Kyle Knobel




forthrite printing gallery

Oakland California, 2010

marjorie wood gallery
online, 2009

I collaborated with the poet Ingrid Keir for a show at Chris Komater's online project space. These ink paintings on paper are each approximately 18 x 24 inches. Ingrid's poems can be read online at the original exhibit. A book is available of this show here.






Visual artist Kyle Knobel and poet Ingrid Keir collaborate on a body of work centered around their apartment. Ingrid says, "since we are married and live together, and this place is the first and last thing we see each day, it seemed a good place to form a show around."


The first image of the show is a watercolor painting of the typewriter belonging to Ingrid's grandfather, also a writer. From Kyle, "I was interested in the sort of aggregate energy collecting in this little machine, now passed down to another artist in the family."


Ingrid's selection of writing revolves around events that are both incidental and specific to the home. The apartment as studio, as kitchen, as place to spend time, as a place for love and for annoyances, are all explored.

eleanor harwood gallery
san francisco california, 2007

This book was featured as part of the group show of artists considering global warming. Made as a limited edition of five books, Checklist for the Apocalypse is hand-painted in ink. Flip through the book.

remote satellite
oakland california, 2005

Excerpt of review by Chris Komater

Far from the hub of the San Francisco art scene, Michael Damm, Kyle Knobel and Leonie Guyer have created works of art that interact dynamically with each other and their location. The site-activated installations are located in an empty storefront in a far-away corner of Oakland's Fruitvale district. Organizer Damm has fittingly named the temporary gallery Remote Satellite.

Kyle Knobel fills the.. wall with a row of 45 pencil drawings of the same pair of handlebars, rendered in outline only, each nearly identical to the next, with slight variations. Each minute shift in perspective evokes a particular moment of the artist's experience. Like the exercise of trying to draw a perfect circle, the repetition reveals the limitations of hand and eye, yet played out as formal spectacle. The images, arranged horizontally, read almost like film stills, connecting to Damm's cinematic abstraction of the site. The use of the handlebars, likely something one would find in the streets outside.. abstracts through Knobel's repetitive and meditative representation.

adobe books gallery
san francisco california, 2005

triple base
san francisco california, 2005

Storefront windows. Permanent marker and found theater gels on sheets of acetate, fabric and lights.

21 grand gallery
oakland california, 2003

Review by Meredith Tromble

Alternative spaces like this will never happen again in San Francisco so it's nice to see it here, said painter Roy Tomlinson, looking around the funky gallery 21 Grand in Oakland. A relaxed crowd turned out for the opening of New Place-Oriented Work onight, featuring art by Sarah Cain, Michael Damm, Leonie Guyer, Kyle Knobel and Katherine Van Dyke.
Nobody's work was working too hard. Guyer's wall paintings are about the size of a playing card; Van Dyke, who was also painting on the wall, covered more ground but kept it white on white. Cain's intervention, a white mound with a corona of smoke marks climbing up the wall, was almost flamboyant in comparison. Damm's video Elsewhere scrolled along urban storefronts, revealing patterns everywhere. Viewing Knobel's video required climbing into a stuffy curtained black box, not the most appealing prospect on a warm summer night, but it was beautiful.

adobe books gallery
san francisco california, 2003

Ink on paper, with areas excized via an exacto knife.

Spraypaint on paper, 9x7 feet.

artist's television access (ATA)
san francisco california, 2002

nstallation materials are paper and ink. Scott MacLeod writes:

I have walked or driven by the video, performance and art-space ATA several hundred times. I'm surprised to be surprised by the fluorescent red and white burst (the type one usually only sees announcing Closeout Sales and the like) covering the entirety of its storefront windows. The jagged hyperkinetic shape punctures the monochromatic surface of the block with an ironic glee announcing - what exactly? A sale? There's no information, no price, no 'half off' inside the burst, nothing except ATA's doorway. So the burst is announcing itself, and announcing ATA, inverting the standard relationship whereby a gallery presents art. Here the art presents itself and the gallery, in effect celebrating art itself, its presence in the urban landscape (and socialscape) and ATA's long standing as a locus for.

Scott MacLeod has been presenting live, time-based, media, conceptual, and/or static work in the Bay Area and internationally since 1979.

the LAB
san francisco california, 2002

Approximate dimensions are 20 feet by 9 feet, Medium: shoe polish.


> Solo Exhibits
Eleanor Harwood Gallery. High Life. San Francisco April 2010
Triple Base.
On Losing & Finding One's Line. San Francisco 2005
Edo Salon. San Francisco 2003
Adobe Books Gallery. San Francisco 2003
Build Gallery. San Francisco 2003
Artists Television Access (ATA). San Francisco 2002
Bevy Gallery. Dunkirk NY 1996

> Group Exhibits
Forthrite Printing. Nothing/Everything. Oakland CA 2010
Soap Gallery. The Junk Mail Show. San Francisco 2010
Gallery 16.
Sonny Smith's 100 Records. San Francisco 2010
Marjorie Wood.
Collaboration with Ingrid Keir, including catalouge. San Francisco 2009

The Hallway Gallery. Pattern. San Francisco 2009
The LAB.
Postcard 11. San Francisco 2008
Eleanor Harwood Gallery. Miami Art Fair (Aqua). Miami FL 2007
Eleanor Harwood Gallery. Albedo. San Francisco 2007
Adobe Books. Miami Art Fair (Aqua). Miami FL 2006
Remote Satellite. Oakland 2005
Headlands Center for the Arts. Close Calls. Sausalito 2004
Mimi Barr Gallery. Books!Awesome! San Francisco 2004
Tangent Gallery. The Bay Area Show. Detroit MI 2004
Southern Exposure. Monster Drawing Rally. San Francisco 2004
21 Grand Gallery. Place-Oriented Work. Oakland 2003
The LAB. Q: Where you at? San Francisco 2003
Quotidian Gallery. Blood Show. San Francisco 2002
The LAB. The Last Hurrah. San Francisco 2002
Independent Media Center. 2 Decades of Ephemeral Art. Seattle WA 2001
Southern Exposure. Postcard 5. San Francisco 2001
DeBasement. San Francisco 2000
4 Walls. Postcard 4. San Francisco 1999
Gallery 82. Allentown. Buffalo NY 1998
Ford Street Lofts. Break My Heart 14. Buffalo NY 1998
Napoleon Street Studios. First Annual. San Francisco 1997
UC Berkeley gallery. 21 pieces Left to Right. Berkeley CA 1995
JT Christian Gallery. Explorations in Paint II. Fredonia NY 1995

> Screenings
Adobe Books. Taraval. San Francisco 2002
21 Grand. Taraval. Oakland 2001
Artists Television Access (ATA). OK. San Francisco 2001
John Simms Center. OK. San Francisco 2001
Artists Television Access (ATA). Street Sweeper. San Francisco 2000

> Special Projects
Record/Play 001. Book of images by K. Knobel. 44 pp., color 2007
For Their Love... Book of security envelopes. 2nd edition, 40 pp., b&w xerox 2007
Toward the Light. Book w/ I. Keir, design/photos by K. Knobel. 52pp. color 2007
Satellite magazine. Interview w/ doc film-maker J. Jones. 4 pp., color 2006
SECA Catalog. SF MOMA. Cover image for Sarah Cain exhibit. 1 p., b&w 2006
Record/Play 000. Book of interviews of Bay Area visual artists. 50 pp, color 2004
SF MOMA. 10 minute video for museum visitors. 2002
Somatic Lapse. Performance w/ R. Nordschow. Video by K. Knobel.
...... 21 Grand. Oakland CA 2002
...... Yerba Buena Center for the Arts. San Francisco 2002
...... New Langton Arts. San Francisco 2001
Location/Dislocation. Guerilla outdoor video projection. San Francisco 2001
Appointment Project. Performance and book. Bay Area 2000
Secret Box. Performance. Secrets exchanged in person & anonymously.
...... Hallwalls Gallery. Buffalo NY 1999
...... Anon Salon. San Francisco 1998

> Curatorial Projects
Another Step Forwards, Walking Backwards.

Artists: Allissa Anderson, Matt Furie, Reggie Sparks, Minnette Lehmann.
Adobe Books. 2004

What We Saw When We Got There.
A show of conceptually based drawing, with ‘drawing’ defined in its broadest possible terms.

The work is grounded in an investigation of place, yet are disparate in focus & content, ranging from digital projection & video to maps & architectural plans.
Co-curator: Michael Damm.
Artists: Nathan Burazer, Sarah Cain, Rita DiLorenzo, Amanda Eicher, Lucy Harvey,
Amanda Hughen, Zoey Kroll, Albert Reyes, Jennifer Starkweather.
The LAB. 2003

Q: Where are you at? Q: Where is your drawing at?
A group drawing show without theme nor guiding hand. Work for sale during the exhibit’s opening

Co-curator: Michael Damm.
Forty artists participate
The LAB. 2003

4-in-1 Project Room.
An exhibition of four solo artists’ projects housed within one gallery space. The show proposes an alternative to the traditional theme show format by foregrounding the autonomy of each artists’ work, and opening up the possibility of overlapping readings while leaving that space unmediated.
The LAB. 2002

The LAB Foyer Program
Start a new project space that is to host a series of one person shows. Focus on artists at the beginning of their public careers.
Solo shows: Tohru Kanayama, Amy Rathbone, Jo Jackson, Sarah Cain, Darren Jenkins, and Leslie Henslee.

The LAB. 2000-2002

> Education
San Francisco State University. MA Interdisciplinary Arts (Video). 2000-2002
State University of New York at Fredonia. BFA Painting. 1991-1996