Jeff Gibson 2020
Daughter Universes, at Malin Gallery
The title of Amy Myers’ first solo show with Malin Gallery (formerly Burning Water), aptly connotes a kind of cosmic femininity. Google-dig a little deeper and one learns that the term also refers to a hypothetical offshoot of quantum mechanics, which postulates that all material and energetic encounters spawn separate spheres of possibility. Myers’ father was an aviator and physicist who apparently suffused his daughter’s universe (sorry) with a lofty perspective and an enduring fascination for invisible, elemental forces and their diagrammatic representation. Read more »
press release text Barry Malin 2019
Using physics “as a springboard into the imagination,” Amy Myers creates immersive, meditative artworks that depict unimaginable spaces and improbable systems. While Myers is best known for her highly detailed drawings visually influenced by particle physics, philosophy, biology, and the human mind, her recent artistic focus has been on painting, a medium with which she began seriously working three years ago. Read more »
Clarity Haynes 2015
Spectral Bond, Light as Spiral, at McKenzie Fine Art
The artist Eric Fischl once called Amy Myers’s abstract drawings “totems to Cosmic Sexuality.” These words may seem hyperbolic, unless you’ve seen her startling, lacy constructions in the flesh. Her imagery is founded on vulva-like forms that emerge from a central axis, recalling the “central core” or vaginal imagery in early feminist work by artists like Judy Chicago. (Myers claims Lee Bontecou and Roberto Matta as artistic influences.) To my eye, Myers builds upon early feminist art in exploring the powerful intersection of sexuality and spirituality, revamped for the 21st century. Read more »
Randall Scott Projects 2014
Natural Curve, at Randall Scott Projects
Amy Myers’ intricate large-scale works on paper originate out of her fascination for the understanding of theoretical physics. The daughter of a physicist, Myers grew up immersed in the language and discourse of searching and theorizing a problem. It lead her into creating work that explored the ideas of structure within the universe and how structure can give way to chance and chaos. Read more »
Tyler Stallings 2013
Different Particles & Indeterminate States: New Monumental Drawings, at UCRBlock, Culver Center for the Arts
Amy Myers features several new works in this show. Using graphite, conté crayon, and gouache — decidedly low-tech tools that reference the “hand” of the artist in the making of the works — Myers creates luscious, abstract forms that reference simultaneously the movements of subatomic particles, trajectories of cosmic events, mandalas for mediation, and female sexual physiognomy. Overall, her mark marking suggests that a reference to any one, or all, of these events. And the scale of the works, varying in size from seven to twelve feet, is one that envelopes a viewer’s peripheral vision, creating a transport system into Myers’ own particular world. Read more »
Bondo Wyszpolski 2011
Contemporary Cosmology, at Contemporary Arts Center, Manhattan Beach
The gallery looks almost bare when one walks in. Then the eye roves about the room and the rich combination of texture and tapestry beckons: Come closer, pull up a chair, sit down and let’s talk.
Contemporary Cosmology contains half a dozen drawings – all but one of them the size of a magic carpet – by Amy Myers. The exhibition, which opened last week in the Creative Arts Center in Manhattan Beach, was curated by Homeira Goldstein and is being presented by Arts Manhattan. The work is thoughtful, intelligent, and engaging. Read more »
Alex Taylor 2009
Spin Zero, at Mike Weiss Gallery
Amy Myers’ abstract drawings, in conté, gouache and graphite on paper, are extraordinarily complex and riotously executed. They bring to mind lotus blossoms, sexual parts, Eastern mandala painting and particle physics. It is not surprising that Myers cites her father, a physicist, as an influence. This show, Spin Zero, hits a sweet spot of hard-to-place elegance. Read more »
Miriam Burner 2006
The Particle Zoo, at Mike Weiss Gallery
When making art, how much does the artist rely on logic and how much on intuition? Sometimes an artist attributes more to one than the other when discussing his or her art. Amy Myers, daughter of a particle physicist, alludes to the “internal logic of things” as being central to her approach to drawing. “There is a scientific reason behind everything,” she has said. And yet, as we look at these graphite and pastel markings which appear to float atop, tug at, and burrow into the very paper on which they are drawn, we have strong emotional responses. Read more »
Robert Hobbs essay 2005
The Opera Inside The Atom, at Santa Barbara Contemporary Arts Center
Four years ago in an interview, Amy Myers emphasized the scientific basis of her monumental style of drawing when she succinctly stated, “It’s very mathematical.” She noted at the same time that her father, a physicist, “recognized mathematical expressions,” whenever he looked at her work. Following these suggestions, art historian Robert Sobieszek listed some of the specialized mathematical and scientific terminology used by Myers in her conversations with him. They include: “four elemental forces, black holes and event horizons, branes and Calabri-Yau spaces, extended-dimension objects and curled-up dimensions, wormholes and Quantum tunneling, supergravity and supersymmetry.” Read more »
Eric Fischl, Spring 2004
ARTISTS ON ARTISTS: Eric Fischl on Amy Myers
Amy Myers grew up in a house of science. Physics was the currency of exchange. This was a world of moons, gluons, particles top and bottom, up and down, charming and strange—a universe of infinite space and permeable surfaces. The theories that inflamed her imagination boggle our senses. She has managed to commingle them and, to some extent, harness them in her mandalas of female physiognomy. If you thought them diagrams, you have only seen them from a distance. Read more »
Holland Cotter 30.05.2003 “Uptown, Too, Has Heat and Light Aplenty,”
String Series: The Handheld Universe, at Danese
Albers was the product of a high Modernist utopian time, which is unrecoverable now. His merging of art, science and spiritual discipline has produced contemporary heirs. Among them is Amy Myers, who makes an impressive New York solo debut at Danese with a show titled String Series: The Handheld Universe. Ms. Myers’s work in no way resembles Albers’s. His small paintings are geometric and emptied out; her large drawings are organic, diagrammatic, packed with detail. But her art, like his, is both system-based and personal. Albers’s foundation was optics; Ms. Myers’s is physics, and its laws of endless change and recombination. She learned those laws at home, as a child, from her father, a particle physicist whose experiments she observed. What she has come up with for herself is an art that is both hard labor and serious play. The single, big, complicated structure in each of her drawings is made of countless small draftsmanly parts, meticulously arranged. The symmetry is breathtaking, as are the spark-shooting forms that result. They suggest many concrete things — spaceships, ectoplasmic apparitions, sexual organs, mandalas — but remain emanations of the personal physics that generated them.
Penelope Rowlands 1999
The Virtual Underground, at Todd Hosfelt Gallery
“Her drawings are really a kind of pseudoscience,” gallery owner Todd Hosfelt says of this idiosyncratic artist, whose champions include New York’s New Museum curator Dan Cameron.
At once old-fashioned and futuristic, these huge ink-and-graphite drawings (ranging in size from 10-by-8 feet to 10-by-12feet) are difficult to parse.
From a distance, their subject matter could be entomological, botanical or technological; up close, the only certainty is that their meaning can’t be known. Such works as Virtual Underground, Blue Phase, 1998, give the viewer a look at something that—however detailed—remains mysterious.
Myers spends up to six months creating each drawing, and part of their power derives from the contrast between the stubborn abstraction of their subject matter and the craftsmanlike, almost antediluvian way in which they are made.
Born in Texas in 1965, the artist credits her father—a particle physicist who entertained her as a child by creating fictional narratives illustrated with textbook diagrams—with inspiring her work. After a number of group shows, including one at the Berkeley Art Center, this is Myers’ first solo exhibition.