Mary Ann Strandell is a painter of note. Her works are a movable terrain between image, media and their myriad histories.
Her discursive ideas about perception, staging and the decorative experiment with traditional and time-base digital mediums. She considers the poetic and the technological experiences of both urbanity and nature; through painting and interlacing images of the natural world with memes of the trade-industry culture. These are formed by activating information that comes up through observation and research, as a kind of transmission of ideas (and data). These include historic Asian and European Chinoserie, architecture of California Moderne, and more recently the architectural structures of Hudson Yards in New York City and San Francisco, CA.
Strandell's current exhibitions include Constructions and Transmission: Paintings and 3D Lenticular Media, Curated by Leslie Zarra Young, Marichu Custodio and Jeff Oakes is at Cliff Young ltd. in New York, NY; and IN/SIGHT at Sherry Leedy Contemporary Art, Kansas City, MO. She exhibited works in MULTINATIONALS, at De Weiger Museum, Deurne, Netherlands from January to May 2018. Her 2017 installation "For Baudelarie" at Sloace...Exhibition, Gallery 524, NYC, was reviewed in White Hot Magazine November, 2017, and presented in John Simon's blog, "Drawing your Own Path", Episode 11 (2/2/18); Currents New Media 2017 at El Museo Cultural de Santa Fe presented Strandell's 16 foot 3D Lenticular Media, Bamboo Forest II, BLUE Exhibition at Sherry Leedy Contemporary Art exhibited work from Standell's "Orient Shift" series; Arts In Public Places New Mexico acquired Strandell's "Patterned Algorithmic Interior for NMSU Campus; Her solo Exhibition, The Meme Salon opened at April Price Projects Gallery, Albuquerque, NM, May 30, 2017. Mary Ann was awarded two Artist in Residencies in 2017 at The International Menaul School, Albuquerque, NM, and Byrdcliffe Residency, Woodstock, NY.
In 2016 Laurie De Chiara Projects NY/Berlin presented her 3D Lenticular work at Berlin Art Week 2016. In September 2016, her 3-channel video, Tromploi and Other Spatial Anxieties, which combines lenticular file formats into a GIF moving-image was part of Transfer DOWNLOADS, organized by Kelani Nichole, at Minnesota Street Projects, San Francisco. Her work was also exhibited in Raid Envy at Lichtundfire, NYC; Shaky Ground at Lesley Heller Workspace, NYC; Surface One at ARENA Gallery, New York, NY; and Embedded Landscape at April Price Projects Gallery, Albuquerque, NM.
Her 2015 solo exhibition, Parallax opened with Sherry Leedy Contemporary Art, KC, MO. Parallax explores notions of optics and perception within the contemporary canon of utopia and dystopia. Her 2014 solo exhibition Re-Material, at The Second Street Gallery Art Center, Charlottesville, VA was curated by Tosha Grantham. It included groupings of oil paintings and various installations that combined polyglot lenticular media over a 48' sumi ink drawings. This work questioned language and the use of image, archive, ephemera, data storage, with the mediation of hand and computer-generated content.
Her public lecture, Lenticular Prints in a Hyperspace World, was held at The Nelson Atkins Museum Print Society, 2014. Recent exhibitions include, and/or at The Bruno David Gallery, St. Louis; In Good Company, Sherry Leedy Contemporary Art, reviewed by Elizabeth Kirsch in the KC Star; Delta Print was selected by master printer Ruth Lingen for The Bradley Gallery, Jonesboro, AK; Middlescapes at April Price Projects in Albuquerque, NM. In 2014, some exhibitions include: MAXIMAL/Minimal at Kinz + Tillou in Brooklyn, The Last Brucennial, NYC. Sixteen Sweet at Ivy Brown Gallery, NYC. Through the Looking Glass exhibition, was curated by Rebecca Jampol and Jasmine Wahi, at Gateway Projects, Newark Penn Station, NJ; Electric! at The Newman Museum in Overland Park, KS, and The Miniature Show at The Albuquerque Museum. Strandell's expansive installation of sumi ink with her polyglot lenticular prints was part of, All That Glitters, Newark Solo(s) Projects, curated by Athena Barat.
Her large 3D Lenticular installation commissions have been acquired by Arts in Public Places, NM; The Polsinelli Law Firm, KC, MO, and Los Angeles, CA; and The Stowers Medical Research Center, KC, MO. Some of her awards include Arts Midwest NEA, Geraldine R. Dodge Foundation Fellowship, Art Omi International Residency, the Bemis Center For Contemporary Arts Residency. Her works are in many public collections, including: the The Nelson Atkins Museum, The Newman Museum, The DiRosa Foundation, The Albuquerque Museum and others. She is collected by Fidelity Inc. London, Time Equity NY, Stowers Institute, Polsinelli Law Firm, Hallmark Corp, H & R Block, Brandies Investments, and the Federal Reserve Bank of Chicago, to name a few.
Strandell’s work has been written about in The New Yorker, The New York Times, Village Voice, Art Critical, Art Papers, Art Slant, The Kansas City Star, The Albuqerque Tribune, and more. She has exhibited with Michael Steinberg Fine Arts, NY; Kinz and Tillou, Arena Gallery, NY; Lesley Heller Workspace, NY; Gateway Projects, NJ; Second Street Gallery Art Center, VA; Byron C. Cohen and Sherry Leedy Contemporary Art, Kansas City; The North Dakota Museum of Art; The St. Louis Contemporary Art Museum; The Nerman Museum of Art, FIAC Paris; Panorama Art, Cologne; Gateway Projects, Newark, NJ; and many more.
Strandell studied Psychology at Syracuse University; Fine Arts, Art History and Political Science at the University of South Dakota. She was awarded an Internship from the W. H. Over Museum, and Fellowship from Tamarind Institute. Her MA and MFA are from the University of New Mexico. In 2014 mono-printing research took her to Future Arts Research as a Visiting Printmaker, in Tallahassee, FL. She has taught as a professor in various universities in the midwest, southwest, and recently at Montclair State University, NJ. She lives and works in the New York City area.viuasl me