Josephine Taylor’s large-scale drawings are made with ink on paper. They show human relationships as both beneficent and catastrophic--exploring dynamics of power, love, abuse, vulnerability, anger, and infatuation. Her previous body of work (2006-2008), consisting of evaporated Sumi ink drawings and shadow prints, looked at family dependence as a means to survival after an imagined apocalypse. Her current drawings focus on the theme of physical deterioration and how relationships react to it. In these drawings, the protagonists are deformed--bulging heads, skinless bodies, missing limbs---yet are still strangely beautiful and still loved by someone.
- Monster Face + Bomb Landscape, Second Street Gallery, Charlottesville, VA, 2011
- Bomb Landscape, Catharine Clark Gallery, San Francisco, CA, 2008
- Passageworks: Contemporary Art from the Collection, San Francisco Museum of Modern Art, San Francisco, CA, 2008
- Pacific Light: A Survey of Californian Watercolor 1908 – 2008, The Nordic Watercolor Museum, Skähamn, Sweden, 2008
- The Diane and Sandy Besser Collection, de Young Fine Arts Museum of San Francisco, San Francisco, CA, 2007
- Bay Area Now IV, Yerba Buena Center for the Arts, San Francisco, CA, 2005
- SECA Award Exhibition, San Francisco Museum of Modern Art, San Francisco, CA, 2005
- Van Pee, Yasmine. “Josephine Taylor at Catharine Clark Gallery.” Modern Painter, April 2009.
- Feinstein, Lea. “Josephine Taylor at Catharine Clark Gallery.” ArtNews, April 2009.
- Sherman, Arden. “Josephine Taylor at Catharine Clark Gallery.” Beautiful/Decay, March 2009.
- Helfand, Glen. “Don’t Look Back: Glen Helfand’s 2008 Top 10.” SF Bay Guardian, December 24, 2008.
- Nakasone, Marisa. “Post Apocalyptic Visions: Josephine Taylor @ Catharine Clark Gallery.” www.examiner.com, December 2, 2008.
- Orden, Abraham. “San Francisco.” Art Papers, July/August 2005.
- Baker, Kenneth. “SECA Award winners at SFMOMA.” San Francisco Chronicle, March 5, 2005.