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Anna Ludwig – Exhibit opening

anna ludwigAnna Ludwig is a Bay Area artist whose subject matter ranges from the socio-political to the supernatural. Her practice includes painting, drawing, mixed media and installation work. Anna was awarded an East Bay Fund for Artists Grant to create a public art installation, which premiered in September 2012 at the Capoeira Mandinga Academy in Oakland. Anna earned her M.F.A. from the California College of Arts in San Francisco and her B.A. in studio art from Harvard.

Anna lives in Oakland with her husband Sam, whom she met through her study of the Afro-Brazilian martial art of capoeira. She loves teaching art to both kids and adults. Anna regularly exhibits her work at Lee Hansley Gallery in her hometown of Raleigh, North Carolina, and at Art on the Balcony in Oakland. She was recently featured in “Anna Ludwig: Afterimages” in Guernica, a journal of art and politics. Her work has been exhibited throughout the San Francisco Bay Area, in New York, Boston and Cambridge, at the Corcoran Gallery in Washington, D.C. and at the North Carolina Museum of Art. Internationally, her work has been shown at TUMULT in Vordingsbord, Denmark and at Kunstalle Zu Kiel in Kiel, Germany.

Anna Ludwig’s exhibit at La Peña, resistência, will explore the connections between two bodies of work: a series of oil paintings featuring capoeira, and a series of watercolors examining traces of 1960’s counter culture left on the Bay Area landscape. The energy of an event leaves a stain on the place in which it occurs. Rooted in this concept, Anna’s work engages with the subjectivity of histories of political protest and resistance to oppression. For visual references, Anna uses the physical sites of political action as well as associated documentary images. In 2009, she began creating a series of watercolor paintings and other works examining People’s Park as a stain on the Berkeley landscape. From there she has continued to make work about the traces left on Golden Gate Park by the summer of love.

The Shooting of James RectorAnna was led to this body of work by way of capoeira. In 2006, Anna began a series of oil paintings from photographs of her friends playing capoeira, hoping to record an elusive feeling. In capoeira’s history, the body of the capoeira practitioner, or capoeirista, was a site of protest, of resistance to the oppression of slavery. When watching an exquisite game of capoeira, it seemed to her that this history of resistance inhabited the bodies of the contemporary capoeiristas. Understanding capoeira in this way inspired Anna to make work about the Bay Area’s history of political protest.

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