John and I are mentioned in FORTH Magazine!

http://forthmagazine.com/art/2009/11/lax-art-part-2/

LAX Art Part 2
Submitted by cscheung on Thursday, Nov 5th 2009

John Outterbridge and Jane Castillo
Contributing Artists
Los Angeles, CA

Join me at my Book Signing in the OC

Book Signing – Sunday, October 4, 2009

2-4:00 PM at the Author’s Den Booth — right in front!

Right next to Wonderland Bakery and the Storyteller Stage.

http://www.kidsbookfestival.com/location.html

Directions:
2701 Fairview Rd
Costa Mesa, CA 92626

From I-405 North:
Exit South Coast Dr./Fairview Rd.
Take Fairview Rd. ramp.
Turn LEFT onto Fairview Rd.
Turn Right onto Arlington Dr.

From I-405 South:
Exit on Fairview Rd.
Turn Right onto Fairview Rd.
Turn Right onto Arlington Dr.

Castillo Artist Talk Tomorrow at 6:30 PM

New work at LAX

Just officially completed another installation with John Outterbridge at LAX airport in Terminal 3 (lower level, Arrivals – near baggage claim) Up now through- February 14, 2010.

One Night Only! Castillo’s First Animated Video Projection!

My new video, in collaboration with Eric Garcia, will be featured in the glass atrium, penthouse level.

Although, I won’t be able to attend the event, if you are enjoying the Artwalk on Thursday anyway, stop on by!

Downtown Artwalk Open House:

Thursday,  August 13, 2009    6 -11pm

LoftSEVEN Penthouse
Haas Building
219 W. 7th Street,
Los Angeles,  90014

http://loftseven.com/loftseven.php

View Larger Map

***Parking for all activities at LoftSEVEN will use the parking 500 space parking lot next door. Pricing is locked at $10 per car.

Last week to catch the C.O.L.A. 2009 Individual Artist Fellowships Exhibition

http://theguide.latimes.com/los-feliz/art/c-o-l-a-2009-individual-artist-fel-event

The exhibition closes this Sunday, July 12.  If you haven’t been yet, now is the time to check it out.

FYI a percentage of the sales of the “Castillo” burlap bags go back to the Los Angeles Municipal Art Gallery.    Only $25!

C.O.L.A. 2009 Recommended in Art Scene

http://artscenecal.com/ArticlesFile/Articles0709a/CR0709.html

and

www.latimes.com/entertainment/news/arts/la-et-cola2-2009jun02,0,4126599.story

C.O.L.A. 2009 Recommended in Art Scene

http://artscenecal.com/ArticlesFile/Articles0709a/CR0709.html
 
The C.O.L.A. 2009 exhibition features mid-career artists who have well-established oeuvres. Some of the art rises to the occasion, some is an acquired taste and a few offer welcome surprises. A video installation by Maureen Selwood falls into the latter territory. Good video art is hard to come by. Selwood, who learned her craft working with Philip Glass, combined filmmaking, using black and white footage of anonymous modern Rome, with animation and original music. The result is a stunning and absorbing lament of the tragedies over which we have no control. We can only observe and mourn. Joe Davidson is an installation artist who is fascinated with compulsive collecting and obsessive repetition. Reminiscent of Antony Gormly’s congregation of orange humanesque forms, Davidson’s butter-yellow floor piece displays casts of travel-sized bottles. The land of bottles is surrounded by framed mountain shapes, formed by layers of tape in obsessive overlays that create a landscape of process. Process and obsession reappears in the installation of Jane Castillo, who takes a bold step away from her signature work with hair and rope that makes a socio-political statement of her Columbian identity. “Brown Sugar” is the name of a fictitious sugar company, which produced the “Castillo” brand of sugar. The company logo is a smiling image of the curly haired artist printed on rough, stuffed burlap bags rising in brown columns that hang from chains. For a decade, David Dimichele has been making and photographing models of art world installations. His inclusion in an exhibition of mostly installation art is a witty comment upon artists’ desire to fill space. His work here is light years beyond his first essays into miniaturizing art world egos. The series of prints on view are his outtakes on the models for a generation, such as Roni Horn, Richard Serra, and Robert Irwin (Municipal Art Gallery, Barnsdall Park, Hollywood).
 
Jeanne Willette

I am Speaking Today at the last 2009 C.O.L.A. Conversation with the Artists

http://www.lamagassociates.org/
 
Artists:
 
Castillo
 
Willie Robert Middlebrook
 
Eloy Torrez
 
Maureen Selwood
 
Saturday June 27, 2:00 pm
LA Municipal Art Gallery
4800 Hollywood Blvd
Los Angeles, CA 90027
323 644 6269

Last day to see my Solo TODAY!!!! :-(

http://tarrynteresagallery.com/spotlight.html

Review on Buzzine.com!!!

http://www.buzzine.com/2009/06/weaves-and-extensions/
 
Weaves and Extensions
Castillo at Tarryn Teresa Gallery

See and download the full gallery on posterous

Steven Irvin
                    Contributing Writer
 
Perhaps like a salon gone wild with an over-inflated advertising budget, Tarryn Teresa Gallery in downtown Los Angeles is taken over by monstrous hair pieces. A Crenshaw district wig shop stripped down but hopped up on steroids. Heavy metal and hair: remnants from the Bride of Frankenstein set run amok. No, the irony is in the strength and the subtle theme of this show by local artist Castillo. As caricature-ish and large as these hair installations can be, it is the order of the bad hair day that makes them work and sets them off — weighty yet with sheer elegance styled with thoughtfulness and meditative deliberation.
 
Hair, the very visible essence of the wildness within us, is teased but still tamed here for the viewer of the exhibit. The scale of the work is at odds with the containment and control of it and its core element, synthetic human hair. These situations have contradictory and dynamic, layered effects.

This viewer is easily freaked out by monumental figurative sculpture. Keep me away from the Lincoln and Mt. Rushmore monuments, Valle de Los Caidos, The Statue of Liberty, Christ the Redeemer and all rest. Hey, some people are scared of clowns. The two installations in the main space are placed a bit too close, and you have to squeeze between them to fully enjoy and inspect them. Getting so close to the massive hairballs of Ecliptic Eccentricity is almost disturbing, viscerally jarring and disorienting to the degree of pacing around a Lilliputian’s Gulliver or a prone 50-foot woman’s head. The eclipse becomes complete when looking at the piece along its length where the fifth platinum blonde giant orb blocks the view of the other four black ones, and vice-versa from the other, less navigable side. Ecliptic, that is, except for the few dangling tresses that hang unceremoniously from each globe, as if teased by some mad apprentice comb-slinger. Eccentric reminds me of similar work by the artist at the Junior Art Center at Barnsdall many years ago. Also ironic, and timely, that Castillo was selected by the city of Los Angeles as a C.O.L.A. art fellowship award-winner this year.

A single industrial hoist ring at a ceiling joist hooks the other focus in the same room. Doubled over and elegantly twisted over itself, Strand’s shipping-grade rope covers most of the room after cascading back to the ground in an unraveling display stretching across the floor. With a vague reference to Rapunzel, Strand invites whimsy and play but also issues warning and second thoughts about rifling straight through its blown-out-of-proportion intimacy. Yes, the rope instantly transfers industrial properties and uses to most personal and human ones; suddenly it’s just fairytale auburn dirty strawberry hair, albeit larger than life, and you just have to hold back and stare in wonder, trying to place it in context. Playing the scale trick, however, seems to be an after-effect conveyed by the static physicality of the work and not merely a deliberate attempt by the artist to fool you. Depending on the attitude of the substantive material and the disproportionate disposition of the viewer (such as mine), there remains plenty of curly wiggle room for respective reactions.
 
Divinia is an installation in the back room. A column of nylon, or some other synthetic cord, falls from the ceiling to the floor and, again, fanning out to the outer reaches. The strings encircle a small pile of black hair on the floor: afro-like, coarse black hair. Orishas and sacred goddesses and rituals come to mind, and although it is hard to truly enter the piece, the very rare name can be defined as heavenly, divine or beloved. Simple yet all encompassing, the transparency of this subject resonates an ethereal hollowness while silently holding indeterminate weight.
 
Castillo is not an artist obsessed with just hair, but a human obsessed with scale and its inherent power over other humans. She has worked with other materials and properties to similar effect. Her marks are Herculean yet also delicate extensions of primitive and human physics. Furthermore, the artwork regroups inherently messy elements into columns of order and stasis. The show runs through June 18th.