Most Recent Exhibits/Works

2005 Cover Illustration for the Fall edition of the Santa Monica Review, a nationally distributed literary arts journal sponsored by Santa Monica College.
2005- Ongoing Bianca has artwork in, Yo! What Happened To Peace? a traveling exhibit of anti-war posters and prints curated by artist, John Carr. The exhibit has had stops at galleries in Los Angeles, Boston, New York, and Chicago, as well as openings in Tokyo, Japan, Milan, Italy, and several Scandinavian cities. Dozens of artists contributed works to this show, including the likes of Chaz Bojorquez, Eric Drooker, Poli Marichal, Seth Tobocman, Winston Smith, and Mark Vallen.
2004 Cover Illustration for the Fall edition of the Santa Monica Review

Biography

My Family's legacy is unusual and complex. My parents and my relatives lives were drastically disrupted by the Nazi occupation of Czechoslovakia. My father's fate was three years imprisonment in a Nazi work camp in occupied Norway (Bergen). For both my parents, an escape from Prague was crucial when the Stalinists wanted to try my father for treason, as they did all intellectuals. Without a country they fled to Monrovia, Liberia. In spooky hindsight, a teenage Charles Taylor was a student in my father's French, Latin, and Philosophy classes. Sponsored by missionaries, my parents came to the U.S. to lecture on their experiences of World War II. They did not know if they'd have to immigrate to South America where citizenship was easier. By luck, the daughter of the Mayor of Chicago intervened on their behalf and they became U.S. citizens. My father became a professor at a college in LaGrange, Georgia, and I was born there. It was part of the deep south where segregation and racism was in full swing. My parents condemned this, knowing first hand what it was like to be treated like dogs. That connection impassioned me to study history and politics, to seek the truth, and not let the atrocities committed by individuals, ideological groups, and corporations go unchecked.

Artist's Statement

My work offers a broad manipulation of two-dimensional space. Upon closer inspection the figure/ground and color relationships shift back and forth between weightlessness and groundedness. The fields saturate the eye with hue. My own critical awareness has been heightened by the study of various theories that define space. A pure and powerful vision allows "plastic space" to become more challenging to work with. 

Over a decade my visual vocabulary seemed to choose me, plotting my experiences, memories, and dreams. During those years I was privilege to work along many insightful multiracial grassroots activists at the front-line, organizing the working class struggle for basic rights. This naturally sharpened my perception of the surface and underbelly of our culture from the streets, on the buses, work floors, and at the doors of boardrooms. The working class continues to dispute the mainstream belief that by following "the American-dream-do-as-I-do formula" can make all people successful. To my sensibility this rhetoric reveals a total lack of the mainstream's social imagination. It does not explain the motivation of powerful people in making others do whatever they want. It does not explain why the powerful find it difficult to be vulnerable. It devalues the working class' struggle to sustain themselves. I question: Does fear and arrogance dispute values by making efficiency and self-interest more desirable than virtue and altruism?

With screaming cats, suits with no heads, lonely dogs, soldiers in high heels, cops leapfrogging, buses with antlers, prepubescent children and mother earth sporting a jaunty hat... I explore and question. "Faithless pilgrims strolling aimlessly bewitched inside a rotting fence. It seems unreal to western civilization but strikes something great like evil and the truth."
- Heart of Darkness Joseph Conrad

Education:
1987-88 Cranbrook Academy of Art, Bloomfield Hills, MI (Graduate work/Painting)
1982-84 The Cleveland Institute of Art, Cleveland, OH
1982 Case Western Reserve University, Cleveland, OH, M.A. (Art Education)
1976-79 Cape School of Painting, Provincetown, MA
1976 Kent State University, Kent, OH, B.F.A. (Painting)

Solo Exhibitions:
1995 John Thomas Gallery, Santa Monica, CA
1992 "The Ills of Capitalism; Incidental not Accidental", University Religious Center, USC, CA. and also at the Hollywood United Methodist Church, Hollywood, CA.
1982 Case Western Reserve University, Cleveland, OH

Selected Group Exhibitions:
1994
"The 40th Annual National Exhibition," San Diego Art Institute, San Diego, CA
"Far Bazaar at the Brewery," audio-visual installation in collaboration with Paul Sopkoff, Bingo Building, Los Angeles, CA
"Searching for Eden", Mythos Gallery, Burbank, CA
"Everything in SITE", SITE Gallery, Los Angeles, CA

1993
"Crossing L.A./Home, Place, Memory," The Los Angeles Festival, Museum of African American Art, Los Angeles, CA
"Contextual Turbulence" John Thomas Gallery, Santa Monica, CA
"The Verdict," Loyola Law School, Los Angeles, CA
"Works on Paper," Los Angeles Juried Exhibition, Junior Arts Center Gallery, Hollyood, CA
"Unity in Color," 4th Annual Third World Arts Festival, Watts Health Center, Los Angeles, CA

1992
"Guerrilla Girls and WAC/Outdoor Projections," on site protest at G.O.P. Convention, Houston, TX
"Racial Tension in America," Artsquad Contemporary Fine Art, Easton, PA

1989
"The Greater Midwest International Exhibition IV," The Central Missouri State University Art Center Gallery, Warrensburg, MO
"Dashboard Art," John Michael Kohler Art Center, Sheboygan, WI
"The Center Show," The Gay & Lesbian Community Services Center, New York, NY

1985
"The Icon Show," Cranbrook Museum of Art, Bloomfield Hills, MI

1984
"The Cleveland Institute of Art, Cleveland, OH

Publications:
1998
"Drop the Dummies: a disentir de la cultura dominate," Ahora Now, no. 6, pp. 16-17

1996
"Activist Realism: Agitprop Reorients the Subject with the Social Real," Reconstructing Architecture: critical discources and social practices, pp. 302, 304, 311

"Imagine Politics," Ahora Now, no. 1, p. 11

1994
"The Verdict and the Violence," High Performance, Summer Edition

Selected Bibliography:
1994
"Good Times: Bazaar Bingo Is Its Name-O," LA Weekly, Calendar May 20-26
"From the Eyes of Artists," Los Angeles Times, May 27

1993
"Art Pick of the Week; Crossing L.A., Home, Place, Memory," LA Weekly, September 10-16
"Critic's Choices; Contextual Turbulence," Los Angeles Reader, September 3
"Most Events of L.A. Fest's Opening Weekend Sell Out," Los Angeles Times, August 24
"Art Pick of the Week; Contextual Turbulence," LA Weekly, August, 22-27
"Art Pick of the Week; Los Angeles Juried Exhibition," LA Weekly, August, 20-26
"Counted Out," LA Weekly, August 20-26
"Contextual Turbulence Exhibition On View," Los Angeles Times, August 18
"Los Angeles Festival, Home, Place, Memory: A Guide," Los Angeles Times, July 14
"Unknown Artists Get A Chance To Shine in 1993 Los Angeles," Los Angeles Times, July 14

1992
"Racial Tension Lacks Angst," The Morning Call, Allentown, PA, December 11
"Can the Arts Heal L.A.?," Los Angeles Times, September 6
"The City, the Riots, the Creative Response: Not a Pretty Picture," Los Angeless Times, Sept. 6

1989
"The Center Show, Art on Stone Walls," Village Voice, June 13
"Imagining Stonewall/Above and Beyond," The New Yorker, June 5
"Scene and Heard," Village Voice, May 23

Grants and Awards:
2000
Rockefeller Archive Center Grant-in-Aid, "Theater and Art for Organizing," Bus Riders Union theater collective, Labor/Community Strategy Center

1989
Individual Artists Grant, Artists Space, New York, NY

Collections:
Patricia Barash, Santa Monica, CA
Linda Martz, Pittsburgh, PA
Michael Petronzio, Cleveland, OH
Greenbrier Community Center, Parma Heights, OH
The Gay and Lesbian Community Service Center, New York, NY
Cranbrook Academy of Art, Bloomfield Hills, MI
The Cleveland Institute of Art, Cleveland, OH
Kent State University, Kent, OH
Ed Sitazi, Cleveland, OH