Author Archives: mariecameron

Save the Date for Rise!

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Whitney Modern, in collaboration with Gutfreund Cornett Art, and guest juror Joan McLoughlin of McLoughlin Gallery, San Francisco, are pleased to present Rise: Empower, Change, Action! This juried exhibition features selected works in the gallery by thirty-six artists from locations around the country and additional twenty-five artists on a looping slideshow on a monitor in the gallery. If you are in the area, please join us for the reception and artist talk for Rise, Saturday, July 21, 12:30 – 3:30 pm (talk at 2:30).

RISE: Empower, Change and Action! brings artists into dialogue and brings forth what is important to self, community, our nation and the world at large through art that reflects on, addresses and seeks solutions for a more positive, empowering future, particularly for self-identified women and girls as well as their families. It is underpinned by the feminist principle that believes in political, economic and social equality for all. RISE emphasizes the commonalities of our human experience.

Join the conversation and see paintings, sculpture, printmaking, photography, collage and installations that speak for equality, independence and human rights while offering insight, healing and transformation.

Exhibition runs July 19 – August 31, 2018 hours Wednesday – Saturday: 11:00 – 5:30, Tuesday by appointment.
Whitney Modern Gallery 24 N. Santa Cruz Avenue, 2nd floor (no elevator), Los Gatos, CA

La Mariposa – Out of the Studio into the World

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The state imposed humanitarian crisis at our southern border has me (and most of the country) up in arms. That means a paint brush for me. I wanted to paint a baby, naked but for a skull-faced tattoo on its back, caged with chain-link fencing. I would not have the baby completely vulnerable though, she would be covered in clusters of live monarchs as though they were keeping the her and themselves warm while still others would fly through the fence, symbolizing migration and hope.

I didn’t quite finish it in time for the Families Belong Together Rally yesterday but I didn’t let that get in the way of printing up a poster using the words “Asylum Legal – Child Abuse Illegal”, as taking children away from their asylum seeking parents and then holding them in detention while their parents are held separately in different facilities, in different state, or worse – deported without them, is nothing but state sanctioned child abuse!

Protesting at City Hall in San Jose, California.

What a powerful and uplifting thing to channel all that horrible news into art and to share it with others lending your voice to the chorus of protest, speaking truth to power and injustice!

Pausing for a moment in front of Lacey Bryant’s fabulous mural.

Yes, it’s still a work in progress, I plan on adding more butterflies to the baby’s shoulder… but I’m glad that I didn’t let something so little as an unfinished painting get in the way of making a statement at the rally, every voice counts, especially when we use them together!

In the Pink and Feathers in Rise

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I have some very exciting news to share, both of my paintings, In the Pink and Feathers have been selected for Rise, a nationally juried show organized by Gutfreund Cornett Art in conjunction with Whitney Modern that will run July 18 – August 31, 2018 in Los Gatos California. For a preview of the inspiring and powerful work included in this exhibition, curated by Suzanne Whitney-Smedt, Marianne McGrath and Gutfreund Cornett Art, visit GutfreundCornettArt.com where you can also see who won the Special Recognition Awards, selected by Jessica Porter, David Weinberg and Joan McLoughlin!

“RISE: Empower, Change and Action! seeks to bring artists into dialogue and to bring forth what is important to self, community, our nation and the world at large through art that reflects and addresses complex socio-cultural issues and focuses on a vision for a more positive, empowering future, particularly for self-identified women and girls as well as their families. It is underpinned by the feminist principle that believes in political, economic and social equality for all.” – from the show’s prospectus.

Such an honor to be exhibiting with this great array of artists working for empowerment, equality and social justice!  Mark you calendar, the reception will be held at the Whitney Modern, 24 N Santa Cruz Ave (on the second floor) Saturday, July 21, I’ll post the exact time closer to the date.

 

In the Pink – 2017 – oil on cradled panel

 

Feathers – 2013 – oil on canvas

Studio Visit with David Flick

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Recently I had the pleasure of meeting with David Flick in Los Gatos, California. I had seen his work previously in a pop-up downtown and was very impressed with his portraits and figurative work and so when he turned up at my studio during NUMU’s Historic Home Tour this year I asked if I could visit his studio. I’m so glad I got a chance to see his work before he goes off in the fall to begin his MFA at the New York Academy of Art!

I was immediately drawn to Flick’s sensitive rendering of the figure and his gorgeous handling of light (oblique shadows, spotlighting, backlighting and reflections) and his innate sense of color. His compositions too are thoroughly dynamic. But beyond these great technical aspects, his subjects are all really compelling, with a captivating point of view that draws one deeper in to the work. He’s not afraid of paint either and can make it behave or explore it’s wilder side. I can’t wait to see where his MFA journey will take his work….

Here are just a few images that caught my attention but you can visit his website is at davidflickart.com to see the full range of his work and follow him on Instagram at dflick.

Rider – 2017 – oil

Desert – 2012 – oil

Lactose Intolerance – 2016 – oil

Ben – 2015 – oil

Idol – 2018 – oil

Ok, I had to include another studio shot because just how cool is it to have an aqua VW van in your studio?!

The Telling of Beautiful Untrue Things – Anthony Riggs

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The Recovery of Reason After the Fall of Eden – 2013 – oil on canvas

Today Anthony Riggs gave an artist talk as part of the Brown Bag Lunch Lectures at the Triton Museum of Art in conjunction with his exhibition, The Telling of Beautiful Untrue Things (such a gorgeous title)!  These aesthetically arresting paintings weave historical art imagery and patterns (from both Eastern and Western cultures) with religious and pop allegories and environmental and scientific symbolism. His paintings are studded with post-modern elements such as pixelation, color banding and employ a collaged style in which space, scale, light and color are all intentionally ambiguous. His figures, carefully rendered in three dimensional style, inhabit two dimensional spaces and are even bisected by flat swaths of pattern. Shadows are purposely inconsistent and color is thoroughly appealing but rarely reliable. All to underscore the artifice inherent in the the very act of painting.

The artist shared a quote from George Orwell that was on his mind as he created this body of work, “All art is propaganda.” In a time before the printing press, the radio, the television, and the internet, there was the power of the painting which was used through patronage of the Church and State and those in power to promote ideology and status. Painting is not truth – art and artifice go hand in hand and that is what Riggs is emphasizing in his seductive, apocalyptic paintings in which opposing ideologies and power dynamics intertwine in conflict without answers but leaving room for more questions. It is a good time to be questioning and seeking one’s own truth in this age of the internet where fake news and propaganda flows fast and furious and purposely muddies the waters between fact and fiction.

In Much Wisdom is Much Grief – 2017 – oil on canvas

All is Vanity and Vexation of Spirit – 2017 – oil on canvas

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He that Increases His Knowledge Increases his Sorrow – 2017 – oil on canvas

The Future will be Better Tomorrow – 2012 – oil on canvas

The Star Planters – 2014 – oil and metal leaf on canvas

The Gemini (detail from diptych) – 2016 – oil on canvas

 

Anthony Riggs is based in Benicia, California. You can visit his exhibition, The Telling of Beautiful Untrue Things, which runs until August 5 at the Triton Museum of Art in Santa Clara, California or visit his website, anthonyriggs.com.

Lunch with Theodore Wores

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What a pleasure to learn more about Theodore Wores, California Impressionist painter (1859-1939) over my bag of almonds at the Triton Museum of Art’s Brown Bag Lunch series conducted by Deputy Director, Preston Metcalf today! The Triton has 47 of his paintings in their permanent collection, a generous gift from his wife, Caroline Bauer. A good number of these pieces were recently cleaned and restored and are included in this exhibit, Under the California Sun, which consists of landscapes painted in the San Francisco Bay Area and Yosemite. Many of his orchards were painted right here in Los Gatos and Saratoga and are so special to me as I grew up in the Annapolis Valley of Nova Scotia, surrounded by orchards. In fact, they are actually kicking off their annual Apple Blossom Festival today! Under the California Sun will continue at the Triton until July 29 when it will go on tour!

Theodore Wores – Spring Blossoms of California – Los Gatos – 1919 – oil on canvas.

Theodore Wores – Blossomtime, Saratoga, California – 1919 – oil on canvas.

Theodore Wores -Tree Blossoms – 1920 – oil on canvas

Theodore Wores – Road with Blossoming Trees – 1922 – oil on canvas.

Theodore Wores – Road by Blossoming Orchard – 1925 – oil on canvas

Theodore Wores – Spring Blosoms of Los Gatos – 1925- oil on canvas.

Theodore Wores – My Studio Garden in Saratoga, Ca. – 1926 – oil on canvas.

Theodore Wores – A Garden in Saratoga, California – 1927 – oil on canvas.

Want to see more Wores? The Triton has a batch of paintings he did in Spain that need the same loving (read professional and expensive) cleaning and restoration that these pieces had. They are gratefully seeking financial donations (to bridge the gap in grants)…just saying!

Thinking Outside the Frame – print show at NUMU

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I was excited to take in the new print show which opened to members last Thursday night at the New Museum Los Gatos! Presented by The California Society of Printmakers, Thinking Outside the Box was juried by Cathy Kimball,  Executive Director and Chief Curator of The San Jose Institute of Contemporary Art, bringing together fascinating prints, which employed a wide variety of processes, mediums, materials and methods of presentation, engaging the viewer in a very different experience than with traditional printmaking. Makes me want to print on stuff!!! The show runs until September 30. Check the NUMU website for hours and all the printmaking demos they have lined up this summer! Also, click on artist’s names below for links to their wonderful websites if you’d like to see more of their work.

Outside the Frame – NUMU

NUMU’s curator Marianne McGrath introducing Susan Howe, who is in charge of Special Projects at The California Society of Printmakers which is presenting Thinking Outside the Frame and offering an excellent exhibition catalogue which is available at the museum. She will be conducting a Mokuhanga Woodcut demo June 30 at the museum.

Cathy Kimball, Executive Director and Chief Curator of The San Jose Institute of Contemporary Art brought her considerable experience and eye to jury the show. She is speaking here about her selection process.

Kent Manske – Genetic Garden 5-17-18 – 2018 – Installation of screen based monoprints on aluminum.

Ellie Honl – Coping Strategies – 2013 – HD stop animation video made from prints.

Michelle Murillo with DNA MAP – For a Shifting Identity – 2015 – Fused glass screen print.

Detail – the artist is using bits from her own family history!

Karen Gallagher Iverson – Variable Horizons 1,2 – 2016 – Pochoir Print – drawn colored pastel on wax.

Close-up of Variable Horizons 1. The artist has echoed the contours of the landscape to the rhythm of a heart!

Beth Fein – Betrayed – 2011 – Monoprints formed into 3D shapes, paper, ink, shredded US currency

Close-up.

Ashley Rodriguez Reed and little one – The Forest of My Wild Heart – 2017 – Silk-screened, digitally printed, found, sewn and embroidered fabric.

Detail, a toucan amongst the intricate patterns of a piece inspired by tangles of exposed tree roots at Mount Tamalpais and the environments they create.

Ginger Crawford Tolonen – Hopscotch Allegories – 2003 – Accordian artist book, intaglio and drypoint etchings, handmade box.

Up-close.

Ewa Gavrielov – 5 Shades of Pink – 2017- Screen print.

Ewa Gavrielov – Alternating – 2016 – Mixed media, shredded and folded paper.

Carrie Ann Plank – Dermaombré Brown and Blue Variations, Small Versions – 2017 – Laser assisted woodcut with indigo dye on Okawara.

Carrie Ann Plank – Dermaombré – 2016 – Woodcut with indigo dye.

Robynn Smith  – Liminal Terrain – 2015 – Linoleum relief print over digital output, 5 panels. This artist will be offering a Silk-Cut Linoleum Relief Printing Workshop July 14 & 15 at the museum.

Detail.

Donna Westerman – Generation – 2015- Woodcut installation.

Close up.



Katherine Venturelli – Lunar Calculations – 2013 – Artist book, intaglio, Rives BFK paper, book cloth binding.

Luz Marina Ruiz, Tierra de los Sueños – 2017 – Tunnel artist, linoleum cut, hand-colored with watercolor.

Me with Betty Friedman‘s Untitled (triptych) 196, 2010 – Intaglio, chine collé, printed on handmade paper.

NUMU’s Executive Director Lisa Coscino in conversation with Genetic Garden’s artist Kent Manske.

Saving the Earth by Changing Art – Art Ark

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Shannon Amidon, the curator of Arousing Biophilia invited the Art Inspector, Danielle Siembieda, to give a very interesting presentation, Saving the Earth by Changing Art at Art Ark in San Jose yesterday. She spoke about how we should be cognisant of our own carbon footprint in the art world. “We” meaning  everyone from hobbyists, manufactures, retailers, artists, teachers, institutions, curators, museums, conservators, collectors as well as government and non-governmental organizations.

There is so much to look at! We need to make sure we are protecting our own health, from the materials we choose to use (selecting the least toxic options and lobbying for them were they not exist) and employing best practices in handling materials, (gloves, masks, good ventilation and proper disposal). By exploring alternative approaches we may find materials and methods that better serve our health and environment while still achieving our art making goals.

A “Life Cycle Assessment” can be a good way to help determine how you can lessen your carbon footprint as an artist….this entails examining all the stages of the life of your art from    inspiration, planning, material choices, experimentation, prototypes, by-product waste, longevity of tools, longevity of finished pieces, shipping, storing, disposal and so much more…. I never thought to consider these things individually and the Art Inspector and the gathered audience offered many varied examples at attempts to address some of these challenges.

Check out the Art Inspector’s website, artinspector.org for some great advice and links!

She also recommended Moanna Razool’s  book, The Artist’s Complete Health and Safety Guide.

Art Ark director, Genevieve Hastings in conversation with Art Inspector, Danielle Siembieda.

Shannon Amidon, curator of Arousing Biophilia, Introducing Danielle Siembieda.

Art Inspector, Danielle Siembieda and audience in front of Michele Guieu’s Plankton installation, made of recycled, recyclable, or salvaged paper cardboard and wood.

Art Inspector slide.

Some examples of environmentally safer art materials.

I’m mulling over various ideas about art making. Traditionally there has been an emphasis on using the best archival materials to produce work that would not only be beautiful but  stable and long lasting, something that was museum quality, a good investment. However, as artist began exploring non-archival materials like house paint, tar, collaged elements, with less stable properties, their long term viability unknown, yet this did not seem to affect their collectability in hot art markets. Ephemeral works, like videos and installations and performance art fly in the face of the value of permanence.

Do you have tips, products or ideas to add?

Coffee Tawk – The Obama Portraits

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Portraits are so contentious! John Singer Sargent, arguably one of the very best portrait painters, is known to have said, “Every time I paint a portrait, I lose a friend.” No wonder there is still such controversy over the Obama portraits at the Smithsonian National Portrait Gallery! These groundbreaking figures, the very first African American family in the White House are beloved to so many and thanks to the wellspring of fantastic photographs over their eight years in highest office of the land, many of us feel that we know them quite intimately and have emotional responses to how they should or should not be portrayed.

Artists, writers, collectors and art supporters gathered at NUMU’s Coffee Tawk, yesterday to ponder what could have been a scene out of SNL, with Mike Meyers, “The Obama Portraits are neither the Obamas or portraits…tawk amongst yourselves….”

President Barack Obama by Kehinde Wiley – oil on canvas 2018

First Lady Michelle Obama by Amy Sherald, Oil on Linen, 2018

So, I’ll let you in on my personal opinion….. I am thrilled with these portraits! In keeping with their time in office these portraits are like a breath of fresh contemporary air in the stodgy world of official portraiture. Real art, imbued with fascinating symbolism and technique and radiating a distinctive voice! Even more importantly, the Obamas both chose brilliant African American artists who consciously challenge the ways that African Americans have traditionally been presented!

In Kehinde Wiley’s hyper-realistic painting of Barack Obama, he has set the president against an encroaching backdrop of greenery flowering with blooms that symbolize his roots, the African blue lilies from his father’s birthplace of Kenya, the jasmine from his Hawaiian birthplace, the chrysanthemums from his town of Chicago where he had met his wife and worked as a community organizer, civil rights attorney and later represented the 13 district in the Illinois senate. This is typical in Wiley’s work, strong, contemporary African American subjects dynamically set against dramatic flora or pattern laden with symbolism, often in poses taken straight out of the pages of art history!

Amy Sherald’s heavily stylized portrait of Michelle Obama exemplifies her work. Her subjects are presented in a greyscale wearing colorful, often patterned clothing and set against a simple, colored backdrop, which carefully isolates the direct gaze of the subject. Traditionally, classic oil paintings begin with a grisaille underpainting, in shades of grey to better control values in achieving a three dimensional effect before adding  transparent washes of color. At one point Sherald decided she preferred the contrast of the grey skin against the colored backdrop and outfits. Perhaps it was simply an aesthetic choice, perhaps it came out of the agency that early photography brought to African Americans in how they chose to portray themselves that resonated with her. The dress that Michelle Obama is wearing, by American designer, Michelle Smith of Milly, is in keeping with the subject’s support of American designers, the within-reach, if somewhat  aspirational couture she chose as First Lady but more importantly, this dress contains references to the Gee’s Bend quilts, designs passed down from generations of African American women, some of which encoded Underground Railway information – all while still feeling fresh and modern and as elevated as a Mondrian!

Wiley and Sherald both employ unique approaches to African American portraiture that help us see African Americans in a new way. I cannot underscore enough how important it is that this vision have such a prominent place on the national stage. I would expect nothing less from the Obamas to personally chose these artists to represent them in this vital way.

Having said my piece, I will share some of the questions and concerns that were brought up at Coffee Tawk….

What is the artist selection process for official presidential portraits? What is the criteria? Can the artist’s race, gender, religion be a bonafide criteria?  Who makes the selection?  Who pays? Should a portrait be a photographic likeness or an artistic interpretation?  How will these portraits be seen in the course of history?

Interesting! Also very interesting is how disappointed some people felt that the portraits didn’t look enough like the Obamas, that some aspect of their personality was missing, like  their warmth. One person felt Barack looked slouchy and undignified, another thought he looked as though he was leaning forward to listen.  One person missed Michelle’s smile, another thought she looked queen-like in the her golden triangle orientation.

People also spoke about their experiences in commissioning portraits, disappointments in not getting a faithful likeness and adventures in abstract representations! Speaking from the artist’s side of the commissioning process, I typically turn down requests of portraiture, especially memorial portraits, counseling the hopeful, potential client that paintings are great if you are looking at an artistic rendition that might (if we’re lucky) capture some sliver of the spirit of that person, but paintings are not a substitute for photography or memory and that people are great at recognizing faces….and experts in the faces they love, so any little thing that is off can be quite creepy and disappointing (“A portrait is something wrong with the mouth.” – Sargent, again!), the whole venture is quite a gamble and SO much work!  All that’s riding on getting a portrait “right” can turn the painting into something very stiff and awkward. Now I will only a portrait for it’s own sake, not as a commission. This frees me up to paint how I like (without the feeling of someone looking over my shoulder.) It is very rewarding if subject or their family is interested in the painting after it’s done but I can’t be worried about that while I work. Painters are not magicians or mind readers and their work can’t be all things to all people.

I guess my advice to those who are interested in commissioning a portrait is to do your research! Pick an artist whose style you love, who has a solid record of painting portraits in particular. You will be getting their interpretation of you or your loved one, not a facsimile!

Finally, in addition to the links above, I’m including some links to interesting articles and interviews about the artists and the Obama portraits.  Please feel free to chime in with thoughts about the portraits!

Oh…. the next Coffee Talk at NUMU with Director, Lisa Coscino is set for April 26, 2-3pm the topic (as I understand it) will be about censorship – questions about how and if we re-evaluate the work of artists who have been found to have been discredited in other aspects of their life, questions about the propriety/ necessity of removing controversial statues from public spaces …. it’s broad and wide raging and controversial. Bring your opinions and coffee – NUMU provides the venue and the sweets!

The Jealous Curator’s Art For Your Ear podcast interview with Amy Sherald.

NPR’s All Things Considered 2015 interview with Kehinde Wiley.

http://npg.si.edu/blog/looking-amy-sheralds-portrait-michelle-obama

http://www.baltimoresun.com/features/baltimore-insider-blog/bs-fe-little-girl-parker-curry-amy-sherald-michelle-obama-portrait-viral-20180305-htmlstory.html

Liminal Deer – work in progress

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Lots of time to waffle on a title for this quadriptych as I try to claw back some time time in the studio! I see these leucistic deer as liminal figures in a dormant California winter landscape that is cut through by a highway – traces of which have caught the deer’s attention as the headlines of an oncoming car approach.

Going Dark

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Going dark on the social media front for a while as Facebook sorts out its operation and its commitment to its users. I’ll miss it as well as Instagram as they are both such great vehicles for staying in touch with and expanding your artistic community. Sigh! But I will have even more time to continue to dive deeper into my work and post more in my own blog where I don’t share or sell people’s data.

Blooming Deadwood at Iwasawa Oriental Art

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I am very honored to be exhibiting Blooming Deadwood at Kumiko Iwasawa Vadas’ gorgeous gallery, Iwasawa Oriental Art in downtown Los Gatos where Every objet d’art is carefully selected for not only it’s craftsmanship but how it artfully reflects the season and relates to its neighbor! Thanks to Lorraine Lawson, David and Kumiko for your help with the install!

Unveiling.

Measuring.

Placement.

Hanging.

Leveling.

Happy artist and gallerist.

You can take the girl out of the valley, but you can’t take the valley out of the girl! I grew up in the Annapolis Valley of Nova Scotia with it’s orchards flanked by basalt mountains and now I find myself in the Santa Clara Valley, formerly known as Valley of Hearts Delight, famous for its orchards and now more commonly referred to as Silicon Valley. I adore how my painting, Blooming Deadwood, has been paired with Ken Matsumoto’s stunning Floating Usu, carved out of basalt!

I love the relationship pieces have with each other at Iwasawa Oriental Art, especially this Meiji period vase and bird with Blooming Deadwood as a backdrop, can you feel spring coming? I am told their will be cherry blossoms in a few weeks!

Galaxy by Hiroko Ohno, pigment and acrylic on paper mounted on wood panel.

Giclée of Tokyo Waterfall by Hiroko Ohno.

Also, Iwasawa Oriental Art will be conducting their first calligraphy class of 2018 with Kihachiro Nishiura January, 11th e-mail iwasawaart@comcast.net or contact them at (408) 395-2339 to reserve a spot.

Artist Walk and Talk – NUMU

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Join me for an Artist Walk and Talk with NUMU’s Waterlines artists, Christel Dillbohner, Theodora Varnay Jones, Danae Mattes, Linda Simmel and curator Marianne McGrath along Los Gatos Creek Trail this Tuesday, January 9th (rain date – Thursday, January 11th). We will be meeting at 11:00 am at New Museum Los Gatos. Learn about the artists’ practices and connections with the natural environment, and the role that hiking plays in creativity and problem solving. After the hike, everyone is invited to return to NUMU for refreshments, an exhibition tour and continued conversation.

Tickets are available at NUMU – $10 general admission and free to members.

The hike (which I do regularly) is fairly moderate with some rises and falls – good footwear is essential and hiking sticks can be very helpful in areas with loose gravel.

Here’s a little preview of some of the great views along the trail which I had snapped on a recent hike with Marianne McGrath.  Let’s hope for great weather!

 

Red Wheelbarrow 2017 Launch and Reading

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What a transporting evening of poetry and prose at the Launch Reading for the Red Wheelbarrow 2017 National Edition last night! So excited to be with curator and artist Sara Cole and editor Ken Weisner holding my very own copy of Red Wheelbarrow 2017!

The book, the painting, the artist, the curator and the microphone, warming up and ready to go!

Joe Miller of Works/San José hosting the launch and reading.

Rob Pesich of the Poetry Center San José and Ken Weisner, editor of the Red Wheelbarrow and a faculty member of the Creative Writing Department at DeAnza College.

Artist and poet Sara Cole was the Art Curator for this beautiful edition of the Red Wheelbarrow , she selected works curated for an upcoming show Repository, a group show of Bay Area Women.

Congratulations to Partridge Boswell from Vermont who read his poem “Pop a Wheelie” which took 1st place in the inaugural Red Wheelbarrow Poetry Prize!

Lauren Goldstein, from New Mexico (Poetry Prize Finalist) reading “Elegy with Feathers”.

I’m happy to report that poetry is alive and well, heartbreaking, hilarious, tender and kicking! Go get some! Go write some!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

¡Red Wheelbarrow Book Launch!

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How exciting…. the book launch for the national edition of the Red Wheelbarrow is this Tuesday, December 12 from 7-9 pm at Works/San José, 365 Market Street, San Jose, California!  Doors open at 6:30pm and performance begins at 7:00pm.
Free appetizers and affordable wine, beer and soda. Suggested admission $2 – but no one will be turned away.

Books will be available for purchase with my painting Magnolia Tea II smack-dab on the cover!  This volume of art, poetry and prose was compiled by Ken Weisner who invited Sara Cole to curate the art which includes work by:

Pilar Agüero-Esperanza
Jhina Alvarado-Morse
Natalya Burd
Marie Cameron
Sara Cole
Kim Frohsin
Kristin Lindseth-Rivera
Mila Libman Starbird
Margaret Wherry

Featured readers from the new issue of Red Wheelbarrow and from the Red Wheelbarrow Poetry Prize will include:

Len Anderson
Rose Black
Dave Denny
Alex Giardino
Rosie King
Lita Kurth
Peter Nash
Dion O’Reilly
Lisa Allen Ortiz
McTate Stroman II
David Allen Sullivan
Aimee Suzara
Robert Sward
Cynthia White

In celebration of the Red Wheelbarrow Poetry Prize:

Partridge Boswell, from Vermont
Gary Young
Lauren Goldstein, from New Mexico
Susan Kelly-Dewitt

Fade – Reception

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I had such a wonderful time at my Fade reception at Vargas Gallery last night!  I was told that it was the best attended solo show in the history of Vargas Gallery (since 1986)! A BIG THANKS to everyone who came out – artists, friends, curators, students, collectors and faculty! I feel very honored to show in this space and to have such a great community come out and support me! A special thanks to Lynne Todaro for inviting me to exhibit this work which spans a decade, to my collectors who lent back some key pieces for this show and to Ashley for her help with the install and staffing the show! All the albino deer cookies were snapped up and three more paintings were sold!

An albino deer cookie and it’s inspiration, Bed of Ghosts.

With George Rivera (Artist, Instructor, Curator),  Kristin Lindseth-Rivera (Sculptor, Instructor), Marianne McGrath ( NUMU Curator) and Lynn Todaro (Sculptor, Instructor, Director)

With Tamera Avery (Painter), Kathryn Arnold (Painter), Rozanne Hermelyn Di Silvestro (Painter, Graphic Designer), Karen Gutfreund (Artist, Curator) Susan Kraft (Painter) and Hadi Aghaee (Painter) to mention a few.

I love it when people take a pic with a painting, it is such a compliment! This student had an interesting take on the deer in the nest feelings like birds eggs – such a great fragility association!

Tamera Avery & Kathryn Arnold at the Fade Reception – Vargas Gallery.
I know both of these wonderful artists through the Triton Museum of Art. Tammy has two fabulous figurative paintings in the Salon currently, one (which I’m personally in love with) took first in painting! Kathryn had a stunning solo show, monumental assemblages of abstract painting on sheaves of paper inspired by specific selections of poetry and prose as I remember….how great to see and gab with you both!

Loved seeing my collectors David and Carol Ann!

My dear friend (and collector) Judy who has to be one of my biggest supporters!

Hadi was sweet to help me carry in my albino deer cookies!

Suki Ma has one of my Bird and Teacup paintings and kindly shared the reception with her Art Experience group!

Show continues at Vargas Gallery in the Gillmor Center of Mission College through to the 14th!

 

 

 

Albino Deer Cookies!

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I think being an artist is a kind of compulsion, once you get an idea in your head, you just want to explore it and see it come to be!  It was kind of like that with my albino deer cookies, it’s not like there wasn’t enough to eat at the reception but I thought these little cookies inspired by my Bed of Ghost painting would be so cute! Tips? Do it ahead of time so the herd won’t get scruffy before the icing sets!