[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/linn-meyers-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/linn-meyers-wikipedia\/","headline":"Linn Meyers – Wikipedia","name":"Linn Meyers – Wikipedia","description":"Linn Meyers (born March 17, 1968) is an American, Washington, D.C.\u2013based artist. Her work has been exhibited in the United","datePublished":"2019-11-20","dateModified":"2019-11-20","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/en\/wiki24\/linn-meyers-wikipedia\/","wordCount":2231,"articleBody":"Linn Meyers (born March 17, 1968) is an American, Washington, D.C.\u2013based artist. Her work has been exhibited in the United States and abroad. She is known for her hand-drawn lines and tracings for site-specific installations.[1]Table of ContentsEarly life and travels[edit]Installation[edit]Exhibitions[edit]Bibliography[edit]Early life and travels[edit]Meyers was born in Washington, D.C., where she lived until she was 17, at which time she moved to Paris, France. In 1986 she moved back to the U.S. to attend The Cooper Union in New York City, where she graduated in 1990 with a BFA. In 1991 Meyers moved to Oakland, California, to pursue an MFA at The California College of the Arts in Oakland California (now located in San Francisco.) After completing her master’s degree (1993), Meyers returned to New York City. In 1997 she spent several months living and working in New Haven, Connecticut, before relocating to Pittsburgh, Pennsylvania, where she lived for 4 years. Meyers returned to her native Washington, D.C in 2002.Meyers uses repetitive applications of line and color to draw on a variety of surfaces including paper, vellum, mylar, and gallery walls. “Her drawings tend to grow from themselves, each successive line determining the next.”[2] Each piece begins with a single mark \u2013 a line that traces a pre-determined framework of circles, or a simple singular gesture.  This first stroke defines the direction in which the entire image will evolve \u2013 each line a direct response to the mark made just before.  These marks amass to create an image, which is both still and moving, ordered and chaotic, both pointing toward perfection and also wholly imperfect.Meyers’ works “function like a map of sorts, charting time and space.”[3] At the core of the work is the artist’s own relationship to time: learning how to move back and forth between natural time, measured time, and subjective time. Meyers has said, \u201cmy works are records of a defined period of time, and in that particular way they are not abstract.  They are a form of realism and narrative.\u201d \u201cIndeed Meyers\u2019 work does not erase the artist\u2019s hand; by contrast it is the most direct result of her body movements in a given time period and thereby is a trace of that very personal experience.\u201d[4]Installation[edit]Meyers has been making large, site-specific wall drawings in museums and galleries since 2000.These projects require a great deal of endurance and involve drawing in the space over the course of days, sometimes weeks, accumulating lines into dense and intricate compositions. This scale allows Meyers to respond to architectural spaces and magnifies the wholly committed performativity of her process. On Meyers’ exhibition for The Hammer Museum, Senior Curator Anne Ellegood wrote, \u201cthe sense of being present while viewing the work is also amplified at this larger scale, allowing viewers to experience the work not just visually but also physically. To see a wall drawing is to be surrounded by it and to feel oneself to be part of the work.\u201d[5] Many of Meyers\u2019 wall drawings are created with an awareness of their ultimate impermanence.As the 2018 halley k. harrisburg \u201990 and Michael Rosenfeld Artist-in-Residence at Bowdoin College Museum of Art, Linn Meyers’ newest site-specific installation is titled “Let\u2019s Get Lost.” In collaboration with an interactive sound installation, “Listening Glass,” by Rebecca Bray, James Bigbee Garver, and Josh Knowles, the exhibition will open on September 27, 2018 and remain on view until September 29, 2019. \u201cHer drawn piece will take cues from Listening Glass, using the sound project to inform the composition of her drawing, thus turning sound into drawn gesture.\u201d[6]Exhibitions[edit]Meyers has exhibited in venues that include the Hammer Museum, Los Angeles; the Phillips Collection, Washington, D.C.; the Smithsonian American Art Museum, Washington D.C.; the Frick Museum, Pittsburgh, Pennsylvania; the Tokyo Metropolitan Museum of Art, Japan; the Mattress Factory, Pittsburgh, Pennsylvania; The Corcoran Gallery of Art, Washington, D.C.; the National Museum of Women in the Arts, Washington, D.C., The Weatherspoon Museum, Greensboro, North Carolina; Paris Concret, Paris, France; the Hirshhorn Museum and Sculpture Garden, Washington, D.C, The Columbus Museum of Art, and the Bowdoin College Museum of Art.[7]Meyers has received numerous awards, including a Pollock Krasner Award, a Smithsonian Artist Research Fellowship, A Santo Foundation Individual Artist Award,[8] and four DC Commission on the Arts Fellowships. She has been Artist in Residence at The Hirshhorn Museum and Sculpture Garden, the San Jose Institute of Contemporary Art, The Millay Colony, The Tamarind Institute, The Bemis Institute, the Virginia Center for the Creative Arts, and The Bowdowin College Museum of Art.[9]Bibliography[edit]Art In Culture, “\ud63c\ub3c8\uacfc \uc9c8\uc11c\uc758 \uc2dc\uac04” by \uae40\uc7ac\uc11d, May 14, 2019JoongAng Sunday, “\uc810\uacfc \uc120\uc73c\ub85c \ud45c\ud604\ud55c \uc6b0\uc8fc\u2026\u2018\ubc14\ub78c\uc758 \uacb0\u2019\uc744 \uadf8\ub9ac\ub2e4” by \uc815\ud604\ubaa8, April 13, 2019Artsy, “These Women Artists are Transforming Gallery Walls with Incredible Murals” by Alina Cohen, February 29, 2019Smithsonian Magazine, “Museum Visitors Can Play This Wall Art Like an Instrument” by Jackie Mansky, December 19, 2018linn meyers: works 2004-2018, Texts by Anne Collins Goodyear, Jonathan Frederick Walz, Co-published with The Columbus Museum, Jason HaamInterior Design, “The Hirshhorn\u2019s Famously Round Building is Shaping its Resurgence” by Laura Fisher Kaiser, November 6, 2018Alibi, “Breaking the Rules” by Maggie Grimason, February 22, 2018Modern Luxury, \u201cArt & Soul\u201d, by Alice Cisternino, December 2017BBC News, “The Art Made to be Destroyed,” September 28, 2017The Washington Post LIVE Facebook Interview with Philip Kennicott, August 11, 2017The Washington Post, \u201cWomen Now\u201d, by Mark Jenkins, March 24, 2017Hyperallergic, “A Visual Artist Creates Lyrical, Linear Poetry,” by Seph Rodney, October 20, 2016The Washington Post, “A Sweeping Riff on the Circle at the Hirshhorn” by Mark Jenkins, September 3, 2016BmoreArt, “A Circle of Lines Fills the Hirshhorn ” by Brendan Smith, May 25, 2016Smithsonian Mag,”The Mesmerizing Results When a Museum Asks an Artist to Draw Over Its Walls, Anne Glusker, May 24, 2016The Washington Times, “Hirshhorn unveils a wall of Meyers artwork” by John Anderson, May 15, 2016The Modern Art Notes Podcast, “No. 240, Joel Shapiro, Linn Meyers” by Tyler Green, May 2016Artnet.com, “10 Upcoming Shows By Groundbreaking Female Artists” by Cait Munro, March 8, 2016Washington CityPaper, “360-Degree Wall Drawing by D.C. Artist Linn Meyers” by Kriston Capps, February 11, 2016Intersections @5, published by The Phillips Collection, 2015The Washington Post, “From the Everyday to the Fantastical” by Mark Jenkins, May 29, 2015The Intuitionists (catalogue) published by The Drawing Center, NYC, 2015Arkansas Times, “12th National Drawing Invitational” by Leslie Newell Peacock, July 15, 2014Delmarva Now, “‘Blue Study’ Highlights ‘the beauty of imperfection'” by Ursula Erhardt, April 26, 2014The Talbot Spy, “Arts Snapshot: The Lines of Linn Meyers” by Dave Wheelan, March 2014The Wall Street Journal, “Narrow, and Very Wide Range” by Peter Plagens, August 31, 2013NYC Culture \/ Style, “Rhapsody: Elena del Rivero & Linn Meyers Art Exhibition” by Miguel Dominguez, August 16, 2013Crippen, “Interview with Linn Meyers, Artist” by Susie Crippen, 2013NYC Culture \/ Style, “Rhapsody, Elena del Rivero and Linn Meyers Art Exhibition” by Miguel Dominguez, August 16, 2013The Wall Street Journal, “Narrow, and Very Wide, Range” by Peter Plagens, August 31, 2013Linn Meyers, Wall Drawings 2007\u20132011, “Every Now and Again” essay by Anne Ellegood, published by G Fine Art, 2012ArtForum.com, Linn Meyers, The Hammer Museum, by Annie Buckley, September 9, 2011Yearbook 2011\u20132012, “The Hammer Yearbook” by Harrell Fletcher and Adam Moser, published by The Hammer Museum, Los Angeles, pgs 50, 180, 181, 2012The Washington Post, “Linn Meyers at G Fine Art” by Kriston Capps, March 11, 2011DCist.com, “Linn Meyers @ The Phillips Collection” by Pat Padua, July 30, 2010Art Babble, “Hammer Projects: Linn Meyers” 2010The Washington Post, “Artist Goes Flat Out to Draw the Viewer In” by Michael O’Sullivan, February 20, 2009Artweek, “The Space Between at SJICA” by Frank Cebulski, June 1, 2008Art in America, “To A Different Drum” by J.W. Mahoney, May 1, 2008The Washington Post, “A Pervasive Thought of Line” December 9, 2007The Baltimore Sun, “Drawing Values Meticulous Mark-Making” by Glenn McNatt, January 27, 2007Baltimore City Paper, “Interval Affairs” by Deborah McLead, January 24, 2007Art on Paper, “New Prints Review” November 1, 2006ArtNet.com, “Capital Roundup” by Sydney Lawrence, November 29, 2005The Washington Post, “A Bit of the Ocean…” by Jessica Dawson, November 19, 2005ArtForum, “Linn Meyers at G Fine Art” by Nord Wennerstrom, November 7, 2005Art on Paper, “Linn Meyers: Everything Matters” by Roberta Fallon, June 8, 2005ArtCritical.com, “Linn Meyers: Embracing the Unplanned Imperfect” by Vicky Perry, 2005Provincetown Magazine, “Portrait of an Artist: Linn Meyers” by B. Thomas, July 24, 2003ArtNet.com, “Dotty” by N.F. Karlins, June 1, 2003Washington City Paper, “Linn Meyers” by Louis Jacobson, May 16, 2003The Washington Post, “Compulsively Quirky” by Jessica Dawson, May 15, 2003Pittsburgh Post-Gazette, “Meditative Markings” by Mary Thomas, March 15, 2003Art In America, “Linn Meyers at George Billis \u2013 New York” by Matthew Guy Nichols, February 1, 2003The Philadelphia Inquirer, “Linn Meyers at Gallery Joe” by Edward J. Sozanski, November 29, 2002New York Arts, “Linn Meyers at George Billis Gallery” by Deborah Frizzell, June 1, 2002Washington City Paper, “87,561 Strokes and Other Works” by Louis Jacobson, September 21, 2001The New York Times, “Landscapes of Mind and Nature” by Helen A. Harrison, February 2, 1997"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/linn-meyers-wikipedia\/#breadcrumbitem","name":"Linn Meyers – Wikipedia"}}]}]