About me
1972-ongoing
Anne Beck is an interdisciplinary artist, educator, and landlooker living in the hills of Northern California. Her creative practice arises from a deep curiosity and wonder for worlds inside and out. She sees art-making as a contemplative tool for metabolizing history and experience, expanding awareness and understanding, and for opening new channels of being. Her work takes form as paintings, textiles, artist books, collaborative installations, and social practice inquiries - all with a keen interest in material research and storytelling. Collaboratively, she is one half of The Rhinoceros Project - a search through craft, art & colonial histories, and socially engaged practice for renewed values systems based in belonging and interconnectedness; and is a core member of The Printmakers Left - an international cohort working together since 1999 on printed manuscripts and collaborative installations. She is also presently engaged in a multi-year community dendrochronological project with Larry Spring Museum of Common Sense Physics in Fort Bragg, CA. Redwood Time calls into question and reimagines the timeline on Fort Bragg’s monumental redwood round.
Beck’s studio and collaborative work has been exhibited internationally, most recently at the Biblioteca de Mexico in Mexico City, Ex-convento San Juan Bautista in Tiripetio, Mexico, and Dream Farm Commons in Oakland, California. She has received residency fellowships from Virginia Center for the Creative Arts, Can Serrat in El Bruc, Spain, Oberpfalzer Kunstlerhaus in Schwandorf, Germany, North Street Collective in Willits, CA, Project 387 in Gualala, CA, and, with the Rhinoceros Project, Ramon’s Tailor in San Francisco, San Jose Museum of Quilts and Textiles Maker Space, Salinas Art Center in Salinas KS, and Lab 8 in Abruzzo, Italy. Rhinoceros Project sewing circles and papermaking happenings have been held widely throughout Northern California and beyond at the Museum of Jurassic Technology in Culver City, CA, and Museo Textil de Oaxaca in Oaxaca, Mexico.
From 2010-2015, Anne was co-founder and director of Lost Coast Culture Machine in Fort Bragg, CA, where she curated exhibitions and programming, organized and taught print and papermaking workshops, and operated a handmade paper mill - all with a mind toward sustainable practice.
Anne sustains a farm with her brother and a diverse crew in Southern Humboldt County, where she uses agricultural byproduct for papermaking, grows plants for fiber, dye, and paint making, and is imagining what a Landlooker Society Headquarters for material research and magical social practice might look like.
For more information or inquiries, please contact me here. I will be delighted to hear from you.
Beck’s studio and collaborative work has been exhibited internationally, most recently at the Biblioteca de Mexico in Mexico City, Ex-convento San Juan Bautista in Tiripetio, Mexico, and Dream Farm Commons in Oakland, California. She has received residency fellowships from Virginia Center for the Creative Arts, Can Serrat in El Bruc, Spain, Oberpfalzer Kunstlerhaus in Schwandorf, Germany, North Street Collective in Willits, CA, Project 387 in Gualala, CA, and, with the Rhinoceros Project, Ramon’s Tailor in San Francisco, San Jose Museum of Quilts and Textiles Maker Space, Salinas Art Center in Salinas KS, and Lab 8 in Abruzzo, Italy. Rhinoceros Project sewing circles and papermaking happenings have been held widely throughout Northern California and beyond at the Museum of Jurassic Technology in Culver City, CA, and Museo Textil de Oaxaca in Oaxaca, Mexico.
From 2010-2015, Anne was co-founder and director of Lost Coast Culture Machine in Fort Bragg, CA, where she curated exhibitions and programming, organized and taught print and papermaking workshops, and operated a handmade paper mill - all with a mind toward sustainable practice.
Anne sustains a farm with her brother and a diverse crew in Southern Humboldt County, where she uses agricultural byproduct for papermaking, grows plants for fiber, dye, and paint making, and is imagining what a Landlooker Society Headquarters for material research and magical social practice might look like.
For more information or inquiries, please contact me here. I will be delighted to hear from you.
1992 - ongoing
Contemplative, Process-based Studio Work
2021 - ongoing
STUDIO: A Vocabulary for the Conjurings
Collaborations with homemade, homegrown natural inks on muslin.
These paintings are meditations on living closely with the land and other creatures; by spiritual and psychological practices; mythological and cosmological guidance; and particularly by my experience with idiopathic health diagnoses in the wake of Covid and the work of healing.
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These paintings are meditations on living closely with the land and other creatures; by spiritual and psychological practices; mythological and cosmological guidance; and particularly by my experience with idiopathic health diagnoses in the wake of Covid and the work of healing.
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2023 - ongoing.
Becoming the Spider.
Weaving Experiments in organic cotton and wool dyed with nearby plants and mushrooms.
Statement coming soon
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Statement coming soon
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2015-2016
Rudimentary Industry
Research for and beyond The Printmakers Left publication The Hinterlands.
Attempting a rudimentary understanding of industrial workings, beginning with the book, A Rudimentary Understanding of Industry, Taking Measurements in 2015, and expanding into ideas of aesthetic remediation (a term I learned at the tabasco factory in Louisiana) and new landfill aggregates.
The collages overlap images found on via google search of factory sites that are on the PERI Toxic 100 with images of nature from the Life Books - and are playful proposals for aesthetic remediation.
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Attempting a rudimentary understanding of industrial workings, beginning with the book, A Rudimentary Understanding of Industry, Taking Measurements in 2015, and expanding into ideas of aesthetic remediation (a term I learned at the tabasco factory in Louisiana) and new landfill aggregates.
The collages overlap images found on via google search of factory sites that are on the PERI Toxic 100 with images of nature from the Life Books - and are playful proposals for aesthetic remediation.
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