yellowstone Art Museum, Billings, MT., Summer '01

Girrrls, Curated by Martin Kruck & Lucy Soutter, Untitled (space), New Haven, CT., 06/01

Group Show, Curated By Dara Meyers-Kingsley, Sylvia Heisel, New York, NY., 05/01

Sarah Bedford, Jeanne Lorenz, Amy Wilson, Bellwether, Brooklyn, NY., 02/01


Residencies

Skowhegan School of Painting and Sculpture, Skowhegan, Maine, 1997


Awards

Lower East Side Printshop fellowship 1998


Selected Publications

"Sarah Bedford, Jeanne Lorenz, Amy Wilson (listing review)," Holland Cotter, The New York Times, 03/16/01

"Young Artists Pursuing Success in the Big Apple," By Donna Marxer, Art Calendar, 04/01


Education

BFA, Painting, The Cooper Union, 1992




Bio

Sarah Bedford paints funny, dumb, glittery and sad pictures on canvas. Currently living with husband and child in the East Village, with a nearby studio above now-defunct Belgian theme restaurant. Born out west in Montana. Transferred to Cooper Union for lucrative art degree.



Statement

I'm not a golfer, but there is a Superfund mining site in Anaconda Montana that not to long ago resembled the lunar landscape of Mars, but now, carpeted with two feet of top soil and a high tech underground irrigation system, is a deluxe 18 hole golf course designed by Jack Nicklaus (apparently, one of the top 50 golf courses in America). Environmental and social politics aside, the whole concept of a golf course atop a giant mound of mining filings seems completely ludicrous and fundamentally wrong (mind you, it looks spectacular). There is a strange perversity about American attitudes towards beauty and function that fascinates me, and yet, defies logic and is inexplicable in its depravity. Its this gray area between nature and artifice sublimated by a sort of American dystopia and tactile beauty that I find so compelling in my paintings. By manipulating what is perceived and what is imagined two parallel worlds seem to coexist, however tenuous the relationship.

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ALL IMAGES © Sarah Bedford