artPark

What is all this talk of bubbles?

Alright already! I got it. I understand the economy is in the crapper, and there are all sorts of bubbles bursting (is any one else envisioning rockets red glare?). But do we need analysts telling us that the art market bubble has burst as well? Read the latest doom and gloom from Alexandra Peers in the Wall Street Journal here.

I'm sick and tired of people talking about the crumbling art market but only referring to what is going on at the major auction houses and the $1,000,000+ sales. This is only a sliver of the real art market. Yes, Sotheby's and Christie's deal in big bucks, but why isn't anyone testing the temperature of the grass roots art market – you know, the art that sells for a lot of zeros less than a Damien Hirst diamond encrusted skull? A vast majority of professional artists sell their original work at the under-$10,000 level. Laura and I strongly believe some of the best and most creative contemporary art out there can be had for $1,000-$10,000 (even less if you are vigilant and savvy). And most commercial art galleries throughout the country sell work in this range as well.

We have all heard plenty about the demise of the housing market. I'm certain when determining the health of housing no analyst is only looking at the sales of the $1,000,000+ mega mansions. They are looking at the whole market... all homes.... even those priced under $150,000. Don't people who live in these homes buy original art too? So why isn't the entire art market examined before declaring its bubble burst?

As a commercial gallery in the "trenches", I can say that this slumping economy has definitely reared its ugly head - we have heard some recent stories from clients who are victims of corporate layoffs and those who are putting purchases on hold for the time being - but that doesn’t spell the demise of the art market. Beautiful and meaningful still sells – no matter what direction the Dow is headed.

ANTOINETTE PRIEN SCHULTZE - ArtInPlace

I am posting regularly on the recent placement of the 2008-2009 ArtInPlace public sculptures along the byways of Charlottesville. Please follow me in this series as I give you a little tour...

When I was presented the images of Maine sculptor Antoinette Prien Schultze's work on the first day of judging, I thought this was a no brainer. Massive chunks of granite imbedded with bits of glass and beautifully constructed. That's what large scale outdoor sculpture is all about. Better yet, in Antoinette's piece titled Syllogism, she has evoked the bodies of two sentries stationed at their post. They brave all weather and stand rock solid. Their simplicity speaks volumes – not an easy feat for a 13 foot tall structure. It got high marks from me throughout the selection process, and they now stand on the Preston Avenue median near Rose Hill Avenue.

Specifically about Syllogism, I am most attracted to its undeniable materiality. It is rock. It comes from the earth. It isn't fancy or polished. It is firmly planted on the ground. No question what it is or where it came from. It is truly elemental in nature and strong in character. Antoinette's skill at giving it life and personality is the cherry on top.

Antoinette says this about the piece:

A "syllogism" is defined as a formal argument with a conclusion that is supported by a major premise and a minor premise.  This sculpture has a strong and imposing presence that evokes the feeling of ancient stele (one larger than another) that stand beside each other and rise up in rhythmic arched unison.  The space created between the two stones is inviting and large enough to serve as a passageway... I like to think of "Syllogism' as a pathway or gateway to peace and harmony.  The small pieces of yellow glass that embellish the front and back of the sculpture represent the spirit of hope in us all.

HANNA JUBRAN - ArtInPlace

I am posting regularly on the recent placement of the 2008-2009 ArtInPlace public sculptures along the byways of Charlottesville. Please follow me in this series as I give you a little tour...

Judging by the number of cars that whizzed by me while I took pictures of Grimesland, North Carolina sculptor Hanna Jubran's Opposing Forces, I think I can safely say this will be the most viewed sculpture in town. Located on the 250 Bypass median between McIntire and Hydraulic (across from the fire station), Opposing Forces is a totemic piece that fits in well with the beautifully landscaped stretch of highway. About this piece, Hanna says:

This sculpture is from a series of sculpture that deals with the concept of gravity and the four elements; Earth, Water, Fire and Wind in our universe on the micro to the macro level. It expresses the cycle of life, growth and opposing forces in our universe with the interplay of line, form, space and colors. These elements are seen in a variety of forms and colors as they occur in nature. They are ever changing. As Gibran Khalil Gibran said, "The mission of art is to bring out the unfamiliar to the most familiar." With this, I would like the viewer to gaze, interact and experience my sculpture.

For me, I see a depiction of the sun in the geometric and puerile colored steel structure. The sun can be either rising or setting (the opposing forces). This is particularly fitting for the east/west directional 250 Bypass. Morning and afternoon commuters on the highway are forever battling the force of the sun on the horizon. Think of that the next time you are speeding down 250 squinting under your flipped down visor as you try to get a clear view of the road through the sun's prismatic glare. That's what I call elemental forms and colors.

This is Hanna's third time as an AIP selection. He exhibited in 2006 and 2007. If Hanna continues to apply, he will always get my vote. It is important for this city to exhibit the work of this world-renowned artist. We are fortunate to have it.

Over the years, Hanna's work has been on exhibit in North America, Europe, Asia, the Middle East, Latin America, and South America. He has participated in numerous international art shows, competitions and symposiums. Currently, Hanna is a Sculpture Professor and Sculpture Area Coordinator at East Carolina University.

JOYCE AUDY ZARINS - ArtInPlace

I am posting regularly on the recent placement of the 2008-2009 ArtInPlace public sculptures along the byways of Charlottesville. Please follow me in this series as I give you a little tour...

At no point in the selection process was I particularly moved by the piece submitted by Massachusetts sculptor Joyce Audy Zarins called Strobus (as in Pinus Strobus... or eastern white pine... or pine cone for short), but other jurors voiced their approval. In the collective voting process, Strobus made the first cut (I never voted for it). During the final rounds of cuts, I could tell certain jurors felt strongly enough about it that I resisted opposition (I exercised diplomacy since I needed their support on some of my favorites).

Now that Strobus is in its place, I’m even more disappointed. Turns out, the photos of Strobus Ms. Zarins provided were of the painted steel piece as it was exhibited on Chicago's Navy Pier... in 2003. Five years of exposure has done nothing for it. Now, sitting on the Fifth Street median near the intersection of Cherry Street, it looks weathered, tired and faded. Maybe during the winter, with a dusting of snow over it, Strobus will come to life.

      

A little bit about Ms. Zarins: Joyce Audy Zarins was born in 1949 and grew up in Lawrence, Massachusetts. Her interests in art and the phenomena of nature developed consistently, leading her to Massachusetts College of Art, then later to the University of New Hampshire and eventually the School of the Museum of Fine Arts in Boston, where she used natural materials and forms in her work and experimented with new media. She has received grants for sculpture performances and outdoor installations relating to natural forces.

GERT OLSEN - ArtInPlace

I am posting regularly on the recent placement of the 2008-2009 ArtInPlace public sculptures along the byways of Charlottesville. Please follow me in this series as I give you a little tour...

As I have mentioned before, selecting individual pieces of sculpture for a city sponsored public arts program has some innate obstacles. Staying within the parameters of general public "taste" is probably one of the largest (and most frustrating) issues faced as a juror. It generally excludes a handful of fantastically provocative artistic pieces. Remaining politically neutral occasionally rears its head as well. In the selection of Gert Olsen's Looking For Ice, I thought this was an extremely attractive and well executed piece of art. But, as a juror, I also kept thinking it was as close to a politically charged piece we were going to get. It got my vote.

Looking For Ice is not a large piece, but it is eye catching and stands out handsomely along Schenk's Branch Greenway (on McIntire Road between Preston and the 250 Bypass). The luminosity of the Colorado Yule marble is absolutely beautiful - a pure white that as soft to the eyes as it is to the touch (give credit to Gert's technique of repeated sanding sessions). But my gut tells me no one will be able to pass by the yearning polar bear in its out-of-place Virginia home without considering the politicized fate of these magnificent creatures in their native northern wilderness. Try to look at this sculpture and not give thought to the destruction many of our actions and habits have on the environment. You don’t have to be a tree hugger to consider Looking For Ice to be a reminder that our actions have consequences. The plight of the polar bear and the warming environment is a litmus test for all of us... even here in Virginia.

Is there irony in its location adjacent to Charlottesville's only public recycling center? You be the judge. All I know is that out of the plethora of objective and subjective means of judging the quality of a piece of art, Gert Olsen has fulfilled two important ones: Looking For Ice is beautiful to look at, and it causes you to think seriously.

About Gert Olsen: Gert was born and educated in Denmark. He immigrated to Canada in 1956 then to the United States in 1962 where he gained citizenship. He has lived and worked in Jupiter, Florida since 1984. Gert started his career as woodcarver which expanded into church carving. He transitioned to stone in the late 1970s.

Regarding his sculpture, Gert says:

My sculpture is the result of working and experimenting with various materials and methods of carving. Twenty-five years of cabinetry and wood sculpture evolved into stone carving. I work with the natural texture and color of the stone to create representative sculpture of animals and human forms and to develop abstract shapes. All of the stone is personally picked from quarries and stone yards in the United States and Europe. The stone block is initially cut and shaped with modern saws and cutters, then further shaped with traditional carving equipment, including chisels both pneumatic and manual.

Gert has shown his work all over the United States at major art shows and has had work shown in galleries in New York, Michigan, Pennsylvania, North Carolina, Virginia, Illinois and Florida. He also has work in art collections in England, Switzerland, France, Germany, Japan and his native Denmark. Mr. Olsen is a member of the International Sculpture Center, Washington, DC and has received numerous awards at various art shows.

Sarah White taps Laurel Hausler

Right on the heels of me getting all excited about Maggie Taylor's artwork appearing on the cover of Shawn Colvin's new album, "These Four Walls," Laura and I get word from one of our very favorite local artists, Laurel Hausler, that her artwork will grace the cover of Virginia based singer-songwriter Sarah White's new album, "Sweetheart" (buy it here). It’s been 20 years since I’ve gotten excited about album cover art, and now I get a two-fer in a matter of days. Cool.

Sarah's talent for songwriting recently received national accolades at the 2007 Mountain Stage New Song Contest where she won Best Song for "Sweetheart." For those of you who missed Sarah's performance last month at the filled-to-the-brim Gravity Lounge here in C'ville, she will be performing tonight (Nov 14) at Frye Springs Beach Club, and again in Richmond at The Camel on November 20.

As for Laurel… She has been tearing up the visual arts scene lately. Most recently, she had an exceptional solo show at the Nevin Kelly Gallery in DC called "A History of Dogs and Witches." In it, Laurel got to show off her newest series of paintings, ink and watercolor drawings, sculptures and other works – all of which have been described as erudite, evil, haunting, mysterious, beautiful and charming (read an interview of Laurel in the DCist here). Prior to the Nevin Kelly show, Laurel exhibited in the main gallery of the Gallery in the Woods in Brattleboro, Vermont. We also saw Laurel's paintings exhibited in New York at the Affordable Art Fair this past June.

Collaborations like these are win/win/win situations: When the visual arts and the musical arts come together, the painter wins, the musician wins, and the audience wins.

KEN THOMPSON - ArtInPlace

During the last few weeks, a new selection of outdoor sculptures has been placed along the byways of Charlottesville. This is the result of the very successful ArtInPlace public art program, and has become an annual tradition in this town. Since I participated as a juror in the selection process this year, I’d like to give you a little insight into what is now out there for the public's viewing pleasure. So, please follow me in this series as I give you a tour.

With the holidays soon upon us, the predictable buzz around the hyper-commercial Barracks Road Shopping Center will no doubt increase. But, before you pull into the parking lot, make sure you cruise down Emmett Street and catch Kenneth M. Thompson's ArtInPlace installation called Split 2. I love this piece - a lot! And I’m so happy it is located on busy Emmet Street near the generally packed Barracks Road Shopping Center.

For Split 2, Ken has fabricated corten steel (with zinc rivets) into a graceful and virtually weightless twelve foot tall sculpture. Beyond the warmth of the weathered color and the softness of the form, I am truly attracted to the joyful emotion Ken has created in this monumental piece. Split 2 virtually dances along the Emmett Street median - leaping and defying its grounded state. Ken releases the burden of Split 2's weight by lifting the design lines upward and springing the piece up on one foot. You feel that with just a little more effort, Split 2 could release itself from its moorings and we would see it happily skipping down the street.

Ken holds a Master of Liberal Studies in Sculpture from the University of Toledo and a Bachelor of Fine Arts in painting from Siena Heights College, Adrian, MI. Ken has been making sculpture for more than 25 years out of his car dealership turned studio in Blissfield, Michigan. From this facility he also operates Flatlanders Sculpture Supply and Art Galleries (the gallery has an impressive exhibition schedule). Ken has received a variety of awards and honors in national and international exhibitions.

For additional insight to Ken's work, he says:

I have long felt that profound art contained a high level of spiritual content, not necessarily that of religion, but that of the "spirit of a man" - a spirit defined by his truth and honor. My sculpture is based on this form of spirituality.

Split 2 is definitely a spirited piece; one that we are fortunate to have here in Charlottesville. I predict it will lift a few spirits during the upcoming season of holiday shopping madness.

ADAM WALLS - ArtInPlace

During the last few weeks, a new selection of outdoor sculptures has been placed along the byways of Charlottesville, Virginia. This is the result of the very successful ArtInPlace public art program, and has become an annual tradition in this town. Since I participated as a juror in the selection process this year, I’d like to give you a little insight into what is now out there for the public's viewing pleasure. So, please follow me in this series as I give you a little tour.

During the review and selection deliberations, many of this year's AIP jurors were not exactly overwhelmed by Adam Walls' entry, Mother and Child. Despite Elizabeth Breeden's heartfelt explanation that the piece was intended to depict the relationship of mother and child especially during rain storms where the water runoff from the mother figure flows directly upon the smaller child figure, a majority of the jurors simply didn't like the two slotted spheres. I guess they were thinking, "Exactly who would be hanging out and admiring this kinetic relationship during a rainstorm." Good point. So, what was believed to be the crux of the sculpture's intent missed the mark. I, however, saw it a little differently. Specifically, Walls' Mother and Child reminded of a monumental, bronze Henri Moore sculpture I was fortunate enough to be able to climb and sit on when I was growing up. The two certainly don't look alike, but I was hoping to have a piece that could give people (especially children) a chance to touch and play with - or on. Walls' sculpture captured this potential, and the other panelists saw my point of view and joined my vote. It was a good selection.

With it now in place at the edge of Washington Park (at the corner of Preston Avenue and 10th Street NW), I couldn’t be happier with Walls' work. It is modern, well proportioned, inviting, perfectly situated for its site, and it is the only AIP piece that you can easily interact with directly (like climbing on the Moore). In addition, I particularly enjoy the geometrically reduced forms being given an anthropomorphic relationship. We feel the kinship and the pull between a mother and its miniature offspring. Walls' sculpture is a simplified structure and is easily read, but it captures all the resounding maternal emotions and tenderness… like seeing a protective lioness caring for its young cub.

Adam Walls is currently a professor at UNC Pembroke’s Department of Art. Adam's sculpture has been exhibited in numerous sculpture parks and sculpture exhibitions across the country. His current work is predominantly monumentally scaled steel fabricated forms which often reflect his interest in escapist fantasy.

Shawn Colvin taps Maggie Taylor

Hey, Charlottesville… You can say you saw it here first!

Grammy nominated folkrock singer Shawn Colvin, has a new album out – "These Four Walls." It's another great one for Ms. Colvin. But what is important to me is the image she chose to grace the album cover. Ms. Colvin picked the art of Florida photographer Maggie Taylor. Specifically, Maggie's "Woman with a Stone Skirt" is used for the cover. This is the same photo we brought to Charlottesville a year ago during Migration’s November 2007 Photography Invitational (read my review of Maggie's art here). Good to see the power players in the music industry catching up to what we do here in Charlottesville.

  

This is probably the first time I’ve been excited about album cover art since the world switched from 12.5" x 12.5" vinyl sleeves to 5" x 5" CD inserts. Gone are the days of artists getting full-blown exposure through collaborating with pop music artists. Case in point: Little known Georgia folk artist, Howard Finster, became a household name soon after Michael Stipe and R.E.M. used his art for their 1984 album "Reckoning." The following year, Talking Heads used Finster's art for their 1985 album "Little Creatures" (which Rolling Stone awarded the album cover of the year). Finster's fame instantly became mainstream - including his selection to be part of the Venice Biennale - and visitor attendance to his Paradise Gardens home (an absolutely incredible visual art installation) in rural Summerville, Georgia exploded.

  

Just think of the millions of "Reckoning" and "Little Creature" albums that were sold in the mid-80's. That’s a lot of eyes seeing Finster's art who otherwise would have never heard of him. Those were great days for visual artists and getting exposure through album cover art. Let's hope for the same for Maggie Taylor.

Taubman Museum of Art

There is a new jewel in Virginia’s art museum landscape. The former Art Museum of Western Virginia located in Roanoke has spent the last three years undergoing a complete transformation and is now the grand and spectacular Taubman Museum of Art. The Taubman Museum is celebrating its grand reopening this weekend. Go to Roanoke. Enjoy the dramatic architecture and glorious new exhibition spaces. Be a part of the art.

 

Here are some excerpts from recent Taubman Museum press releases:

The Art Museum’s new 81,000 square foot facility has been designed by emerging Los Angeles architect Randall Stout, principal of Randall Stout Architects, Inc. and an internationally admired proponent of sustainable "green" architecture. The building is a dramatic composition of flowing, layered forms in steel, patinated zinc and high performance glass that pay sculptural tribute to the famous mountains that provide the city’s backdrop and shape the region's spirit.

The new building will house the Art Museum’s permanent collection and feature greatly expanded exhibition spaces and education spaces, including a larger Art Venture, the Art Museum’ interactive gallery and art center for children and families. It also will incorporate a multi-purpose auditorium, a flexible theater/programming space, a book and gift shop, a library and study center, an art studio, and a café with indoor and outdoor seating. A dramatic, spacious atrium will provide a meeting place for the community, as well as a premier downtown venue for special events and receptions.

Summarizing his approach to the design for the Taubman Museum of Art, Randall Stout said, "A guiding principal of this project is creating a powerful relationship to the natural landscape and its influence over life, learning and art in Roanoke. Our references to nature are intended as deeply meaningful ones and are central to the purpose… The beauty of architecture is that it creates a democratic situation by engaging every observer equally and making room for every possible interpretation. Like art, it connects people with their own past experiences and future ambitions, and provokes an intriguing array of responses…"

Public opening is Saturday, November 8th, 10:00 am. 110 Salem Avenue, Roanoke, Virginia.

Check out this full list of opening day events.

TIM TAUNTON - New Paintings

Through the Looking Glass

With a renowned 25 year career under his belt sculpting imaginative and dreamlike characters from clay, Georgia artist Tim Taunton has returned to his first artistic love, painting.

Opening this Friday, Migration is especially proud to host an exhibition of Tim’s newest oil paintings. Through the Looking Glass will run during the month of November. Please join us at the gallery for a reception starting at 5:30pm on Friday, November 7th.

Migration has enjoyed a long history with Tim. After being introduced to his sculpture 14 years ago, Laura and I have been very proud to represent his work at Migration. In 2006, we featured his sculpture with a show titled Insights and introduced his "children" Wind Woman, War Child, Layered Bride, Mona Luna (pictured below) and others to our mid-Atlantic audience. Migration also exhibited Tim’s sculptures at the internationally famed SOFA exposition in Chicago last November where 35,000 collectors of contemporary sculptural objects were wowed by Tim’s eye catching craft of detail and depth of story telling sculptural techniques. Laura and I are now especially thrilled to exhibit Tim’s newest body of work.

       

Tim has a passionate and personal relationship with each of his characters and the resulting paintings. These images come directly from his dreams and colorful imagination. Tim’s skill as a painter enables you to grasp his commitment to and the authenticity of each piece of art.

Through his paintings, we now get the rare view into the imagination of the sculptor. Tim spent years sculpting with images of how each of his characters existed in relation to an imagined setting or landscape. The paintings show us what Tim experiences in his mind’s eye – a rare opportunity indeed. To accentuate this special "view," Tim crafts his own frames for each painting in the form of a window. End result: We are given a window into Tim’s psyche and his imagined worlds.

Much like his sculptures, Tim paints with extreme clarity and detail. He uses oil glaze on board. The painting is a laborious process of creating layers upon layers of color with oil paint thinned with a varnish. The process gives a heightened degree of luminosity and saturated colors unmatched by other painting methods. The extreme detail fits nicely with the atmospheric clarity found in the American west desert landscape Tim so often refers to. Atmospheric perspective is negated. What is found in the background is as clear as what is in the foreground. Depth and a distant horizon are often brought forward. However, instead of becoming a primitive flattening of the scene, the rendering suspends the images in a surreal state - dreamlike.

With this new body of work, Tim has explored the concepts of translating his sculpture into paintings. Painting has allowed him to transcend the physics of sculpture. Specifically, Tim explains his return to painting as follows:

This series of paintings have, as a common factor, the subjects or characters I have produced three dimensionally in clay over my career. Painting has allowed me to explore new narrative possibilities that are not possible in sculpture. When I first came up with the ideas for each of my sculptures, I had envisioned them set within a specific location or landscape containing relative details and associated images. Creating these paintings allowed me to address and expand the ideas behind each of my figurative pieces and to present them free and unencumbered by the constraints of materials and sculptural practicality. For these paintings, I travelled the American West to photograph various architectural and/or landscape settings for use as references.

Overall, Tim's art flows from his love of storytelling. In his own words:

I grew up listening to stories that were rich in the cultural imagery of the South, which, in retrospect, I perceived to be incredibly surreal but wonderfully believable. It is this background that both inspires my ideas and enables me to translate them into a form of figurative imagery that combines metaphorical apparitions within a literal context. In this translation, as in any translation, some things are inevitably changed, lost or added. For better or for worse, this is part of the process of storytelling. The figures in my work have become characters engaged in their own story -- spinning around an axis of personal, social and cultural idiosyncrasies. They are personal interpretations of various human attributes aimed at striking the harmonics of emotion through allegorical representations.

Tim’s work has been exhibited nationally and internationally and is in numerous public and private collections including the Yeo Joo Institute of Technology, in South Korea, The Florida Gulf Coast Art Center in Belleair, Florida, The Arkansas Arts Center in Little Rock, Arkansas, and The Mobile Museum of Contemporary Art in Mobile, Alabama. His work has also appeared in several publications, including The Penland Book of Ceramics, Ceramics Monthly Magazine, (Dec. 2002, Dec. 1998 and 1994), Ceramics Art and Perception, (June 2007 and June 2001), and 500 Figures. Taunton's work has been shown in numerous exhibitions in this country and abroad.

Tim is currently a professor of art at LaGrange University in Georgia and director of the sculpture and ceramics program there. Two years ago, Taunton had a 20 year retrospective exhibition of his work called "Telling Tales: A Personal Mythology" at the Lamar Dodd Art Center in LaGrange, Georgia. He was awarded a sabbatical to work on these paintings on exhibit. He holds a Master of Fine Arts in Ceramics from Louisiana State University and a Bachelor of Arts in Ceramics and Painting from the University of Arkansas at Little Rock.

Through the Looking Glass at Migration is the first exhibition of Tim’s new work which is a product of a sabbatical from his teaching responsibilities at LaGrange College.

(Images of paintings above include:  Top, War Child; Middle, The Grand Finale; Bottom, The Bride of the Erechthion.)

GARY MITCHELL – ArtInPlace

During the month of October, a new selection of sculptures was placed around the byways of Charlottesville. It is the result of the very successful ArtInPlace public art program, and has become an annual tradition in this town.

At the northwest entrance to downtown, on the corner of the busy intersection of McIntire, High and Market Streets is one of my favorite selections. Draped Landolina is a nearly six foot tall aluminum female figure made by Gary Mitchell (aka Mitchellini) of St. Louis, Missouri. It is the only sculpture of the human form in this year’s selection. As a juror, I witnessed the other jurors wrestle with the concept of choosing a nude for the public domain. "Phbbthhhh," I said. Regardless, a compromise was reached, and out of the two sculptures presented by Gary, we went with the one that was most clothed. Whatever.

Gary uses a high technology method to make his contemporary metal sculpture. He has developed a technique, which he learned from the aircraft industry, in which an armature is draped with hand-shaped pieces of aluminum sheet metal and registered with respect to each other. The many pieces are fastened together with rivets (see the detail picture below) to make an integrated whole sculpture, which is lightweight and colossal in scale. The nature of the aluminum (being difficult to form) influences and limits the form. In this sense Gary keeps alive a sculptural tradition in which the artist is interested in the world outside the artist's self - namely the nature of sheet metal, its limitations and possibilities.

For Gary, the nude represents the subject that is most loaded with meaning and is the ultimate test of artistic proficiency. The proportions that Gary uses have a subtle and precise. The effect of the generalized lines and proportions make for a nude that is chaste and sensual, not vulgar or dehumanizing.

Next time you drive (or ride or walk or jog) into downtown Cville, take a moment and enjoy our new classically statuesque gate keeper. She really dresses up the place.

Draped Landolina is available for purchase. Gary’s website lists the price at a very reasonable $3,000. Buy it now and by next fall, you can include this magnificent piece in your front yard.

(Writer’s note: Portions of this post were gleaned from Gary Mitchell’s website.)

ANDREW HERSEY at Mudhouse

Fresh off exhibiting at the world famous Kentuck Festival in Alabama, Andrew Hersey is opening a show of his newest photos/collage/poetry on November 7 at the Mudhouse in Charlottesville. Since participating in Migration’s Photography Invitational last November, Andrew has been kind enough to include Laura and me in the development of this newest body of work he calls Nocturnes. From the beginnings, we have been intrigued and supportive.

  Nocturne

Anyone who knows my likes/dislikes in art knows that when I see written words splashed across a canvas, The Robot in me starts flashing, spinning and yelling "Danger, Will Robinson!" All too often the words steal from the visual stimulation supplied by the image – and not in a good way. For Andrew though, his words are absolutely integral to each of his pieces. In his photographs, Andrew includes a single stamped word on the actual item pictured. The words are not an afterthought. They are not add-ons. They do not lie on top of the picture. They are part of the picture. Of course, the words used are those thought provoking types that can pull your mind in challenging directions (overwhelm, hope, foundation, code, nobility). But paired with Andrew’s talented artist’s eye, he brings the deeper meaning within a comfortable range of understanding and contemplation. Harmony and balance is established.

 Visit

Much like Andrew’s successful Geographies series (the ones we showed at Migration), the Nocturnes are mixed media collages consisting of photographs, paper, found objects, paint, pencil, words and resin on board. All are one-of-a-kind. For me, Andrew’s inclusion of collage, resin and poetry is more superfluous than anything else. The real power of each piece is in the photograph.

Don’t miss this show. Go to Mudhouse, get some coffee, and explore Andrew’s art. Buy what you love. You will not be disappointed.

Side note: John and Lynelle Lawrence, owners of Mudhouse, continue to bring some of the finest visual art exhibits to downtown Charlottesville. Their continued participation in and support of the local art scene has given coffee connoisseurs exposure to some of the best art created in the central Virginia area.

SOFA Chicago 2008

This time last year, Laura and I had started the tedious task of packing up the art of six different artists and making the final preparations to exhibit at SOFA Chicago. We put a lot of effort (physical and mental) into the show and were really pleased with the results. This year, however, we spent some time looking into our business crystal ball trying to see the signs of exactly how the 2008 fair would treat us. We ultimately chose to play it safe and stay home. It was a difficult decision, but now with the economy rollercoastering its way down and everyone tightening their purse strings, we feel okay about our decision. Regardless, it will be tough not being part of the pageantry and spectacle that can only be found at SOFA.

This year’s show will be held from November 7^th through 9^th – with a special preview gala (not to be missed) during the evening of the 6^th – in the Festival Hall of Chicago’s famous Navy Pier.

Out of the hundreds of artists being exhibited by the 100 international galleries attending the fair, besides the Tagliapetras, Chihulys, Morrises, Pattis, and Maloofs, Laura and I recommend you seek out (and buy) the work by these artists:

  Adrian Arleo @ Jane Sauer Gallery

  Carolyn Morris Bach @ William Zimmer Gallery

  Michael Bauermeister @ del Mano Gallery

  Mark Chatterly @ Next Step Studio & Gallery

  Steffen Dam @ Galleri Gronlund

  Kathy Frey @ Mowen Solinsky Gallery

  Janice Ho @ Covet Gallery

  Joel Hunnicutt @ Katie Gingrass Gallery

  Michael Janis @ Maurine Littleton Gallery

  Jim Martin @ Covet Gallery

  Tim Tate @ Maurine Littleton Gallery

"While Rome Burns" - Final Week

Painting is not dead!

 

For a number of years, a debate has quietly roiled:  Has new technologically derived imagery displaced painting as the king of the visual arts?  There certainly are more "modern" forms of creating art available today which seem to be telling the world that older forms of art are obsolete and unworthy of substantial recognition.  But, for me, the act of putting brush to paint to canvas remains the epitome of artistic creation.

 

In our modern day high-tech society, we seem to be consumed by the media and the ease of fast paced imagery.  Jan Aronson’s paintings, however, bring us all back to the reality of what “art” is.  Indeed, Jan’s work embodies the recent declaration in the arts world that painting is NOT dead.  You can’t fake good painting technique; you can’t get lucky; and you can’t paint without a purpose.  All of this is self evident in the finished product hanging on the wall.

 

Jan Aronson’s paintings are internationally recognized and applauded for their sharply colored and textured depictions of basic natural elements: rocks, leaves, clouds, trees and water. Garrit Henry wrote for the publication Art in America, “Jan Aronson has confessed that Abstract Expressionism is a major influence on her landscapes. With some looking, it’s easy to see that she is something of an expressionist herself. She has traveled endlessly in search of the sublime – she has hiked in the Himalayas and barged down the Amazon, and she knows well the American Northeast and West. How the human self perceives, pictures and, above all, enlarges upon the drama of nature is what Aronson’s work is about.” And Mark Daniel Cohen wrote for the publication Art News, “Everything Aronson depicts has a quality of motion that is like the gesturing of a human body.”

 

Jan’s newest series of paintings, While Rome Burns, explores the turbulent and seductive elements of water in motion.  Many of the pieces take a micro part of a water image and make it macro thus forcing the viewer to confront the interior of the experience.  The ominous title While Rome Burns- a reference to Roman Emperor Nero and his legendary apathy in the face of the fires that destroyed the city in the first century- is a sign that Aronson has once again effectively infused her landscapes with her individual perspective. These interpretations result in a visually astounding personal adaptation of the basic elements of nature found around the world. About the series, Jan says, “The title of the series refers to my personal response to current national, international, and ecological events over which I feel I have little or no control.”

 

Jan’s work is in the public, private and corporate collections of the New Orleans Museum of Art (permanent collection), Eiteljorg Museum of Western and Indian Art (permanent collection), United Nations Watch of the World Jewish Congress (Geneva, Switzerland), United States Mission (Geneva, Switzerland), Residence of the Israeli Ambassador to the United States (Washington, DC), Ronald Lauder Collection (New York, NY), Fairfield University (Fairfield, CT), Glenn Janss Collection of American Realist Paintings, Vermont Council on the Arts, Michael Steinhardt Collection, Jerry Speyer Collection, Karen and William Lauder Collection, Isidore Newman School, Altamer Resort (Anguilla, British West Indies), and Delaware Beverage Company Art Collection… just to list a few.

Migration's exhibition of Jan Aronson’s While Rome Burns will be on view for one more week only.

Images include:  Top, Water #8; Middle, Water #10; Bottom, Water #6.

Supporting the Arts: Obama v McCain

Go figure… Barack Obama and John McCain have differing positions regarding federal support for the arts.

During these final days of campaigning, if you were still sitting on the fence (although I can’t believe any thinking person could be undecided at this point) consider the little discussed position of the two candidates regarding the arts. Kate Linthicum of the LA Times has written a nice article on the subject. Here are a couple of highlights:

Democrat Obama has spoken about the importance of the arts often on the campaign trail, and his official party platform includes a two-page arts policy statement that calls for increased government funding for the National Endowment for the Arts. Republican McCain has been practically mum on the issue, although two weeks ago his campaign released a four-sentence statement that calls for funding for arts education to be left to local entities, where "local priorities allow."

… Obama's was the most detailed, [Narric] Rome said. The Illinois senator formulated it with the help of his 33-person National Arts Policy Committee, whose members include Michael Chabon, the Pulitzer Prize-winning novelist, and George Stevens Jr., founder of the American Film Institute.

According to Rome, McCain never submitted an arts policy proposal; his campaign released its statement on arts education after 18 months of prodding.

… Rome said Obama was the first presidential candidate to have a national arts policy committee. "That's significant," he said. "That is not a fundraising arm. It was built to be a policy committee. Artists not only are being used as part of the campaign but also to further art policy."

Of course, the nominees' positions on the arts probably won't be a deciding factor on November 4. But I do believe how each of these two guys view this country’s future contributions to the world through its arts and advancing cultural endeavors is a significant indicator as to who will lead us in a positive direction.

Art In Place

Art In Place is one of the most progressive visual arts programs this little-engine-that-thinks-it-can-of-a-city has successfully produced and executed. Unfortunately, Art In Place gets no press coverage and virtually no notoriety. As a juror for this year’s selections, I thought I would do my part in giving the program the credit it deserves.

Some background first: Art In Place is an eight year old public arts project in Charlottesville created and managed by Elizabeth Breeden. It provides large scale public sculpture placed throughout the city. It is often referred to as "45 mile per hour art" because a majority of the city provided locations for the sculptures are found along roadways and highways (enjoy the art for 1.78 seconds). Bottom line, Art In Place makes art accessible to the public and provides the community a wide range of artistic styles, themes and media. And, for anyone driving through, it helps put Charlottesville on the map as a place where art is welcomed and not just a town made up of car dealerships, restaurants, gas stations, a university and a hospital.

One of the truly inspiring aspects of Art In Place is that it is not stagnant. Every year, new sculptures are selected and installed. This year, Elizabeth Breeden was kind enough to invite me to juror the applications. I jumped at the opportunity to have an active hand in supporting deserving artists and in determining what art people get to see.

As the jurors assembled, I could tell this was not going to be a normal selection process. We were a team of eight diverse people charged with selecting the specific pieces to be exhibited. Some had experience in the arts… some didn’t. Some were civic leaders. A couple were there because of their knowledge of landscaping. And a couple… well…. I’m not sure what they brought to the table. The biggest obstacle during the initial review was giving consideration to each sculpture for its civic "appropriateness". Although wonderful pieces, some had to be disqualified due to their apparent safety risk – too easy to climb on… and fall off of. And, some pieces were tossed out because their inherent fragility would not provide for them to stand up to the daily wear and tear – again, people potentially climbing on them or otherwise physically engaging them. And then there was the issue of those pieces that might possibly "offend" people. This is where I bristled. Come on folks! An exaggerated and stylized image of a nude figure is taken off the list because it might offend someone? Puhleeez.

After two days of contemplating, arguing discussing and judging, the jurors reached a consensus and selected 10 new pieces to be exhibited from October 2008 through September 2009. Here is a list of the artists (and don’t forget to check out their websites):

Hanna Jubran (Grimesland, North Carolina)

Doug Makemson (Commerce, Georgia) http://www.makesculpture.com/

Gary Mitchell (St. Louis, Missouri) http://www.mitchellini.com/

Gert Olson (Jupiter, Florida)

Karl Saliter (Cornwall Bridge, Connecticut) http://www.karlsaliter.com/index.html

Antoinette Prien Schultze (Eliot, Maine)

Kenneth M. Thompson (Blissfield, Michigan) http://www.kenthompsonsculpture.com/

Adam Wells (Pembrooke, North Carolina)

Chris Wubbena (Jackson, Missouri)

Joyce Audy Zarins (Merrimac, Massachusetts) http://www.joyceaudyzarins.com/

Please note where each of the artists come from. The overall pool of applicants represented Virginia and 17 other states. It pleases me to no end to see art created in different parts of this country coming to Charlottesville. Being exposed to what’s going on outside the foothills of the Blue Ridge Mountains warms my heart. Charlottesville will have the honor of exhibiting the work of some particularly notable sculptors. I’ll post more (and provide more pictures) on these individual artists as their pieces are installed.

The sculptures will be placed in their spots throughout October. So, drive around town and enjoy the work – but try not to take your eyes off the road for too long.

Images include: Top, Gary Mitchell; Middle, Joyce Audy Zarins; Bottom, Chris Wubbena.

Keeping up with... ERWIN TIMMERS

Reported by Laura:

We thought we’d catch everyone up on what glass artist Erwin Timmers is doing. I got a chance to spend a few hours with him at the Washington Glass School a few weeks ago when I made a trip up there to collect a work by another WGS director, Michael Janis. Erwin looked fantastic and energized by all the work he’s been doing. It was my first visit to the studio, which is enormous.

A little background… Erwin Timmers is a co-founder of the Washington Glass Studio and Washington Glass School. Originally from Amsterdam, he moved to California and graduated from Santa Monica College for Design Arts and Architecture. In 1999 he moved to the Washington DC area. His approach to art is multifaceted, incorporating metalwork, innovative lighting and glass design. He teaches glass, lighting, sculpture, and metal work. Industrial salvage and recycling are recurring themes in his work, which he sees as crucial parts to the interaction with one’s surroundings.

60s    70s 

80s    90s

Currently, Erwin is part of a show at Visarts in Rockville, Maryland called Glass Evolving. It will be on view until Nov 16. These images are of new work included in that show. I saw these pieces on my visit, and they are luminous and beautiful. The glass he used in them was tempered glass, so he went through an extensive melting and re-melting process to be able to use it. Even more importantly to my narrative mind, the works have a lot to say. For this series titled "What We Leave Behind" (pictured), what he did was collect a group of objects – sunglasses, battery, portable music device, money / credit cards, and phones among others – from each decade, the 1960s to the 2000s. What we get is a visual historical journey through the items we use every day and how they have changed. These objects are set into the glass as if they were found in rock 1,000 years from now. They are part history, part social commentary, and part beautiful imagery. All the elements of important artwork, although Erwin continues to see himself as more of a craftsperson. Which brings up an interesting point about the line between art and craft and how thin it is getting. But I’ll leave that for another discussion.

 detail of 2000s 

Erwin recently had new work in a show, "The Art of Trash," at the Baltimore Public Works Museum. And he is just opened a new show in Norfolk at Mayer Fine Art Gallery.

Erwin is a very busy artist, and his work is getting better and better. Get a piece while it is still underpriced at one of these great locations, or visit the studio, or give Migration a call and we’ll help you get a great piece.

The solution to our credit woes

Another day, another rollercoaster day for the Dow. Ugh. From the headlines, I think we all get the message that many of the financial problems are due in part to the lack of viable sources of credit. Well, I found the answer… ArtLoan. ArtLoan is the first and only private lender to offer asset-based financing to the antiques and fine arts community. From their website:

The equity in your fine art, collectibles and art-related assets is a powerful financial tool. Use it to manage your portfolio, achieve personal goals, create wealth-building solutions, or provide a constant flow of working capital for your business. Using effective borrowing strategies to put your art equity to work can help preserve cash, avoid potential tax exposure, and prevent untimely dispositions of assets.

Accessing the equity in your antiques, collectibles, and fine art is no longer a challenge. ArtLoan provides dealers, investors, and private individuals who own art-related assets the means to discreetly leverage these assets with an Equity ArtLoan ™ and soon, with their own personal ArtLoan Creditline™. With an Equity ArtLoan™ you may borrow against your art-related assets, thereby accessing the equity in these formerly illiquid properties, quickly and easily. With a personal ArtLoan Creditline™, clients have the flexibility of drawing funds against their line of credit without incurring interest fees or expenses until the cash is actually needed and accessed.

Just another example of how art ownership is more and more becoming a recognized fiscal asset.

Man on the mountain

When a new face comes into the gallery I like to break the ice in an attempt to start a little conversation. One of my standard silence breakers is "If you have any questions, I’ll be happy to answer them." It’s a sloppily worded phrase, but most everyone understands I’m talking about the art on the walls. Every now and then, however, I get a smart-aleck who interprets it literally and returns with a snappy "I have a question… What’s the meaning of life?" Ha ha ha. Cute. My first reaction is to tell them the answer can be found at the bottom of a whisky glass and point them to the bar next door. But, I usually keep my mouth shut, laugh it off and categorize that person as the aforementioned smart-aleck.

With a little time under my belt thinking about this situation, I have a better answer: Understanding this is in the context of standing in the middle of my art gallery, my response will now be…

The meaning of life is recognizing that art is not free and to give thanks every time beautiful art touches you in a meaningful way.

Keeping Up with… TIM TATE

It’s not easy keeping up with glass artist Tim Tate. He is a true shooting star in the art world. Since we exhibited Tim’s widely collected video reliquaries at Migration this past April (with Michael Janis and Erwin Timmers of the Washington Glass School), Tim has been extremely busy. Some of his highlights include shows at Jane Sauer Gallery (Santa Fe, NM), Marx-Saunders Gallery (Chicago, IL), Donna Saeger Gallery (San Rafael, CA), Pentimenti Gallery (Philadelphia, PA), Habatat Gallery (Berkshires, MA), Billy Shire Fine Arts (Los Angele