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Erik ReeL has exhibited at the Brooklyn Museum of Art, New York; Corcoran Gallery of Art, Washington,
D.C.; Society of Amercan Graphic Artists (SAGA), New York City; Seattle Art Museum, Seattle, Washington; Center on Contemporary
Art (COCA), traveling show ( L.A., Seattle, and New York); Landscape Unlimited exhibition, Chicago, and
in various University and gallery exhibitions, including over 30 solo shows.
Recent projects include a collaboration with composer Patrick Lindley for a Signal + Noise concert sponsored by the Center for Research in Electronic Art TEchnology (CREATE)
and the
Media Arts and Technology program at the University of California, Santa Barbara; and a revitalization of hand-pulled
screen-print technology, using more durable, heat-set inks and greater transparecncy in the ink layer capable of revealing
the qualities of the paper.
Has published in Vanguard,
High Performance, ArtExpress, ArtWeek, and SAW; in
the late 70s wrote a weekly arts column for a daily newspaper, and was Arts editor for the city magazine, The
Seattle Voice.
From 1975 to 1981 collaborated with choreographers, musicians, dancers, and performance artists
including Stuart Dempster and Fluxus founder, George Maciunas. Twice guest reader at Poetry Seattle where he created
a sensation performing Burning Angels, a piece read in total darkness as a nude dancer lit, then
extinguished, candles. Participated in the 1977 International Flux Fest, the last Flux Fest organized by George Maciunas.
Collaborated with Art Forum critic, Jae Carlssen, in a samhidzat zine circulated behind the
Iron Curtain. These activities culminate in two visits to his Seattle studio from Berlin art critic and activist, Wolfgang
Max Faust just prior to the Fall of the Berlin Wall.
Work from this period includes Silver Birds, a word/movement piece based on childhood visions
experienced at the Seattle International Airport; Women's flesh has always played a part in my dreams, a word
piece without ending; Burning Angels, and Night Voices, a sound collage based on the writings
of Jean Arp, Kurt Schwitters, and Max Ernst in collaboration with musician Sue Ann Harkey, first performed at the Seattle
Art Museum. He also curated an exhibition titled Krakatoa Kriterion in 1984.
After 1981 concentrates primarily on painting.
Erik ReeL was born in 1952, Seattle. Studied Mathematics for two years at
Whitman College, Washington, before attending the University of Washington, Seattle and University of California, Berkeley,
graduating summa cum laude from the University of Washington in 1975. Studied art history with Rainer Crone,
painting with Jacob Lawrence and Michael Spafford; sumi-e with George Tsutakawa and Chinese brush
with Hsieh Cheng.
Erik ReeL lives in San Buenaventura, California, north of Los Angeles, with his wife, Andrea Barkan.
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