Stephen Giannetti

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Biography

STEPHEN GIANNETTI

Born: 1966, San Jose, CA

Education:

1994 Skowhegan School of Painting and Sculpture
1993 Core Fellow, Glassell School, Museum of Fine Arts, Houston, TX
1992 M.F.A., University of California, Irvine, CA
1989 BA, University of California, Davis, CA

Selected Solo Exhibitions:

2012 "Spectral Circumstance," Marx & Zavattero, San Francisco, CA
2009 "Sextuple," Marx & Zavattero, San Francisco, CA
2006 “Colorfield,” Heather Marx Gallery, San Francisco, CA
“Stephen Giannetti,” Gallery 555, Oakland Museum of California at City Center,
Oakland, CA
2004 “Chromascene,” Heather Marx Gallery, San Francisco, CA
2002 “Spectrum Sequence,” Heather Marx Gallery, San Francisco, CA
1999 Harbor College Art Gallery, Los Angeles, CA
Davis Art Center, Davis, CA
1993 Wierzbowski Gallery, Houston, TX
1992 Fine Arts Gallery, University of California, Irvine, CA
1991 Fine Arts Gallery, University of California, Irvine, CA
1987 Arthur F. Turner Library Gallery, West Sacramento, CA

Selected Group Exhibitions:

2012 "Flatlanders on the Slant," Richard L. Nelson Gallery, University of California at Davis, Davis, CA (curated by Renny Pritikin & Joy Bertinuson)
2011 "Sea Change: The 10th Anniversary Exhibition," Marx & Zavattero, San Francisco, CA
"Selections from the Fine Arts Collection," Richard L. Nelson Gallery, Davis, CA
2010 "Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years," Crocker Art Museum,
Sacramento, CA
2008 “Tilted Balance,” Collectors Contemporary, Petro Centre, Singapore
“Paintings by Sharon Weiner and Stephen Giannetti,” 425 Market Street, San Francisco, CA
“icandy: Current Abstraction in Southern California,” Cypress College Art Gallery,
Cypress, CA
2006 “Flatlanders,” Richard L. Nelson Gallery, University of California at Davis, Davis, CA (curated by Renny Pritikin)
2004 “Neo Mod: Recent Northern California Abstraction,” Crocker Art Museum, Sacramento, CA (traveling to Monterey Museum of Art, 2005)
“Punch,” Bank of America Plaza Gallery, San Francisco, CA
“Eye Candy,” Transamerica Pyramid, San Francisco, CA (curated by
Helen Varola)
“In the Mix,” Nectar, San Francisco, CA
2003 “Flair,” Heather Marx Gallery, San Francisco, CA
2002 “Neo Painting,” Young Eun Museum of Contemporary Art, Kwangju-City,
Kunggi-Do, Korea
2001 “The Inaugural Exhibition,” Heather Marx Gallery, San Francisco, CA
“City of Davis 1st Juried Exhibition,” Pence Gallery, Davis, CA
2000 “All or Nothing,” Cerro Coso Community College, Ridgecrest, CA
1999 “Grid Locked,” Weingart Galleries, Occidental College, Los Angeles, CA
1998 “Skowhegan Alumni Exhibition,” David Beitzel Gallery, New York, NY
1997 “New Art ’97,” Kingston Gallery, Boston, MA
1993 “Core Show,” Glassell School of Art, Museum of Fine Arts, Houston, TX
Union Gallery, University of Arizona, Tuscon, AZ
“Variety of Experiences,” Wierzbowski Gallery, Houston, TX
1992 “8th Annual Juried Exhibition,” Berkeley Art Center, Berkeley, CA
“88th Open,” Long Beach Arts, Long Beach, CA
1991 “3rd Annual All Media,” Irvine Fine Arts Center, Irvine, CA
“VEX,” Fine Arts Gallery, University of Southern California, Los Angeles, CA
1989 “Artists for Amnesty,” Natsoulas Gallery, Davis, CA
1988 “Artists for Amnesty,” Natsoulas Gallery, Davis, CA
1982 “California Works,” California Exposition, Sacramento, CA

Commissions:

2001 Painting Commission, 8’ x 6’ painting, Davis Police Department, Davis, CA
2000 Painting Commission, 3’ x 4’ painting, Dr. Elias & Dr. Newman, New York, NY
1997 Painting Commission, 2’x 6’ triptych, Hotel Seneyan, Jakarta, Indonesia

Awards:

2001 Purchase Award, City of Davis, Davis, CA
1992 Gold Award Winner, Discovery Awards, Art of California

Selected Collections:
Crocker Art Museum, Sacramento, CA
Adobe Systems Inc., San José, CA
Richard L. Nelson Gallery & The Fine Arts Collection, University of California, Davis, CA
Gary Sng, Singapore

Selected Bibliography:

2012 Turner, Cherie, “Editorial Recommendations: Stephen Giannetti,” Visual Art Source, February 10
Bigman, Alex, “This Week's Gallery Rundown: Three Don't-Miss Shows,” 7x7SF.com, January 18
2009 Turner, Cherie, “Summer Selections & Fond Farewells,” Nob Hill Gazette, August
2006 Swanhuyser, Hiya, “Round and Round,” SF Weekly, November 22, p. 25
Libby, Brian, “Galleries try landing at Jupiter,” The Oregonian, October 2,
p. D1, D3
Labong, Leilani, “Primary Colors,” California Home + Design, October, p. 68
2005 Turner, Cherie Louise, “'Neo Mod' at the Crocker Art Museum,” Artweek, March, Vol. 36 Issue 2, p. 17
2003 Rufus, Anneli, “Reaching Out,” (City Focus: San Francisco), ARTnews, Vol. 102 No. 6, June, p. 68
2002 Neo Painting: Korea · America Young Paintings, Young Eun Museum of Contemporary Art, Kwangju-City, Kunggi-Do, Korea
Berry, Colin, “ 'The Inaugural Exhibition' at Heather Marx Gallery,” Artweek, February, Vol. 33 Issue 1, p. 25
2001 “Two new artworks join city collection,” The Davis Enterprise, October 18
Chu, Michelle, “Public art sprinkled throughout Davis,” The Davis Enterprise, August 15, p. A1, A4
“Flying sculpture soars in new Davis PD,” The Davis Enterprise, May 30, p. A7
“New pieces added to public artworks,” The Davis Enterprise, May 24
1999 Moyle, Marilyn, “Visual Poetry at Art Center Show,” The Davis Enterprise,
August 24, p. A9
1993 Chadwick, Susan, “Artists display creative bent in Glassell works,” The Houston Post, April 14, p. D1
Doroshenko, Peter, Core Fellows 1993, The Glassell School of Art, The Museum of Fine Arts, Houston, TX (exhibition catalogue)
Frohman, Mark, Public News, issue #566, March 24, p. 12
Saffell, Gregory B., “1992 Discovery Awards,” Art of California, Jan., p. 42
Wong, Teresa, Museum and Arts Magazine, March, p. 10
Print print

Press Release

FOR IMMEDIATE RELEASE

STEPHEN GIANNETTI: SPECTRAL CIRCUMSTANCE
JANUARY 21 – FEBRUARY 25, 2012

Opening reception for the artist: Saturday January 21, 5:00 – 7:00 PM

For more information, contact Steve Zavattero
Phone: 415.627.9111/e-mail: info@marxzav.com
Website: www.marxzav.com

Marking his fifth solo exhibition at Marx & Zavattero, Bay Area painter Stephen Giannetti debuts a fresh take on his abstract color field work with a new series of acrylic on linen paintings January 21 – February 25, 2012. Through the extremely controlled use of spray paint, Giannetti’s new series weaves layers of spray into complex compositions that mirror sheer pixelated grids reading as atoms, particles, or cells. The translucency of this new technique effects an opulent, magnified space that transcends his earlier re-working of the modernist formulism for which he is best known.

Giannetti’s signature six-layer hand-painted circular variations of the past have evolved into a deeper eight-layer observation, revealing more of the artist’s meticulous process and affinity for the unexpected. Using only the same six colors – the three primary and three secondary, directly from the spray can – Giannetti highlights the negative spaces by precisely lining up poker chips in pre-determined grids and hitting his linen canvas with short, accurate blasts. The result is a further fracturing of light and an airiness not found in his earlier work.

Though Giannetti is still exploring the ideas of color mixing and light theory from the Pointillists to the Color field painters of the 1950s, the more alternative nature of the new spray works provides a wholly unique experience, as the viewer’s eye jumps from circle to circle, focal point to focal point, “mixing” the colors in their own ways. The spray patterns lend themselves to the blurring of woven color fields, and create a more intense visual experience as the eye adjusts to color and compositional shifts. This new exploration more readily calls to mind the work of light and space artists of the 1960s, prompting haunting visceral experiences like those of James Turrell, Helen Pashgian, and Robert Irwin, as well as the humming fluorescent light installations of Dan Flavin. Installed in the gallery in a series of primary color rows, grids, or single canvases, Giannetti’s paintings react to each other, creating a dynamic light and color experience for the viewer.

Giannetti’s work has been featured in several solo and group exhibitions, including Tomorrow’s Legacies: Gifts Celebrating the Next 125 Years, Crocker Art Museum, Sacramento; Sea Change: The 10th Anniversary Exhibition, Marx & Zavattero, San Francisco; Selections from the Fine Arts Collection, Richard L. Nelson Gallery, Davis; icandy: Current Abstraction in Southern California, Cypress College Art Gallery, Cypress; Tilted Balance, Collectors Contemporary, Singapore; a solo show at Gallery 555 at the Oakland Museum of California at City Center; and the group exhibition Flatlanders (curated by Renny Pritikin) at Richard L. Nelson Gallery, University of California at Davis. His work was also featured in the traveling 2004/05 exhibition Neo Mod: Recent Northern California Abstraction, which originated at the Crocker Art Museum, Sacramento, and continued on to several other venues in California and Korea. Giannetti’s work has been written about in ARTnews, SF Weekly, Artweek, The Oregonian (in which his painting on display at The Affair @ The Jupiter art fair was singled out by critic Brian Libby as "one of the fair's most stunning works"), The Houston Post, and California Home & Design. His work is in the collections of the Crocker Art Museum, Sacramento, and Adobe Systems, San Jose. Giannetti received his MFA from the University of California at Irvine, did post-graduate work at the Skowhegan School of Painting and Sculpture, and received his BA from the University of California at Davis.

Stephen Giannetti’s signature six-layer hand-painted circular variations of the past have evolved into a deeper eight-layer observation, revealing more of the artist’s meticulous process and affinity for the unexpected. Using only the same six colors – the three primary and three secondary, directly from the spray can – Giannetti highlights the negative spaces by precisely lining up poker chips in pre-determined grids and hitting his linen canvas with short, accurate blasts. The result is a further fracturing of light and an airiness not found in his earlier work.

Though Giannetti is still exploring the ideas of color mixing and light theory from the Pointillists to the Color field painters of the 1950s, the more alternative nature of the new spray works provides a wholly unique experience, as the viewer’s eye jumps from circle to circle, focal point to focal point, “mixing” the colors in their own ways. The spray patterns lend themselves to the blurring of woven color fields, and create a more intense visual experience as the eye adjusts to color and compositional shifts. This new exploration more readily calls to mind the work of light and space artists of the 1960s, prompting haunting visceral experiences like those of James Turrell, Helen Pashgian, and Robert Irwin, as well as the humming fluorescent light installations of Dan Flavin. Installed in the gallery in a series of primary color rows, grids, or single canvases, Giannetti’s paintings react to each other, creating a dynamic light and color experience for the viewer.

  • For inquiries, please email Heather Marx Art Advisory at H[at]HMxAA[dot]com