SECTION I: The Fragile Bee

Farewell to Night (Clarkia amoena), 2014, 40 X 38 ½”, Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Nancy Macko Photography, Mixed Media,

Video and Prints

SECTION I: The Fragile Bee

Botanical Portraits: SoCal, 2014

Buckwheat (Eriogonum siskiyouense)201438 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Desert Marigold (Baileya multiradiata)201438 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Sunflower (Helianthus annuus) 201438 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

California Poppy (Eschscholzia californica)201438 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Gumplant (Grindelia camporum) 201538 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Golden Yarrow (Eriophyllum confertiflorum)201538 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Milkweed (Asclepias fascicularis)201440 X 38 ½ ”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Summer Lupine (Lupinus formosus)201538 ½ X 40”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Meadow, 2015, 12 X 36’, digital output on vinyl (Available upon request.)(A smaller version, 6 X 12,' is included in the works shipped.)

The Fragile Bee, Installation View, Museum of Art and History, Lancaster, CA, 2015

Installation view of Meadow (6 X 12') at Texas A & M University, College Station, TX, 2018

Honey Teachings: In the Mother Tongue of the Bees, 2015, each panel 11.5” diameter, 12 X 30’ approx. mixed media, archival digital prints, vinyl signage affixed to 105 hexagonal panels (cumala, bird’s eye maple, yellowheart, birchwood plywood)

DetailHoney Teachings





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The Waggle Dance: Lessons from the Hive, 1993, 13 X 65” overall (triptych), cibachrome prints, silk-screened plexiglas, lacewood frames


Mixed media panels from Honey Teachings (each panel 11.5 inches in diameter)

Desert Candle 1 (Eremurus stenophyllus), 2018, 40.5 X 40.5”, Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Botanical Portraits: MileHigh, 2018

Desert Candle 2 (Eremurus x isabellinus 'Cleopatra')201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Desert Candle 3 (Eremurus 'Romance')201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Great Golden Knapweed (Centaurea macrocephala) 2018 40.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Blanket Flower (Gaillardia aristata) 201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Rocky Mountain Beardtongue (Penstemon strictus) 201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Pink Bergamot (Monardo fistulosa) 201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Knapweed (Centaurea sp) 201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Prickly Poppy (Argemone polyanthemos) 201840.5 X 40.5”Archival digital print mounted on white sintra and faced with plexiglas, edition 5

Nancy Macko, The Honeycomb Wall, 1993·4, mixed media, 14 X 20', each panel 11.5" dia Installation View: Municipal Art Gallery, Los Angeles, CA 2006

The Honeycomb Wall, Details

The First Ten Prime Numbers, Suite 1, plate lithography on Rives cream BFK, 30 X 22", 2004-06 (Collection: Metropolitan Museum of Art, NYC)

NANCY MACKO, (L·R) The First Ten Prime Numbers, 1-10, Suite 1, 2004-6, platelithography, Rives creamBFK, 30 X 22" each

Right: Cornucopia, 2004 aquatint, spit bite and etching on Rives cream BFK, edition 25; 31 3/8 X 23 5/8"

Installation view:14 Artists/14 Years Mahaffey Fine Art, 2006-7 (Collection:Gilkey Center, Portland Art Museum)

Printed by Mahaffey Fine Art, Portland, Oregon

Section II: Other Available Works

Honeycomb 11999 46 x 34"Archival digital print on Arches cold press paper

Honeycomb 41999 34 X 46"Archival digital print on Arches cold press paper

Honeycomb 51999 34 X 46"Archival digital print on Arches cold press paper

Honeycomb 31999 46 x 34"Archival digital print on Arches cold press paper

In the Garden of the Bee Priestess: Cornucopia2006 31 3/8 X 23 5/8 ”aquatint and spit bite on Rives cream BFK, edition 25

In the Garden of the Bee Priestess I: The Covenant2007Image: 12 X 12”, Paper: 24 X 24” etching on Rives white BFK, edition 10

In the Garden of the Bee Priestess I: Sacred Grove I2007Image: 12 X 12”, Paper: 24 X 24”etching on Rives white BFK, edition 10

In the Garden of the Bee Priestess I: First Map 2007Image: 12 X 12”, Paper: 24 X 24” etching on Rives white BFK, edition 10

In the Garden of the Bee Priestess I: Sacred Grove 22007Image: 12 X 12”, Paper: 24 X 24”etching on Rives white BFK, edition 10

In the Garden of the Bee Priestess II: Sacred Grove 12007Image: 12 X 12”, Paper: 24 X 24”etching on Rives white BFK, edition 10

In the Garden of the Bee Priestess II: Sacred Grove 12007Image: 12 X 12”, Paper: 24 X 24” etching on Rives white BFK, edition 10



Hex Memories 12009Image: 23 3/4 X 18 1/4"Paper: 30 X 22 1/2"Hand stamping, monoprint and chine colle on Rives White BFK

Hex Memories 2009Image: 23 3/4 X 18 1/4"Paper: 30 X 22 1/2"Hand stamping, digital print, monoprint and chine colle on Rives White BFK

Queenangelbreast 200242 X 70” Archival digital print mounted on sintra and plexi faced

Beeroses200238 X 50” Archival digital printmounted on sintra and plexi faced

NIRVANA FOR THE FUTURE: THE DIVINE READING LESSON SERIES, 2011

Nancy Macko, Myth, 2011 (from Nirvana for the Future: The Divine Reading Lesson Series),

multiple plate photo lithography on Rives White BFK; Image: 12 X 12", Paper: 24 X 22 1/4" Nancy Macko, Halo, 2011 (from Nirvana for the Future: The Divine Reading Lesson Series),

multiple plate photo lithography on Rives White BFK: Image: 12 X 12", Paper: 24 X 22 1/4"

©2011 NANCY MACKO

ALL WORKS CREATED IN COLLABORATION WITH MASTER PRINTER MARI< MAHAFFEY, MAHAFFEY FINE ART LLC, PORTLAND, OR

Nancy Macko, Gem, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 24 X 22 1/4" Four color lithography with hand stamping on Rives White BFK

Nancy Macko, Hive, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 24 X 22 1/4"Five color lithography with hand stamping on Rives White BFK

Nancy Macko, Myth, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 15 X 14" Six color lithography with hand stamping on Rives White BFK

Nancy Macko, Halo, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 15 X 14" Seven color lithography with hand stamping on Rives White BFK

Nancy Macko, Dream, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 24 X 22 1/4" Five color lithography with hand stamping on Rives White BFK

Nancy Macko, Bee, 2011 (from The Divine Reading Lesson Series)Image: 12 X 12", Paper: 24 X 22 1/4" Four color lithography with hand stamping on Rives White BFK

Lore of the Bee Priestess 2004 digital video (13:43 min) https://vimeo.com/130938477

Bee Stories 2006digital video (8:11 min)https://vimeo.com/131698514

Commentary

Nancy Macko: Flowers, Bees, and a Passion for Justice

Nancy Macko is an artist who takes photographs of flowers and makes prints and installations, usually related to nature; almost all of the work intimates her strong interest in the world of ecology, in particular the world of bees; and the strong desire to promote equality for women, with a special emphasis on female artists. Born in New York, and educated at the University of Wisconsin and Berkeley, Macko has spent most of her adult life in Southern California, where she is professor of art at Scripps College. She is an artist dedicated to revealing the subtle intimacies of nature; using a macro lens to capture the details of flowers. In doing so, Macko also establishes a striking metaphor for the erotic life of women, a subject that often holds sway in her art. In conjunction with her artistic activities, Macko has been a strong advocate of feminist causes. Without transparently communicating her political concerns, the artwork can be read in light of her social passion: both her flower imagery and her interest in the lives of the bees presents, by implication, an alternative to the ongoing crisis in ecology and the expanding concerns of feminist art. Thus, Macko is an artist for whom aesthetics and justice are intertwined; her view in art, though, is implicit rather than overtly expressed.

The artist began taking close-ups of bee-attracting flora in her backyard, and is now documenting other species in different regions of the US: most recently the Rocky Mountains and the northeast. The delicacy of her images is undeniable; the colors and crevices of the blooms are extremely seductive, clearly making reference to the female sex yet in conjunction with the role of the bee as pollinator and facilitator of sexual pleasures. The power of this work does not stem only from its erotic implications; actually, the imagery extends to nature’s own erotic possibilities, which are certainly true as biological fact. Color is also extremely important to Macko’s work: images of desert marigolds and California poppies explode with an intensity of yellow and orange, and some of the more recent images depict the bees themselves.

In 2015, Macko presented the exhibition The Fragile Bee, which included the installation Honey Teachings: In the Mother Tongue of the Bees. This wall installation is composed of 104 hexagonal wooden panels displaying bee imagery. Sometimes statements about the bees are included: “Worker bees are born to serve the greater good.” Installed on the wall, the individual panels look very much like a hive, completing the implicit metaphor of the project. Macko is truly a utopian artist who borrows from nature to deliver sharp points about the possibility of a better human society. In this way, she belongs to the highly American practice of joining art to politics, both private and public. Her botanicals command respect as remarkable visions of the hidden intimacies of nature, while her bee imagery is both beautiful and indicative of a larger purpose: the transformation, through art, of a patriarchal society. This topic is to some extent a dream originating from the imagination yet it is also a template for a just society.

Macko’s work extends to fine art prints and her photographs are clearly related to the 2007 suite of etchings entitled In the Garden of the Bee Priestess. These prints combine abstract, decorative imagery with specific depictions of bees and flora, thus bridging some of the interests of 1980s Pattern art with a more contemporary view. In Nirvana for the Future: The Divine Reading Lesson Series (2011), Macko employs hive imagery and combines it with a regularly appearing image, an arrow-like shape which turns out to be a plumb bob but stands in for an ancient matriarchal goddess— another strong interest of the artist is matriarchal societies. These prints are highly skilled, eclectic gatherings of images taken across time, across cultures, across geographies. Their collective power is not only moving, but also political; Macko seems determined to upend the conventional account of historical culture and read it in light of feminist insurgency.

Nancy Macko

Biography

Since the early nineties, Nancy Macko has drawn upon images of the honeybee society to explore the relationships between art, science, technology and ancient matriarchal cultures. Today, she combines elements of printmaking, digital media, photography, video, and installation to create a unique visual language. This combination of media allows her to examine and respond to issues related to eco-feminism, nature, and the importance of ancient matriarchal cultures, as well as to explore her interests in the relationships between art and technology, science, evolution and ecology.

For the last ten years, Macko has been photographing flora using a macro lens in order to reveal the less apparent, less obvious features concealed within these beautiful specimens. She captures them from bud to bloom to seed -- all manifestations of the life cycle. Her current research includes documenting native bee-attracting flora, beginning in Southern California and branching out to the northeast and the high elevation area of the Rocky Mountains.

Her previous explorations addressed issues of memory loss, dementia and cognitive decline –changes she witnessed as they affected her aging mother’s mental health. Uniting a life-long commitment to incorporate a spiritual respect for the world with her subject matter, Macko integrated aspects of aging and decline with notions of the spirit of life regardless of what point on the continuum we find ourselves. Her interest in 'end of life' has clearly informed her photography.

Macko’s mid-career survey show, Hive Universe: Nancy Macko, 1994-2006, was exhibited at the Municipal Art Gallery in Los Angeles in 2006-7 and was accompanied by a full color catalog. This was the most substantive and comprehensive examination of her work to date and included over 60 pieces spanning various media—traditional and digital prints, video, and mixed media works on wood panels. As part of the national Feminist Art Project, Hive Universe was the forerunning exhibition in Los Angeles to recognize the achievements of the feminist art movement. Her work has been reviewed and written about in Artweek, ArtScene, Artillery, Coast, exposure, Daily Serving, LA Weekly and the LA Times among other publications and journals.

Originally from New York, Macko received her undergraduate degree from the University of Wisconsin and her graduate degrees from the University of California, Berkeley with a concentration in painting and printmaking. She has been a practicing artist since the early 1980’s, producing over thirty solo exhibitions and participating in over 150 exhibitions both nationally and abroad. She has received more than 30 research and achievement awards for her art. She has traveled extensively and has had highly productive artist residencies at the Banff Centre for the Arts in Canada and the Musee d’Pont Aven in Brittany, France.

Her work is in numerous public collections including the Metropolitan Museum of Art, Fine Arts Museums of San Francisco, UCLA Hammer Museum, Los Angeles County Museum of Art, Mount Holyoke College Museum of Art, New York Public Library, North Dakota Museum of Art, Portland Art Museum and the RISD Museum of Art.

Nancy Macko

Artist Statement

My work addresses life’s fundamental questions. I photograph the process of the life and death of plants that serves as a metaphor of our brief existence. Increasingly threatened by encroaching development, plants remind us how fragile our ecosystem is. As an artist working with many media, including photography, printmaking, and installation, I wish to present the natural world’s often hidden beauty in the photos I take. Ecological concerns also drive my creativity, and details are key—I take my photographs using a macro lens, to capture the particulars of the flowers and the bees. I hope that my efforts will support the recognition of natural beauty and the need to preserve the lives of the bees, so important to our ecology and food supply.

I began to photograph the life cycle of bee-attracting flora in Southern California, where I maintain my own garden. Currently I am documenting the flora of native plants that attract bees in different regions of the US in order to create a lexicon of images that can broaden our awareness of the bees. The bees are a super organism and show us how collaborative work can be done collectively for everyone in the hive. They model to us a better way to survive. The simplest thing everyone can do to help the bees is to plant wildflowers because they provide the bees with the healthy nutrients they need to flourish and survive. My work with botanical specimens underscores my interest in the life cycle, both the bees’ and our own. In recording the life cycle of bee-attracting flora, I hope to shed light on our own brief lifespan.

The honeybees’ very survival is at risk from pesticides that cause them to lose their memory and thus their way back to the hive. My exhibition, entitled “The Fragile Bee,” was recently shown at the Museum of Art and History in Lancaster, California. The exhibition is composed of five bodies of work: “Botanical Portraits: SoCal and MileHigh,” 18 photos of bee-attracting flora; two videos: “Lore of the Bee Priestess” and “Bee Stories,” in which digital imagery and sound present a social and political viewpoint of the bees; "The First Ten Prime Numbers," a suite of 10 lithographs; “Meadow,” a 6 X 12 foot digital mural of a meadow with detailed insets of the native wildflowerswildflowers (also available as 12 X 36'); and two large-scale mixed-media multi-panel installations, "The Honeycomb Wall" and “Honey Teachings: In the Mother Tongue of the Bees,” each of which consists of over 100 hexagonal panels of images and text, placed on the wall. The work is intended to bring awareness of the bees’ current plight and how we can alter it.

The plight of the bees is a call to action that is a social and political action with its roots in feminism. It requires a mindfulness about our place in the universe and our purpose in our lives. The bees are a symptom and a sign of much deeper and broader problems in our environment. How we treat the bees is symptomatic of how many women and children are treated around the globe. Our awareness needs to expand so that we can fix/solve/heal these plights. There is a parallel connection here. If we don’t save the bees this will not only effect food supplies but also food prices, which will have a worldwide ripple effect. If we don’t create a safer world in which women and children can truly thrive, we will sacrifice a collective balance that can only have catastrophic consequences.

Nancy Macko

Ultrachrome, Carl Berg Gallery, Los Angeles Our Very Lives, Centre International d'Art Contemporain, Pont-Aven, France Lore of the Bee Priestess, Other Gallery, Banff Centre, Alberta, Canada

Nancy Macko SELECTED EXHIBITIONS

2021 The Fragile Bee, Hilliard Museum of Art, Lafayette, LA; Mary G.Hardin Center for Cultural Arts, Gadsden, AL

2020 The Fragile Bee, Alden B. Dow Museum of Science and Art, Midland Center for the Arts, MI 2019 The Fragile Bee II, Peggy Notebaert Nature Museum, Chicago Academy of Science

The Fragile Bee 1, University of Wisconsin Union Galleries, Madison, WI The Fragile Bee I, Discovery Museum, Bridgeport, CT

The Fragile Bee I, Ferris State University, Big Rapids, MI The Fragile Bee II, Irving Arts Center, Irving, TX

The Fragile Bee II, Reynolds Gallery, Texas A&M, College Station, TX The Fragile Bee I, The Museum of the Southwest, Midland, TX The Fragile Bee II, Loveland Museum, Loveland, CO

2017 Print 2017, Exposica internacion de Gravura Global Printmaking Exhibition, Douro, Portugal

2016 Nature as Metaphor, Augen Gallery, Portland, OR2015 Now on View: Recent Acquisitions of Prints and Drawings Spanning Five HundredYears, Portland Art Museum, OR

System und Willkür: Nancy Macko and Siegfried Cremer, Gesellschaft für Kunst und Gestaltung(GKG), Bonn, Germany The Fragile Bee, Museum of Art and History, Lancaster, CA

2014 Nancy Macko: Hopes and Dreams and Works on Paper, Thomas Paul Fine Art Ltd., Los Angeles Natural Subjects, Harris Gallery, University of La Verne, CA (two-person)

2013 Hopes and Dreams: A Visual Memoir, Boston Court Performing Arts Center, Pasadena, CA Hopes and Dreams: A Visual Memoir, Andi Campognone Projects, Pomona, CA

Nancy Macko: Selected Monoprints, 2009, Terminal 3, Los Angeles International Airport 2009 Gaia and Global Warming: Women Artists Champion Nature, Arts Association at the Center for

the Arts, Jackson Hole, WY Convergent Topologies, Davidson Galleries, Seattle Cumáky, Zobáky, Sosáky (Muzzles, beaks, stingers), Galerie Califia, Horažďovice, Czech Republic

2008 Hive Moments: Nancy Macko, Works on Paper, Commissary Arts, Venice, CA 2007 Prime Matters, Kavli Institute for Theoretical Physics, University of California, Santa Barbara 2006 Hive Universe: Nancy Macko, 1994–2006, Los Angeles Municipal Art Gallery

Fourteen Artists/Fourteen Years: Mahaffey Fine Art, Portland Art Museum, OR 2005 Lore of the Bee Priestess, New York International Independent Film and Video Festival

A x S (At the Intersection of Art and Science), Armory Center for the Arts, Pasadena, CA

Inner Landscapes, West Los Angeles City Hall Gallery, Los Angeles

2018 The Fragile Bee I, Pentacrest Museums, University of Iowa, Iowa City, IA

2017 Print 2017, Exposica internacion de Gravura Global Printmaking Exhibition, Douro, Portugal

2016 Nature as Metaphor, Augen Gallery, Portland, OR 2015 Now on View: Recent Acquisitions of Prints and Drawings Spanning Five Hundred

2004 2003

1998 Glimpsing Romania, Rutgers University, New Brunswick, NJ 1996 1995 P.L.A.N. (Photography Los Angeles Now), Los Angeles County Museum of Art1994 1992 Inner Landscapes, West Los Angeles City Hall Gallery, Los Angeles 1991 Multiple Horizons, Hyde Gallery, Grossmont College, San Diego 1989 Shifting Cycles, Double Rocking G Gallery, Los Angeles

Across the Miles, Ashiyagawa Gallery, Ashiya, Japan 1988 New Directions in Printmaking, Collector's Gallery, Oakland Museum 1986 California Artists, Gallery Beni, Kyoto, Japan

The Next Wave: Digital Revision, Light Factory, Charlotte, N

Dance of the Melissae, Brand Library Art Galleries, Glendale, CA

SELECTED BIBLIOGRAPHY

2018 Goodman, Jonathan. Nancy Macko: Flowers, Bees, and a Passion for Justice, Loveland Museum, CO Hamilton, Elizabeth. “The Metropolitan Museum of Art acquires works by Professor of Art Nancy Macko,” Scripps College, August, 24, 2018.

2015 Howe, Kathleen Stewart, Carole Ann Klonarides and Stephen Nowlin, The Fragile Bee: Nancy Macko at MOAH; BLURB.com. Brown, Betty Ann. “The Importance of Flower Paintings.” Artweek.LA, June 15. MacNaughton, Mary Davis. “Memory and Beekeeping in a Tradigital Mode.” Art in Print 4 (March–April): 42. Nowlin, Stephen. “Nancy Macko and the Real Bee.” KCET Artbound, May 29.

2014 Brown, Sienna. “Inside and Outside: The Interplay of the Personal, the Political, and the Universal.” In Women and Print: A Contemporary View. Claremont, CA: Scripps College.

2009 Niner, Katy. “Sounding the Alarm: Six Female Artists Explore the Effects of Global Warming.” Stepping Out: Jackson Hole News and Guide, September 9. Paterson, Carrie. “Multiverse at Claremont Museum of Art.” Artillery Magazine 3 (January– February).

2007 Bebout, Catherine, and Mary Birmingham, eds. Contemporary Printmaking at the Crossroads. Montclair, NJ: George Segal Gallery, Montclair State University.

2006 Breuer, Karin, Connie Butler, Mary-Kay Lombino, Mary Davis MacNaughton, and Gloria Feman Orenstein. Hive Universe: Nancy Macko, 1994–2006. Claremont, CA: Scripps College. Christensen, Judith. “Hive Universe at Municipal Art Gallery.” ArtScene, December 25.

2005 Frank, Peter. “A x S: At the Intersection of Art and Science.” L.A. Weekly, August 19. 2003 Ressler, Susan R. Women Artists of the American West. Jefferson, NC: McFarland. 2001 Mattera, Joanne. Encaustic Painting: Contemporary Expression in the Ancient Medium of

Pigmented Wax. New York: Watson- Guptill. 2000 Calder, Diane. “Intersections of Art and Science.” Art Scene 20 (September): 13–14.

MacNaughton, Mary Davis. In the Mind’s Sky: Intersections of Art and Science. Claremont, CA: Scripps College. Muchnic, Suzanne. "Inspired Leaps from the Lab to the Studio." Los Angeles Times, August 27. 1999

SELECTED PUBLIC COLLECTIONS

Fine Arts Museums of San Francisco American Association for the Advancement of

Science, Washington, DC University of Bonn, DE

Portland Art Museum, OR Los Angeles County Museum of Art Mount Holyoke College Museum of Art, MA Museu do Douro, Douro, Portugal Metropolitan Museum of Art, NY Newport Art Museum, RI New York Public Library North Dakota Museum of Art, Grand Forks Pomona College Museum of Art, Claremont, CA RISD Museum, Providence, RI Ruth Chandler Williamson Gallery,

Scripps College, Claremont, CA UCLA Hammer Museum, Los Angeles Brown University, Providence, RI

AWARDS, GRANTS AND RESIDENCIES

Mary W. Johnson Professorship in Teaching, 2018

Creative Capacity Fund, Center for Cultural Innovation, San Francisco, 2015

Residency, University of Dayton, OH, 2011 Residency, Banff Centre for the Arts,

Alberta, Canada, 2003–4 Residency, Musée de Pont-Aven, France, 2003–4 Residency, Virginia Center for the Creative Arts,

Sweet Briar, VA, 1989–90 Sabbatical Research Fellowship, Scripps College,

Claremont, CA, 1989–90, 1995–96 Jean and Arthur Ames Studio Art Faculty Research

Award, Scripps College, Claremont, CA, 1988–2019 Faculty Research Grants, Scripps College,

Claremont, CA, 1986–2018

Exhibition Fact Sheet Nancy Macko

Of Grace and Connection: Nancy Macko’s The Fragile Bee Project

Nancy Macko’s exhibition includes the installation Honey Teachings: In the Mother Tongue of the Bees, 2014. This wall installation is composed of 104 hexagonal wooden panels displaying bee imagery. Sometimes statements about the bees are included: “Worker bees are born to serve the greater good.” Installed on the wall, the individual panels look very much like a hive, completing the implicit metaphor of the project. Her botanicals are remarkable visions of the hidden intimacies of nature, while her bee imagery is both beautiful and indicative of a larger purpose. In addition, also included is an earlier multi-paneled work, The Honeycomb Wall, 1994, comprised of 92 hexagonal panels that include mixed media, printmaking,digital images and vinyl phrases. Macko’s works also include fine art prints and her photographs are clearly related to the 2007 suite of etchings entitled In the Garden of the Bee Priestess. These prints combine abstract, decorative imagery with specific depictions of bees and flora, thus bridging some of the interests of 1980s Pattern art with a more contemporary view. In Nirvana for the Future: The Divine Reading Lesson Series (2011), Macko employs hive imagery and combines it with a regularly appearing image, an arrow-like shape which stands in for an ancient matriarchal goddess. These prints are highly skilled, eclectic gatherings of images taken across time, across cultures and across geographies. NUMBER OF OBJECTS:

SPACE REQUIREMENTS:

PARTICIPATION FEE:

INSTALLATION:

TRANSPORTATION:

18 photographic prints, 1 installation of 104 parts, 1 digital mural, 1 photographic triptych, 2 videos, 1 installation of 92 parts, and 1 suiteof 10 prints in Section 1; 23 prints in Section 2.Sizes, dates and media featured on pdf (www.ktcassoc.com, Curators, Artists’ PDFs).

“The Fragile Bee” (Section 1) is 360 running feet; “Other Available Works” (Section 2) is 200-250 running feet.

Round-trip shipping, wall-to-wall insurance (50% of retail value), and color exhibition announcement card (with a $200 credit from Katharine T. Carter & Associates.)

Prints are mounted to hang with standard museum hooks. Details and instructions provided by the artist if necessary.

The exhibiting institution will provide all transportation for the exhibition and cover all related costs. This will include full responsibility for delivery at the conclusion of the exhibition. Work must be fully insured during transport and packed by directions.

COMPLEMENTARY SUPPORT MATERIALS:

Katharine T. Carter & Associates will provide a $200 credit towards the production of a color announcement card, 200 complementary catalogues, and museum wall text. All pre- written press materials, to include biographical summary, artist statement, petite essay, press releases, media releases, pitch letters and radio/television spots, to be provided by Katharine T. Carter & Associates.

CONDITIONS: 1. Exhibiting institution must provide object insurance to coverreplacement costs should items be damaged or stolen while onpremises. Minimum insurance required: 50% retail value. Shouldloss, damage or deterioration be noted at the time of delivery ofthe exhibition, the artist shall be notified immediately. If anydamage appears to have taken place during the exhibition, theartist shall be informed immediately.

2. Security: Objects must be maintained in a fireproof buildingunder 24-hour security.

3. All packing and unpacking instructions sent by (artist) shall befollowed explicitly by competent packers. Each object shall behandled with special care at all times to ensure against damage ordeterioration.

4. As stated above (see space requirements), the number of worksto be exhibited can be dictated by the space and needs of theexhibiting institution.

5. Exhibitors may permit photographs of the exhibition and itscontents for routine publicity and educational purposes only.Exceptions may be made pending discussion with the artist.

CANCELLATION: Any cancellation of this exhibition by the hosting institution, not caused by the actions of the artist, shall entitle Katharine T. Carter and Associates to an award of liquidated damages of$3750.00. The hosting institution further agrees that any suitbrought to recover said damages may only be brought inColumbia County, New York.

Contact and additional information: Katharine T. Carter 518-758-8130 Katharine T. Carter & Associates fax 518-758-8133 P. O. Box 609, Kinderhook, NY 12106-0609 [email protected]

Exhibition Fact SheetNancy Macko (continued)

mailto:[email protected]

For exhibition inquiries contact Katharine T. Carter & Associates

Email: [email protected] Phone:

518-758-8130

Fax: 518-758-8133

Mailing Address:

Post Office Box 609 Kinderhook, NY 12106-0609

Website: http://www.ktcassoc.com

mailto:[email protected]

http://www.ktcassoc.com

Documents

SECTION I: The Fragile Bee