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Jan 29
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City’s junk becomes a cautionary artistic vision
By Victoria Dalkey, Bee Art Correspondent, Friday, Jan. 27, 2012
Gioia Fonda’s drawings begin as photos of street debris.
You would expect an exhibition at a college gallery to be educational. Gioia Fonda‘s show at the James Kaneko Gallery on the American River College campus is that in spades. Fonda documents every step of the labor-intensive process by which she creates her masterful drawings of piles of junk. This body of work, one of which won the best of show award at last year’s State Fair art show, is a poignant comment on a sad aspect of the economic downturn our city has been experiencing.
She begins with color photos of trash piled up on the street in front of houses in her neighborhood. “Most of the piles,” she writes, “seem to occur when an address has experienced an eviction, a foreclosure or sometimes a death: always some kind of transition.” Like canaries in coal mines, they are harbingers of worse things to come. For Fonda, they represent “not only a reflection of the lending crisis but also a comment on our rampant consumerism and the utter disposability of what we produce and what we buy.”
Gioia Fonda stands in front of her winning state fair art piece, “Pile, With Soccer Ball.” The acrylic on canvas art piece placed first in the 2011 California State Fair and is currently displayed in the Kondos Gallery. Tony Wallin wallintony@yahoo.com
That is scarcely a new idea, but Fonda treats it with a mixture of sadness and a formal integrity that lends the piles a kind of monumental grace. The giant pile with a soccer ball, a potted plant, an old bike and a wheelbarrow that was shown in the State Fair exhibition is on view here and is even more imposing in the smaller Kaneko gallery.
Surrounding it are other drawings, among them “Watering Can,” a triangular pile of trash in which a watering can plays a small but significant role. A trio of drawings on the wall across from it features tangles of netting, worn tires, plastic jugs, and a stuffed toy. These are not only commentaries on our throwaway culture but strong abstractions reminiscent at times of Bauhaus Constructivism.
As interesting as the finished drawings are, a series of works that demonstrate how Fonda arrives at her destinations. She begins with the color photos, then isolates the shapes of the objects in the piles, draws them on paper and cuts them out. These cuttings she piles up and arranges into collages from which she then makes Xerox prints. It’s a lengthy, exacting and time-consuming process, but it pays off with drawings that are both moving and formally elegant.
Accompanying Fonda’s works at the campus gallery is a series of mostly small bronze and ceramic sculptures by Garr Ugalde. Their imagery is both innocent and menacing. Combining childhood toys with instruments of war, they comment on “how quickly the world engages its children in war.” “Beehive Rocker” places a child on a crude rocking horse surrounded by alphabet blocks. A beehive placed over the child’s head adds a surreal note of danger. “Pecker” combines grenades and bird skulls. “Night Mother” gives us a pregnant woman with a birdhouse on her head.
Children’s toys and the use of bird imagery, Ugalde writes, “speak to the ideal of freedom, innocence, and the safety of home.” Though superficially, he notes, they seem to be innocuous, lurking among them are instruments of destruction, many derived from war toys. Ugalde’s small works made of bronze are intricate and imbued with a dark humor that turns disturbing as you note the details in them. A larger piece made of ceramic is blunter. Titled “I Used To Carry a Big Stick, Two,” it gives us a pit bull with a grenade in its mouth sitting on a block covered with an American flag. Small texts cite places in which confrontations have occurred, among them Wounded Knee, Guantánamo and Havana. Ugalde’s work is a nice complement to Fonda’s and the two visions result in a show that is both moving and thought-provoking. Curator Ramsey Harris has done a great job of installing the show.
GIOIA FONDA: THE PILE SERIES
GARR UGALDE: WAR STORIES
What: Gioia Fonda lends a monumental grace to piles of refuse that she sees as “a comment on our rampant consumerism and the utter disposability of what we produce and what we buy.” A complementary exhibit of small bronze and ceramic sculptures comes from Garr Ugalde. His imagery is both innocent and menacing, a comment on “how quickly the world engages its children in war.”
Where: James Kaneko Gallery, Room 503, American River College, 4700 College Oak Drive, Sacramento
When: 11 a.m. to 4 p.m. Mondays-Thursdays, 11 a.m. to 2 p.m. Fridays, or by appointment, through Feb. 8
Cost: Free
Contact: (916) 484-8399
© Copyright The Sacramento Bee. All rights reserved.
Also see: Art instructor, Gioia Fonda wins State Fair competition
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Nov 27
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Fonda – Better Days (Album Review)
Thanks to their dead-on instincts for engaging melodies and their heavy My Bloody Valentine influences, Better Days is a focused set of lush, dreamy pop.
In the eight years between Catching up to the Future and Fonda’s new EP, Better Days, the band’s principal songwriting duo, Emily Cook and David Klotz, have devoted their energies to some truly questionable projects: Cook contributed to the screenplay of the execrable Gnomeo & Juliet, while Klotz is the music editor for the ongoing pop-culture nightmare that is Glee. Egregious and eyebrow-raising though those credits may be, Cook and Klotz’s work here is characterized by relatively good taste. Thanks to their dead-on instincts for engaging melodies and their heavy My Bloody Valentine influences, Better Days is a focused set of lush, dreamy pop.
The massive power chords and thundering percussion line of the title track open the EP on something of a Coldplay note, but a heavily distorted lead guitar line quickly kicks in and the song’s melody takes a minor-key turn, recasting the song as an effective and on-point homage to early-’90s shoegaze. Cook and Klotz sing lead in unison on “A Love That Won’t Let You Go,” and they use off-kilter, slightly discordant harmonies to bring a real sense of tension to the track. While that approach to arrangements might not be novel (Fonda is hardly the first act to draw heavily from the Jesus and Mary Chain), it’s something they make effective use of over the course of Better Days, allowing their deliberate aesthetic choices to play as big a role as their lyrics and performances in creating the EP’s tone.
In the eight years between Catching up to the Future and Fonda's new EP, Better Days, the band's principal songwriting duo, Emily Cook and David Klotz, have devoted their energies to some truly questionable projects: Cook contributed to the screenplay of the execrable Gnomeo & Juliet, while Klotz is the music editor for the ongoing pop-culture nightmare that is Glee.
To that end, Fonda absolutely makes the most of Better Days’s scant running time. Even with the new track, “Some Things Aren’t Worth Knowing,” added to the set for this new rerelease, the EP doesn’t even scratch a full 20 minutes. None of the songs ever threaten to overstay their welcome (“In the Coach Station Light” is an unabashedly lovely two minutes), and there’s something to be said for the degree of precision Fonda brings to their songwriting, especially on the riotous, punk-inflected standout “My Heart Is Dancing.” That said, even in a market that’s increasingly singles-driven, the sheer brevity of Better Days casts the EP as more of a teaser for a bigger project than as a standalone release.
Other links: Youtube, Fondamusic, Bandcamp
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Sep 11
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Pebble Beach war pilot recalls surviving missions
By DENNIS TAYLOR, Herald Staff Writer, Posted: 09/05/2011
After flying his 50th bombing mission over Europe, Bill Fonda of the United States Army Air Force was rotated back to the U.S. to a base in Greenville, S.C. On the day he got those orders, he briefly considered asking for a transfer to a fighter plane squadron.
“I had always wanted to fly fighters, and if I had asked, they might have given me the transfer,” says Fonda, now 91 and living in Pebble Beach. “But I didn’t ask, and they didn’t offer, so I came home.
“I’ve always wondered how my life might have turned out if I had pursued that option,” Fonda muses. “I might not have married the woman I married, might not have had the children and grandchildren I have. My whole life might have been very different — assuming I had survived.”
His survival, he believes, is the reason he was awarded the Silver Star, for “gallantry in action against the enemy,” along with nine other military medals, for his service in the European Theater during World War II.
“It’s not always true — there are exceptions — but my feeling about medals is that you get them for being in the wrong place at the wrong time, and managing to survive,” he says.
Read the complete story in The Herald’s print or e-edition of Sept. 4
(If anyone has the text of the full article, or a photo, please forward to webmaster@fonda.org)
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Jun 03
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Olga Fonda Finally Arrives
September 2011 Interview in Melroze Magazine.
Casting Bits: Hope Davis, James Rebhorn and Olga Fonda Join Real Steel
slashfilm.com – June 1, 2010 – Hope Davis (About Schmidt), James Rebhorn (Independence Day, The Game) and Olga Fonda (Love Hurts) has been cast in Shawn Levy’s futuristic robot boxing movie Real Steel. No word on what roles they will play.
General Information (Olga Fonda)
tvrage.com – Olga Fonda was born Olga Tchakova on October 1, 1982. She is 28 years old. She was married under the name Olga Fundamynsky until 2008. Born and raised in Moscow, Olga came to the United States at 14 years of age. She has been seen in several small uncredited upcoming roles in films including Little Fockers, Crazy Stupid Love, and Reel Steal.
Former Winthrop exchange student takes on Hollywood
Olga Tchakova has made it to Hollywood and adopted one of its famous last names: Fonda.
Olga Tchakova has made it to Hollywood and adopted one of its famous last names: Fonda.
Some people might remember her as a 14-year-old exchange student at Winthrop High School in 1996-1997 who came from Uhtka, just above the Arctic Circle in Russia. She later returned to attend the University of Maine at Augusta. Now she’s in a much warmer place and making her way as an actress and model as Olga Fonda. “Living in Los Angeles has given me an opportunity to pursue my dreams and has been able to open the doors to unlimited possibilities,” she said recently via e-mail.
Fonda’s introduction to America began with the Auclair family in East Winthrop. “Well, first of all, I was able to learn English,” she said. “I was also introduced to the beauty of the American culture through my lovely host family, my teachers and all of my friends in Maine. They believed in me and encouraged me to always follow my dreams.”
Fonda now speaks English with a hint of a Russian accent. “Her English is really great,” said Debora Hillier (formerly Auclair), who was her host mother. “From the third month she was a chatterbox; she has such a wonderful command of languages.” Several members of her former host family joined her recently in Boston for the East Coast premier of the movie “Love Hurts,” where she appears as Valeriya. “Olga plays a Russian ballerina love-interest of the young star,” said Hillier said. “She very convincingly breaks his heart as she did to a few of the Winthrop boys.”
“Love Hurts” premiered at the Strasbourg International Film Festival, the Temecula Valley International Film and Music Festival in California, the 15th Annual Boston Film Festival, La Femme Film Festival in Los Angeles, and the Savannah Film Festival. Fonda said it will be screened at the Orlando Film Festival and the Big Apple Film Festival and has a theatrical opening in Los Angeles on Nov. 13. More info about “Love Hurts” is at www.lovehurts-movie.com .
Hillier, her husband Jim Hillier, and her son, Paul Auclair, attended the Boston Film Festival where the movie won Barra Grant the best director award and took the best comedy award at the Boston Film Festival. “Lovely Olga wanted to be a model,” Hillier said. “It was her aspiration and she never lost sight of that goal.”
At the UMA admissions department, Kristen Duplessis recalled Fonda as a bubbly, outgoing work/study student. “She was very successful doing student tours,” Duplessis said. “She’s such a sweetheart.” At UMA, Fonda majored in financial management. “I want to thank everyone at Winthrop and at UMA for letting me become a part of the exchange program and welcoming me into their schools, community, lives and hearts,” Fonda said. “It was an unforgettable experience and I will cherish the memories and friendships I have made in my heart forever.” When she’s back East, Fonda tries to visit her friends in Winthrop and Augusta. Hillier is hoping she can make it to Maine for a visit this year, and Fonda, too, said she hopes to be back soon.
Fonda still models for television and print commercials. She stands about 5-foot-8, and spent time modeling in Japan, Italy and the United States. She has appeared in “Nip/Tuck,” “How I Met Your Mother,” “Melrose Place,” “Entourage,” and in many television commercials and advertising campaigns, including print ads in “Vogue,” “Bazaar,” and “Cosmopolitan.” “I am looking forward to continue working with creative and dedicated directors and actors,” Fonda said. “There is so much that I want to do, people to meet, places to visit. I want to do it all! As an actress, I would love to take the audience through the journey of a story in the most believable way.”
links: Olga Fonda on IMDB, Facebook, Wikipedia
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Apr 23
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Possibility In Objects
Gioia Fonda transforms gutter garbage into art
By Stephanie Rodriguez on 4-22-2010Ordinary hurricane fence morphs into happy orange flowers, familiar green baskets that once held strawberries transform into whimsical city skylines and forks found abandoned in Sacramento’s gutters glisten brightly. These are Sacramento City College assistant art professor Gioia Fonda’s recycled treasures. And her art. “I feel that people aren’t being as creative as they could be with their trash,” Fonda says. “There are possibilities in objects. A lot of things could be repurposed.”
Sacramento City College professor Gioia Fonda snuggles to one of her quilts, some of which are made with repurposed plastic bags.
Fonda’s den of creativity once filled a large space in Verge Gallery and Studio Project at 19th and V streets, but now is awaiting construction of walls before its move into a new location downtown near S and Seventh streets. Her studio brims with random objects found during her daily bicycle commute. While seated at her workstation, Fonda appears wholly comfortable surrounded by a world of recycled bliss.
On the ground, a white ceramic owl anticipates a fresh coat of paint. Boxes labeled “froo-froo fluff” and “Valentine crap” rest neatly on shelves. Hand-painted sheets of construction paper wadded into balls, then pierced with string, hang over a doorway. There’s more: A patch of cotton-candy-pink fur is pinned to one wall. A tin caboodle chock-full of gel pens beckons even the most artistically challenged. A small table bears an assortment of dull and bent silverware. A tiny pile of snipped paper bits lay interwoven on her desk.
Scanning the entire room, Fonda jumps up and grabs an object she proudly presents as a “weed tiara.” “Everything looks better with spray paint,” Fonda says, matter of factly, while holding what appears to be a chunk of flattened tumbleweed. “One day, I just decided to spray-paint it pink and then, another day, I decided to glue a little sequin on the tip of every [branch].”
A simple weed, flattened by numerous cars and blown into the gutter in front of her art studio, now sparkles with new purpose. “When things are cheap, I’m more likely to take a risk and try something new than if I spend a lot of money on art supplies,” explains the blond 36-year-old of her attraction to found art and collage. She says that her family always looked at things “a little differently.” “For me, it’s second nature.”
She points out a deity sitting on a shelf lined with orange lace, safely surrounded by an old picture frame, silently surveying the studio. An artificial-grass fan is attached to the deity’s back, forming a green aura, while an old ink pen and pair of scissors stand guard at its sides. Multicolored paint chips, scraped from Fonda’s palette, lay as an offering at the deity’s feet.
“[My mom] thought it would be funny to give me this little goddess, my ‘studio goddess,’” Fonda says, smiling. Her mother, Chloe Fonda, is also an artist. “Most of the paintbrushes I have were hers when she was in school. She kept good care of them, and I take OK care of them, and they are still usable 50 years later. “I think there’s a sense that you should use things and take care of them for as long as you can.”
Students in Fonda’s collage-and-assemblage classes quickly learn this lesson, too, and items such as an ordinary gum wrapper, lying in a crumpled-up ball on the ground, becomes their art. Fonda’s intention is to show students that they can save money by visiting thrift stores or by simply taking a second look at, say, the plastic bag bread comes in. “My motivation isn’t always saving the Earth, although that’d be nice,” Fonda admits. “[But] everything could be useful somehow. It could be turned into something.”
Fonda’s passion for recycled collage and assemblage has produced notable projects. “Gioia is one resourceful woman,” says Sacramento City College’s art department chairwoman Emily Wilson. “A piece that comes to mind is a quilt she made entirely out of used plastic shopping bags. She created a piece of artwork with intricate pattern and vivid color made entirely out of what most of us would consider trash.”
Fonda started collecting plastic bags from different bodegas around Brooklyn during her studies at the School of Visual Arts in New York City. She saved them by making a book of plastic pages. Two years later, they reappeared as the quilt. “When I use plastic bags, I can kind of experiment, and it’s freeing to me,” Fonda says while unfolding her plastic masterpiece, which rustles softly. Certain squares of the quilt are very familiar: the swirly “S” of Safeway, red Target circles, even the intense yellow of a Sacramento City College bookstore bag. “I was just thinking I had so many plastic bags, and they were such beautiful colors … what could come of it?”
Fonda says that her fear of driving is the reason she commutes by bike, but that pedaling through Sacramento puts her at the street level, which makes it easier to find objects for future art projects. “I used to go on walks with a friend [and] her dog, and she would be laughing at me for how many times I bent down to pick things up,” Fonda says. “My pockets would be full by the end of the walk.”
Fonda, who has also participated in state fair competitions for recycled art, feels everyone is capable of repurposing an object, but everyone should also push the aesthetic potential a little more. “If somebody wants to start out, just look around,” she advises, thinking. “Like all those AOL discs that come in the mail all the time. We gotta think of a project for those!”