C.V. - Katina Huston

Recent Activities

Currently presenting work in San Francisco through Annette Schultz at Arthaus 2022 – present
and continue to be represented by Chase Young Gallery Boston.
A selection of Huston’s shadow drawings with oil paint, Maybaum Gallery, San Francisco, October 2021.

Development of an on-line catalogue raisoneé documenting her professional life as an artist. You’re looking at it.

Collections Manager for Katagami Project (www.katagamiproject.com) building the catalog and managing a collection of antique Japanese textile stencils.

“Pandemonium” group show Chroma Vault October, 2021 Charlottesville, VA

Represented by:

Chase Young Gallery, Boston

Solo Exhibitions

2020 Psychological Ballast, Maybaum Gallery, San Francisco

2018-2019 I Love to Ride, San Diego State University Downtown Gallery, San Diego

2018 Inaugural Exhibition, Maybaum Gallery, San Francisco

2017 Dysgraphia, Chase Young Gallery, Boston

2017 Rubber&Road, University of Massachusetts at Lowell Gallery, School of Art and Design Gallery, Lowell, MA

More Solo Exhibitions

Group Exhibitions

2018 On Your Left, Institute of Contemporary Art, San Jose, CA

2016 Powder and Fog, Seager Gray Gallery, Mill Valley, CA

2016 War at Sea, Tayloe Piggott Gallery, Jackson, WY

2015 Lightening Strikes, Dolby Chadwick Gallery, San Francisco, CA

2014 Hello Goodbye, Dolby Chadwick Gallery, San Francisco

More Group Exhibitions

2013 The Weight of Light, Bryan Ohno Inc, Seattle, WA a two person exhibition focusing on transparency

2013 Trans Dolby, Chadwick Gallery, San Francisco, CA

2013 Untitled, Wally Workman Gallery, Austin, TX

2012 Let me Wander, Chase Young Gallery, Boston, MA

2012 Chain Reaction, De Saisset Museum, Santa Clara, CA

2012 Tandems, Chase Young Gallery, Boston, MA

2011 Small Works, Chase Young Gallery, Boston, MA

2011 Black and White, Dolby Chadwick Gallery, San Francisco, CA

2011 Hearing the Backbeat, Prographica, Seattle, WA

2011 Blue, Chase Young Gallery, Boston, MA

2010 Geared, Sun Valley Art Center, Ketchum, ID

2010 Preview of things to Come, Prographica, Seattle, WA

2010 Inaugural Exhibition, Prographica, Seattle

2010 Content, Jacana Gallery, Vancouver

2009 West Coast Drawings VIII, Koplin del Rio, Culver City

2009 Opening Exhibition, Edith Caldwell, Inc, Rockport, ME

2009 On Paper, Jenkins Johnson Gallery, New York, NY

2009 Content, Jacana Gallery, Vancouver BC Canada

2008 Drawing, Francine Seders Gallery, Seattle, WA

2008 Narratives of the Perverse at Jancar Gallery, Jancar Gallery, Los Angeles, CA

2007 Friends, Michael Rosenthal Contemporary Art, Redwood City, CA

2006 Inaugural Exhibition, Donna Seager Gallery, San Rafael, CA

2006 Featured Edition, Vulkafitch, Stockholm, Sweden

2005 Alchemy II, Oakland Art Gallery, Oakland, CA

2005 The Other Voice, SoMArts, San Francisco, CA

2005 Nu Pink’s EBay Art Project, Works, San Jose

2005 Narrative Ceramic, Virginia Breier Gallery, San Francisco, CA

2005 R. C. Gallery, Portland, OR

2004 Group Show, Bryan Ohno Gallery, Seattle, WA

2003 Shoebox, Sculpture Gallery at the University of Hawaii, Hilo, traveling

2003 Program Highlights, AIR Gallery, NorCal, San Francisco, CA

2003 Politically Incorrect, Flatfile, Chicago, IL

2002 Operating Systems, Susan Cummins Gallery, Mill Valley, CA

2002 North American Sculpture, Foothill Art Center, Boulder, CO

2002 Each Other, Flatfile, Chicago, IL

2002 Concept to Object, Cade Museum of Fine Arts, Arnold, MD

2002 Refuse, Reuse, Redux, Museum of Art at MacPherson Center, Santa Cruz, CA

2001 Contemporary Collage, Nexus Gallery, New York, NY

2001 23rd Annual National Exhibition, Berkeley Art Center, Berkeley, CA

2001 Order of Energy, with Kikuko Sakota, Tor Gallery, Kobe, Japan

2001 Botanica, Flatfile, Chicago, IL

2000 Needle Art, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA

2000 Faculty Exhibition, Museum at California State University, Hayward, CA

2000 Shoebox Sculpture, University of Hawaii, Hilo, HI, traveling

2000 Gallery Artists, River Gallery, St Paul, MN

1999 Solomon Projects, Atlanta, GA

1999 Needle Art, Bedford Gallery, Walnut Creek, CA

1999 Fresh Paint, Culver City, CA

1999 Faculty Exhibition, Museum at California State University, Hayward, CA

1998 Small Works, Susan Cummins Gallery, Mill Valley, CA

1996 Haines Gallery, San Francisco, CA

1996 The Last Show, Susan Cummins Gallery, Mill Valley, CA

1996 California Annual, San Bernardino County Museum, Redlands, CA

1995 Annual National, Lubbock Fine Art Center, Lubbock, TX

1995 MFA Exhibition, Mills College Museum Oakland, CA

1995 New to the Gallery, Susan Cummins Gallery, Mill Valley, CA

1995 Gallery 1042, Rockland, IL, juried

1995 California Annual, 3-D arts, Sacramento, CA

1995 Berkeley Art Center, Berkeley, CA juried, award

1994 Crocker-Kingsley California Annual, Crocker Fine Arts Museum, Sacramento, CA 1994

1994 Issues of Oppression, Orange County Center for Contemporary Art, Santa Ana, CA

1994 Matrix Gallery, Sacramento, CA

1991 V Breier Gallery, San Francisco, CA

1990 Headlands Center for the Arts, Sausalito, CA

1989 New to the Gallery, V Breier Gallery, San Francisco, CA

1988 Iowa Artists, Johnson County Art Center, Iowa City, IA

1988 Group Show, Checkered Space, University of Iowa, Iowa City, IA

Reviews and Articles

Mary Corbin, “Kaleidoscopic Paintings Katina Huston lets her life inform art-making and vice versa”
Alameda Magazine April 2019

Cerys Wilson, ”Preview Massachusetts, Dysgraphia Katina Huston,”
Art New England September/October 2017

Frances Moody, “Shadows, hieroglyphics inspire California Artists”
Jackson Hole News, Wednesday February 11, 2015

Kenneth Baker, “Huston Nails death in optical vividness”
San Franc,sco Chronicle May 9 2014

Grants and Awards

2013 Artist’s Grant, Vermont Studio Center, Johnson, Vermont

2012 Visiting Artist, American Academy in Rome, Rome, Italy

2010 Artists Fellowship, Vermont Studio Center, Johnson, Vermont

2008 Artists Fellowship, Vermont Studio Center, Johnson, Vermont

2001 Award of Merit, California Works, Sacramento, CA

More Grants and Awards

Affiliations

Alameda Public Art Advisory Commission, Chair 2003 – 2009

Contributing Editor, works+conversations, 2002-2008

Grace Cathedral Art Commission, Board member, 1988-90

Bay Area Coalition for Freedom of Expression, 1988-90

Headlands Center for the Arts, affiliate artist, 1992

Teaching History

2011-2014 Senior Lecturer, California College of the Arts, Graduate Fine Arts, San Francisco California

2005, 2006 California College of Arts, teaching courses in traditional and new media sculpture for the pre college program and and serving as graduate studio mentor. Oakland and San Francisco, CA

2004-2007 John F. Kennedy University, Lecturer, teaching courses in contemporary art history for graduate school art program in art and advanced undergraduates., Berkeley, CA

2001-2005 St. Mary’s College, teaching courses in art practice and art history, Great Books and critical thinking in BA and masters programs. Moraga, CA

2001 St John’s University and College of St Benedict, Visiting Artist teaching advanced sculpture and ceramics, St John, MN

More Teaching History

Professional Activities

2013 Artist in Residence, Vermont Studio Center, Johnson, Vermont

2012 Visiting Artist, American Academy in Rome, Rome, Italy

2007-2008 Art Scout, seeking out contemporary artists and artworks for presentation and sale, Big Pagoda, San Francisco, CA

2003-2008 Public Art Advisory Commission, Chair, creating process and jurying public art projects for the City of Alameda’s % for art project in Alameda, City of Alameda, Alameda, CA

2002-2008 Contributing Editor, Works+Conversations, Berkeley, CA

More Professional Activities

Selected Publications

“PoMo Treats”, Newslink on-line journal of popular culture, Winter 2009

“Smart Arts”, works+conversations, Berkeley, CA Spring 2005.

“Forty Years of Painting, Gerhard Richter”, works+conversations, Berkeley, CA, Womter 2003 on line.

“Japan Journal”, works+conversations, Berkeley, CA Fall 2002.

“Sister Dennis Frandrup”, Ceramics Monthly, Kansas City, MO January 1995.

More Selected Publications

Collections

Yale University Art Gallery, Permanent Collection, New Haven, CT

Visa International Collection

Citibank International, New York, NY

Wynn Casino, Las Vegas, NV

Clay Museum of Art and Science, Charlestown, WV

More Collections

Represented by

Maybaum Gallery, San Francisco 2018-2021

Wally Workman Gallery, Austin, TX 2011-2019

Tayloe Piggott Gallery, Jackson, WY 2014-19

Prographica Seattle, WA 2010-2012

Jancar Gallery, Los Angeles, CA 2008- 2011

More Representation

Education

1996
M.F.A., Mills College, Oakland, CA
Fine Arts Practice

1984
B.A., New York University W.S.U. C.
History of Fine Art, Computer Sciences

Public Projects and Collaboration

View All

WAR AT SEA is a large-scale ceramic project incorporating both installation and public collaboration. Looking out over a field of interpersonal skirmishes in the workplace, I wondered, How much conflict can take place in a confined space before no one can move? I envisioned an artwork that both demonstrates and depicts this phenomenon, creating the physical experience for the viewer; a giant space, a thousand boats, no room to move. Individuals, students, teachers and passers-by created ships for this project presented at FLATFILE contemporary in Chicago. February 2004.

NU PINK and THE MONA LISA PROJECT. Everyone should have a friend like Michael Rosenthal. Twenty-five years ago, Michael was in New York playing with the Fluxus crowd. Every so often, he generates new Fluxus Projects and invites me, and others, to participate. Most recently, he purchased 100 paintings on canvas from eBay, each for less-than five dollars, and passed them on to me and other artists, asking us to repaint, reshape, and reform the works. The project is ongoing and was exhibited at Works in San Jose as the first venue of a national tour. 2003

CENTERVILLE OPEN ARTS. I was hired by the City of Fremont to produce a series of site-specific art projects in what the city considered to be an economically challenged area of town. Compared to the more coveted real estate, it was an amazing area. Offered three square miles of Centerville filled with empty storefronts, discount mattress outlets, the Afghani community, and Cinema Bombay, I sought out local shopkeepers willing to work with artists, and artists willing to collaborate with local businesspeople in their stores with the objects of their industries. In the end, eleven shopkeepers and seven artists participated. Together, they created a series of collaborative on-site exhibitions, many designed to allow the public to interact with them, including public events, collaborative art, performances, and artist-led tours. public. Artists include: Fred Hayes, April Gertler, Donald Terahonich. Spring 2001

FALSE TEETH. The year following graduate school, I became envious of the technically rich. Wealthiest of all were dentists. They had better tools, better molds, better materials, and better techniques, and I wanted them. I called every false tooth maker in Northern California to find one who would host me as an artist in residence.

For eight weeks I worked in the factory, side by side, with dental technicians. I used their molds, chrome and steel-casting, and porcelain materials to make tiaras as the technicians made crowns. We toiled in mutual envy. I got to make what I wanted. They earned twenty-five dollars an hour. Dependent on them for technical guidance, I combined my own artistic vision with the craftsmanship of the dental workers to create many of the works. East Bay Dental Arts, Richmond, CA 1997

ROSE PETAL GOWN. One summer my fiancé called to say he kind of liked the receptionist. I never saw him again. Dumped, I moped around the apartment wondering what to make. A rose bush grew outside my window. I brought some roses in, and they died. I sewed the fallen petals together into a handkerchief. It grew into a camisole. Eventually the bush was bare and I went out into my neighborhood seeking roses. Wandering from florist to gardener, I gathered hundreds of dozens of spent roses. By the end of summer I had a floor-length gown. I continued to make rose-based work in the years to come, relying on ongoing relationships with growers and sellers. 1994

DUMP A fellow artist and I were chosen to be Artists in Residence at the San Francisco dump. Once there, we discovered that when a person dies, the unwanted parts of his or her life end up at the dump. It can be the dishwasher, the business papers, the house. Each day, we searched the landscape for new arrivals. The men who ran the bulldozers set aside what was important. Some object would show itself in the pile and they would pull it out and leave it to be claimed. These objects weren’t valuable; they were just things that hold the weight of human experience.

Some objects were art when we found them: photos of one man’s life in sailor suits from first sailor suit at 18 months, to the last as an admiral in the Greek Navy. Others took more work. Bits and pieces left over from a lawyer in the Fillmore District included legal texts and hand-scrawled wills. These were entombed and raised on a podium to become a mausoleum.

NUNS. The first time I went to Minnesota, I found nuns. I had been hired by Saint John’s University as an Artist in Residence. I would live there and make life-sized monuments to unknown women.

I arrived in winter. Locked inside, the nuns told me about their lives and who they would like to have memorialized. I wrote down the stories. I built monuments to some of the women they chose. 1991

WRITING. I began writing articles, biographies, and criticism because I kept meeting artists with things to say that they were unable to express. The first was a graduate student in New York (native language Korean) standing mute over his exquisite work. He spoke and gestured his frustration. I wrote it down. It went on like that for about twenty years. I write irregularly now. Every so often I find obscure, un-represented communities and interview members to discover their world and understanding. I interviewed emerging contemporary artists in Japan, I interviewed candidates at the CAA conference in Atlanta in February 2005 and again in Los Angeles in 2012. I wrote about Art Basel Miami in December 2007.