257:. Her studies were interrupted by an accident in 1989 that forced a long recovery in a wheelchair and crutches and shifted her art from large abstractions using unconventional materials to small charcoal drawings she could do in her lap. They led to her first mature work, atmospheric charcoal drawings that fused abstraction and figuration. During and after graduate studies, Couzens drew attention for her art in shows at the Christopher Grimes (Santa Monica), Jeremy Stone (San Francisco) and Michael Himovitz (Sacramento) galleries; the Oakland Museum and Yale University also acquired works. She began teaching at this time, at
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more to natural forces beyond the body and cultural issues involving domesticity and power. Three major bodies of work emerged: the web-like, three-dimensional "Net Work" fabrications; the "Tape" drawings, in which she "drew" using scissors, a matte knife and cut tape on vellum; and the "Bundles," which were sculptural forms tightly wrapped with twine, rope, yarn and fabric. Critics noted the linear energy of this work, comparing it to the frenzied thickets of gesture in the late paintings of
468:). In "Strange Fascination" (2006), she expanded the work spatially and materially, transforming steel cages, yarn, electrical tape, lighting fixtures, fabric, and more, into obsessive pieces that referenced domesticity and femininity. David Roth described the show as a parasitically spreading, "sprawling, near-gothic accretion of accumulated 'junk,' both installation and performance" and as "a Technicolor jumble cum jungle."
402:. These experiments became the "Globules" seriesâsurreal abstract sculptures situated between the animate and inanimate, which seemingly grew from gallery walls. Critics described them as "fascinating as well as grotesque, monstrous as well as beautiful," and "indecent, ill-mannered and lewd" representations of the "latent potential for the body to run amok." Between 1994 and 1995, she created
515:, a 2,500-square-foot (230 m) mixed-media installation at Sacramento State University. It combined elements of previous workânetworks, scrims, commonplace objects, and stitched and wrapped elements that form textâto pay tribute in loosely connected "stations" to people's droll, inconsequential, and sometimes heartbreaking last words, which she solicited and culled from history.
508:. Christopher Miles noted Couzens's conversion of line into form as a tool capable of expressing humor, idiosyncrasy, or vulnerability. He wrote that in their cobbled-together, imprecise methodâpart bricoleur, part gestural expressionistâthey call to mind "a sense of scavenged subsistence frailty and vulnerability," yet also communicate "a vibrance, and a stirring pathos."
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reference pointsâspider webs, seaweed, dense underbrush, crochet, networksâsignaled a departure from distinct objects to more ambiguous, shifting matrices of nature and culture unraveling, ensnaring or conjoining that emphasized fragility, ephemerality and tenuousness. Her show "Net Work" (2003) featured wall pieces whose allusions ranged from eroticism (
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program, Couzens noted a kinship between locally popular, decorative plastic grapes and her drawing forms. Looking to shift away from her drawing work, she began transforming the grapes into humorous, vaguely perverse, paint and liquid resin-coated entities that evoked cells, eggs and eyes, using the
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Throughout the 2000s, Couzens has complemented her sculptural work with the "Tape
Drawings"âlargely abstract patterns of linear energy that she creates through a labor-intensive process of layering cut strips and filing-like dashes of black and blue tape on vellum, with occasional touches of paint.
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Couzens's body-derived work ranges from monumental figurative-based charcoal drawings to abstract watercolors that evoke internal cellular realities to sculptural objects resembling external body parts. Writer Debra Wilbur suggested that this work created mystery through its oscillation between the
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noted the work's ability to evoke psychological statesâclaustrophobia, joy, loneliness, liberationâdespite its abstraction; David Roth foregrounded its "spiritual search for the microscopic origins of life." In the mid-1990s, Couzens created randomly configured, gallery-wide drawing installations,
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Couzens has long been recognized for her draftsmanship, and writers (herself included) consider it to be at the core of her practice, even in later sculptural work. She first gained attention in the late 1980s for large charcoal drawings of headless, armless, torso-like forms floating in amorphous
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Couzens's "Net Works" were uncanny, sometimes slapstick, dangling webs and woven nets that she fabricated from eclectic, mundane materials, such as twist-ties, pipe cleaners, shoelaces, neckties and wire, and suspended as sculpture or draped as wall hangings and scrims. Their assortment of visual
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exhibition of
European lace inspired a new breakthrough in Couzens's art at a time when she sought to pursue work "less predictably artful and complete" than in the past. The intricate whorls and linear patterns of the lace suggested webs, nests, veins and fingerprints, leading her work to attend
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Couzens's exhibition "Stitch ân Bitch" (2021, Patricia
Sweetow) presented 103 collage works collectively titled "Textile Tags": appropriated art-periodical advertisements of famous male artists that she amendedâor "tagged," like a street artistâwith sewn-on fabric scraps that subtly invade and
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Critics and curators note that
Couzens's practice is fluid and wide-ranging, encompassing several identifiable bodies and mediums and a multitude of materials, rather than any one signature style. Common to them is an intuitive, sometimes "obsessive, hyperactive working process" that resists
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observed that the work exposed human vulnerability to emotional and physical "tears," yet indulged erotic paradoxes of beauty and terror, attraction and repulsion. Couzens also painted color-saturated, vaporous watercolors alluding to eyes, breasts and microscopic, coalescing or replicating
496:(2016, top). Critics note the work's dedication to repetition, process and linear rhythm, its thickets of fiber, twine, thread, wire and fabric in clashing commercial color defining form, texture and space; they have been deemed "visual piĂąatas" and likened to the disparate work of artists
109:(born 1947) is a California-based, American artist known for a diverse body of work that embraces unconventional materials and methods and includes drawing, sculpture, installation art, and writing. Critic David Roth identifies as a connecting thread in her evolving work, her "decidedly
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Critics observe that the drawings offer a cooler, more deliberate, synthetic investigation of line, network, node and space compared to the more romantic and natural nets. They have been described as a "visual haiku," referencing fingerprints, trees, constellations or fireworks.
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wrote that the "pink, fleshy, palpitating field" suggested myriad referencesâlinguistic, sensory, salacious and lewdâwhile operating at a purely visual level from a distance. Related works included
414:(1995), a 13' column of watery eye- or undersea-like organisms that emerged from a corner, and the "Congeries" seriesâ"heaps" of gelatinous-like material that included doll parts, such as
418:(1997). Debra Wilbur described this work as upending "the usual representational banality of body parts" to depict its "mutated, disarticulated, and sometimes morbid aspects."
355:-like shadings of dark and light and mystical, funereal quality. Contrasting the lushly drawn forms and their surfaces pocked with scars, slashes and fissures, writers such as
406:(loosely translated, "common tongue"), an 11-by-14-foot (3.4 by 4.3 m) wall array of 3,200 individually formed tongues, first installed at the Crocker Art Museum.
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micro- and macroscopic, while curator Bruce
Guenther located its fascination in its hovering between being "seductive and grotesque, abstract and referential."
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mix in equal parts." Her work has been shown internationally and throughout the United States, including solo exhibitions at the
Christopher Grimes Gallery and
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184:, among many. In addition to working as an artist, Couzens has taught at several Southern California universities and writes about contemporary art for
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as influences in her earlier, body-derived work; her later fabric, fiber and network bodies of work have been likened to the constructions of
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Couzens's work is in many public and private collections, including those of the
Crocker Art Museum, Fine Arts Museums of San Francisco,
261:, and later at UC (Santa Cruz and Davis) and California State University, Sacramento between 1990â2003; she was a visiting artist at the
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230:(BA, 1970), Couzens moved to Oakland, where she worked at a law school, explored San Francisco's bohemian scene, and took classes at
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373:(1994), composed of large sheets of tumbling black orbs whose minimal, abstract patterns alluded to cells, DNA, and mitosis.
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intellectualization in its investigations of bodily form and being, nature, and matter. Writers have recognized
Surrealist
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critic Mark Van Proyen noted the series' unexpected variation, use of double entendre (garment tag and
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Openshaw-Shackelford, Penelope L. "Intention, Meaning and
Assimilation in the Art of Julia Couzens,"
226:, the coast's first contemporary art newspaper, circa 1960. After studying English and philosophy at
572:(1994). In 2019, Couzens participated in the Cheongju Contemporary Craft Biennale in South Korea.
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234:; an early work was part of the Crocker-Kingsley competition at the Crocker Art Museum in 1972.
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tagging), and irreverent, often biting feminist critique of art-world sexism and market hype.
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Milman, Barbara. "An
Interview with Julia Couzens", dav.art NELSON ART friends, Fall 1999.
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among other publications, and collected by institutions including the Crocker Art Museum,
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194:. She lives and works on Merritt Island in the Sacramento River delta community of
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825:, Turlock, CA: California State University, Stanislaus, University Gallery, 2009.
610:, Turlock, CA: California State University, Stanislaus, University Gallery, 2009.
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957:" Two galleries showcase the ethereal, mesmerizing work of Christine Hodgins,"
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1546:, San Francisco: Patricia Sweetow Gallery, 2021. Retrieved November 21, 2021.
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Couzens's "Bundles" consist of intuitive, abstract sculptural forms evoking
435:; Couzens has described the threeâdimensional works as "drawings in space."
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Dalkey, Victoria. "Nature's Tatting: Julia Couzens's Exploration of Line,"
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1252:, Edinburgh: Association of Art Historians Annual Conference, April 2000.
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After moving to Sacramento in 1977, Couzens studied art at City College,
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Pritikin, Renny. " External Combustion: Four Sacramento Sculptors,"
1236:, University of Nevada Las Vegas: Donna Beam Fine Art Gallery, 1993.
1210:, University Gallery, California State University, Stanislaus, 2009.
548:, Oakland Museum of California, Butler Institute of American Art,
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113:-symbolist sensibility, in which eroticism, the grotesque and the
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Pelken, Matt. "Charcoal drawings delve into issues of humanity,"
786:, Catalogue, Newport Beach CA: Orange County Museum of Art, 1997.
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Gross Exaggeration: The Work of Julia Couzens and Sarah Whipple
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and Art Matters (both 1995), and an artist-in residency at the
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and Sonoma Museum of Visual Art (1999), and group shows at the
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446:, twist-ties, pipe cleaners, wire, threads, beret 7' 10', 2003
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Fellowship, Art Matters, Roswell Artist-in-Residence Program
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Art/Women/California: Parallels and Intersections 1950-2000
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Scarborough, James. "Julia Couzens at Christopher Grimes,"
1500:"âLast Words' among two poignant Julia Couzens art shows,"
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O'Brien, Elaine. "Julia Couzens: MĂŠlusine After the Cry,"
384:, mixed plastics, pigment on panel, 12" x 11" x 4.5", 1997
222:. Her mother, Jean Little Couzens, was founding editor of
1442:, Huntington Beach CA: Huntington Beach Art Center, 2011.
630:, Huntington Beach CA: Huntington Beach Art Center, 2011.
1270:, Catalogue, Sacramento, CA: Crocker Art Museum, 1995.
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Dalkey, Victoria, "Julia Couzens' Inner Outwardness,"
209:, Mixed textiles, pins, thread, 12" x 14.5" x 4", 2016
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Kandel, Susan, "Psychological Space: Julia Couzens,"
1384:, Claremont CA: The Claremont Graduate School, 2003.
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Julia Couzens, Ab Ovo (From the Beginning): Drawings
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Dalkey, Victoria. "Unraveling the Threads of Life,"
1594:. Louis Comfort Tiffany Foundation, New York, 1995.
1560:"Weatherspoon Art Gallery Buys Art on Paper Works,"
878:Frank, Peter. "Vital Signs, Art Pick of the Week,"
760:Dalkey, Victoria, "Julia Couzens: A Body of Work,"
667:, Sacramento CA: Center for Contemporary Art, 2005.
603:Pritikin, Renny. "Veiny, Nesty, Whorly, Maidment,"
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1308:Crosby, Gregory. Review of "Beauty Is the Beast,"
1001:Burgess, Diana Fuller and Daniela Salvioni (eds).
1005:, University of California Press, Berkeley, 2002.
524:sometimes completely efface the original images.
141:, among others. Her art has been reviewed in the
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1146:Miles, Christopher. "'Dry' at Miller Fine Art,"
992:, Programs, Public Art. Retrieved March 7. 2019.
198:and maintains a studio in downtown Los Angeles.
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1633:October 17, 2019. Retrieved November 21, 2021.
1470:External Combustion: Four Sacramento Sculptors
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1523:, April 6, 2021. Retrieved November 21, 2021.
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1268:Experience into Art: The Crocker Invitational
1186:, Atlanta GA: City Gallery at Chastain, 1997.
939:Berkeley Art Museum and Pacific Film Archive
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734:, Sonoma Museum of Visual Art, Winter 1999.
651:, October 1, 2017. Retrieved March 7. 2019.
1438:DiAngelo, Darlene. "Curator's Statement,"
1266:Driesbach, Janice. "Experience into Art,"
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663:Roth, David. "Digging for China (Still),"
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646:"Julia Couzens @ Sac State & JayJay,"
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1616:Roswell Artist-in-Residence Foundation.
1486:, Exhibitions. Retrieved March 14. 2019.
1455:, Recent Work. Retrieved March 14. 2019.
1413:, Exhibitions. Retrieved March 14. 2019.
1334:Curtis, Cathy. "Vertical Inclinations,"
1325:, Recent Work. Retrieved March 14. 2019.
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239:California State University, Sacramento
119:California State University, Stanislaus
52:California State University, Sacramento
1677:University of California, Davis alumni
973:Robert Hudson + Ed Moses @ Brian Gross
946:, Collection. Retrieved March 7. 2019.
927:, Collection. Retrieved March 7. 2019.
904:Forrest, Jason. "Gross Exaggeration,"
852:Baker, Kenneth. "Couzens and Barnes,"
337:, watercolor on paper, 30" x 20", 2003
1113:Roth, David. "Julia Couzens at CCA,"
232:California College of Arts and Crafts
56:California College of Arts and Crafts
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1312:, (Las Vegas), June 14âJuly 4, 1997.
920:Fine Arts Museums of San Francisco.
285:, charcoal on paper, 43" x 55", 1992
1473:, Napa, CA: di Rosa Preserve, 2013.
1164:Roth, David. "A Story of the Eye,"
1054:"Check out Julia Couzens' Artwork,"
562:Frederick R. Weisman Art Foundation
554:Anderson Museum of Contemporary Art
1631:"Julia Couzens in Craft Biennale,"
1590:Louis Comfort Tiffany Foundation.
1519:Mark Van Proyen on Julia Couzens,"
550:New Britain Museum of American Art
228:California State University, Chico
174:Fine Arts Museums of San Francisco
60:California State University, Chico
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1574:The Yale University Art Gallery.
1360:DiMichele, David. "Vital Signs,"
865:Wilk, Deborah. "Left of Center,"
351:1993), that were noted for their
1629:University of California Davis.
1150:, October 1997, Vol. 28, No. 10.
1021:Belt, Debra, "Breathing Space,"
566:Louis Comfort Tiffany Foundation
426:In 2001, a chance viewing of an
182:Butler Institute of American Art
1347:Blaschy, Barbara, "Geek Love,"
798:Pritikin, Renny. "Hauntology,"
764:, June 4, 1995, Encore, p.15â6.
263:University of Nevada, Las Vegas
218:Couzens was born and raised in
123:University of California, Davis
48:University of California, Davis
1647:Julia Couzens official website
1592:Fellowships in the Visual Arts
321:Body-derived works (1989â1999)
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1672:American installation artists
1396:Muchnic, Suzanne. "Fancies,"
891:Damianovic, Maia. "Fantasy,"
570:Roswell Museum and Art Center
1605:Salon 2018 Fellowship Awards
1563:Greensboro News & Record
1556:Greensboro News & Record
1424:"Tape Drawings" 2003-present
1025:September 6, 1992. p. 9, 13.
834:Pagel, David. "Dry Indeed,"
342:"Mortal Lessons" (1990â2003)
178:Oakland Museum of California
1692:21st-century American women
1607:." Retrieved March 7. 2019.
1543:Textile Tags: Julia Couzens
558:Yale University Art Gallery
511:In 2017, Couzens exhibited
395:Roswell Artist-in-Residency
393:While participating in the
267:San Francisco Art Institute
131:Orange County Museum of Art
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1620:. Retrieved March 7. 2019.
1603:Peripheral Vision Arts. "
1221:"Mortal Lessons" 1990-1995
519:"Textile Tags" (2017â2021)
121:(2009), in surveys at the
1667:Sculptors from California
908:, September/October 1997.
1662:American women sculptors
1351:, September 20â26, 1996.
476:"Bundles" (2009âpresent)
428:Art Institute of Chicago
1382:Julia Couzens: Net Work
1296:, March 2, 1994, p. C6.
854:San Francisco Chronicle
546:Weatherspoon Art Museum
451:"Net Works" (2003â2009)
253:, Cornelia Schulz, and
150:San Francisco Chronicle
1281:"Watercolors 1994-1999
822:ulia Couzens: Maidment
607:ulia Couzens: Maidment
536:Collections and awards
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416:Physical Culture No. 1
389:"Globules" (1995â1999)
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382:Physical Culture No. 1
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1380:Becker, Lisa Tamiris.
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214:Early life and career
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82:Louis Comfort Tiffany
1398:The Davis Enterprise
1349:Orange County Weekly
1323:"Globules" 1995-1999
1137:, November 19, 1999.
1135:The Davis Enterprise
714:, November 14, 1999.
69:Drawing, sculpture,
1453:"Bundles" 2009-2013
1400:, November 6, 2003.
1232:Anderson, Michael.
1086:, October 26, 2003.
882:, October 30, 1995.
802:, JulyâAugust 2010.
665:Strange Fascination
398:modeling compound,
349:Respirandi Spatium,
1517:Van Proyen, Mark.
1498:Dalkey, Victoria.
1484:"Last Words," 2017
1250:Body and Soul 2000
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1043:December 16, 1993.
1041:Los Angeles Times,
960:The Sacramento Bee
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838:, August 29, 1997.
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220:Auburn, California
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187:The Sacramento Bee
127:Crocker Art Museum
36:Auburn, California
1336:Los Angeles Times
971:Couzens, Julia. "
943:Being Exposed #41
836:Los Angeles Times
782:Guenther, Bruce,
460:) to the figure (
433:Willem de Kooning
144:Los Angeles Times
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462:Ultra Light
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251:Manuel Neri
1656:Categories
906:Art Papers
576:References
513:Last Words
498:El Anatsui
482:god's eyes
315:Judy Pfaff
196:Clarksburg
111:surrealist
1578:Bloodline
1058:VoyageMIA
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681:Flash Art
494:Chanteuse
364:, 2003).
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408:Art Week
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362:Untitled
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224:West Art
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1166:Artweek
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1115:Artweek
732:ArtMuse
400:Sculpey
89:Website
1618:Alumni
560:, and
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353:Seurat
165:, and
139:BAMPFA
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115:gothic
78:Awards
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466:Fancy
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