Mathieu Nozieres (France), “Boy on a Horse,” oil on panel, 8 x 7 in.
California: Arcadia Contemporary’s largest exhibition of the year is titled “Five and Under.”
This annual exhibition features more than 200 works by almost 75 artists from around the world, and while some of the featured artists are already represented by Arcadia Contemporary, many are talented painters and artists in other media that the gallery has been following on social media and invited to participate. Works by artists from countries such as South Korea, New Zealand, Australia, France, Canada, England, and Sweden will all be included in the exhibition.
Lee K. (South Korea), “Untitled No. 44,” graphite on paper, 20 x 15 in.Dana Zaltzman (Israel), “Dandelions,” oil on panel, 10 x 16 in.Jesse Stern (U.S.), “Liminal Stasis,” graphite on paper, 28 x 21 in.
“Five and Under” refers to the selling prices for all the works in the exhibition. Every painting, drawing, and sculpture will be available for US$5,000 or less. The gallery makes a special effort every year to show that quality, original works by important representational artists can be added to anyone’s collection at a price point that is accessible to many beginning collectors.
Jeffrey Vaughn (U.S.), “Water Lilies After a Storm,” oil on canvas, 24 x 24 in.Korin Faught (U.S.), “Rinauro,” oil on canvas, 12 x 12 in.Benz and Chang (U.S.), “A Song for A Whale,” chestnut ink on panel, 24 x 18 in.Denise Buckel (Chile), “Rafaella,” oil on canvas, 22 x 17 in.Ben Ashton (UK), “The Best of Intentions,” oil on panel, 22 x 18 in.
“Five and Under” opens on Saturday, August 17, and continues through September 8 and can be viewed on the gallery’s website starting Saturday, August 17.
Dancing Birdsongs by James McGrew
30 x 24 in.
Oil on linen on board
In honor of the 100 year anniversary of Grand Canyon National Park, this year’s Grand Canyon Celebration of Art will recognize the achievements of 27 artists who have successfully interpreted the canyon, both in plein air and studio work.
During Plein Air at Grand Canyon from September 7th through September 14th, visitors can watch the artists at work, painting along the South Rim of Grand Canyon. Their work will be exhibited at Kolb Studio at the South Rim September 15th, 2019 through January 20th, 2020.
James McGrew, an Oregon artist who spends his summers working as a park ranger in Yosemite National Park, always brings a unique perspective with his
Grand Canyon paintings. His studio painting for this year’s event celebrates the Native American heritage and influences at Grand Canyon.
McGrew says of his painting: Dancing Birdsongs honors a century of protecting natural and cultural history in Grand Canyon National Park. It depicts Garrick Yazzie, a Diné (Navajo) dancer, on the rim of the canyon as a monsoonal storm approaches. Garrick has shared his people’s history with thousands of Grand Canyon visitors for about 25 years, frequently dancing with his brother, Woodvin, as their uncle, Brent Chase, teaches, tells stories, sings and drums for the dances. Here, Garrick wears a regalia style used for Pow Wow where tribes come together in celebration of life and friendship. This particular outfit honors all bird life as his people believe that all bird songs are healing songs. The shield represents and honors Yazzie’s late grandfather, a WW-II Navajo Code Talker. Since 2014, each year I have been fortunate to observe Garrick dancing at the Grand Canyon and paint his dances direct from life. Also, each year at the quick draw, I have been fortunate to observe and often paint various special birds during the Celebration of Art’s quick draw event. I titled my resulting paintings according to whichever species presented itself, including California condors, peregrine falcons, red-tailed hawks, and common ravens, each with a unique story interwoven with Grand Canyon’s preservation and human interrelationships.”
On Saturday September 14th from 8:00 am to 10:00 am the CoA artists will be participating in a Quick Draw along the South Rim from Verkamp’s to Trailview
Overlook, with an auction of their work starting at 11:00 a.m. at Bright Angel Trailhead.
The Celebration of Art exhibit and sale opens at 11:00 a.m. on September 15th, 2019 and will be open daily through January 20th, 2020 at the historic Kolb
Studio at the South Rim of Grand Canyon. Admission is free and open to the public.
Please visit https://www.grandcanyon.org/events/celebration-of-art-2019/
or contact Kathy Duley at [email protected] or 480.277.0458 for more information.
The Columbus Museum of Art’s (CMA) exhibition In a New Light: Alice Schille and the American Watercolor Movement showcases the Columbus native Alice Schille (1869–1955) and celebrates the 150th anniversary of her birth. More than 50 works, many of which have not been exhibited for decades, comprise the exhibition, on view through Sept. 29, 2019.
In 1897 Schille traveled to New York to study with William Merritt Chase, who admired her so much that he traded one of his own paintings for it, and later purchased another. Just seven years after completing her studies in Columbus, she was exhibiting nationwide and becoming an influential teacher. Critics admired Schille as a master watercolorist and lauded her flair for movement, light, and color. Though she incorporated elements of post-impressionism, fauvism, and cubism, her work always remained figurative.
After her death in 1955, Schille’s name became less known. Today, scholars are re-examining the watercolor movement, so women like Schille are finally receiving recognition for their contributions.
One of the most celebrated American watercolorists of the 20th century, Schille was largely forgotten after WWII until recent scholarship revealed her overlooked creative brilliance. She earned acclaim from critics and fellow artists across the United States and Europe at a time when becoming an acknowledged professional artist was a particularly challenging path for women. Her subjects were often beach and harbor scenes, landscapes and city marketplaces, painted in pure-wash watercolor with modern compositions and Fauve color she had observed firsthand in Paris. She was praised for her ability to infuse bold compositions with movement and light.
“Ambition and remarkable skill were required for any artist to succeed on a national scale, but particularly for an unmarried woman from a small city in the Midwest,” said Tara Keny, guest curator of the exhibition and the Modern Women’s Fund curatorial assistant in the Department of Drawings and Prints at The Museum of Modern Art. “Alice Schille’s remarkable aptitude for watercolor, her intellect and her passion for the arts contributed to her lifelong success. She was really a wonderfully curious, talented and tenacious artist.”
Born in Columbus in 1869, Schille completed her studies at the Columbus Art School (now Columbus College of Art & Design), the Art Students League in New York City and the Académie Colarossi in Paris. She exhibited her work across the U.S. while sailing in the summer to France, Egypt, Morocco, Holland, Italy, Dalmatia and England, alone or with fellow artists including Olive Rush and Martha Walter. She forged connections with notable figures of the time including Gertrude Stein, Alice B. Toklas and British painter Dame Laura Knight and was among the first to introduce European modernist styles, such as Cubism, to young artists in the Midwest when she returned to teach each autumn. She also regularly chaperoned art students to exhibitions outside of Columbus, introducing them to well-known artists and curators.
This summer’s show features more than 40 works ranging in date from 1902 to 1935, including landscapes, seascapes, and scenes of domestic life and of places Schille visited. It is accompanied by a groundbreaking catalogue that contains newspaper clippings, sketchbook and journal entries, and personal correspondence, as well as 20 “cameo” essays highlighting her relationships with such colleagues as Gustave Baumann and her fellow Columbus native George Bellows.
“We’re thrilled to have this exhibition at Columbus Museum of Art,” said Nannette Maciejunes, CMA executive director. “Schille’s work is visually arresting, was recognized in its time and had profound influence on other artists. She’s an important figure in art history and we’re proud to be reintroducing her to the American public.”
Mark Maggiori, “Big Sky Majesty,” oil, 55 x 70 in., sold
Sunsets have been captured in art as far back as we know, their magical colors marked by the fading of light at the end of a long day. For some, it is a thing of beauty, drama, and reflection. For others, it is a quiet respite in the busyness of life. A setting sun can visually represent the ending of a time and the beginning of another — the full completion of a cycle.
In this year’s themed group exhibition “Sunsets,” artists will present new work that explores the meaning and mystery of sunsets through their own interpretations.
Billy Schenck, “Distant Thunder,” oil, 22 x 40 in.Teresa Elliott, “Bull of Pecos,” oil, 55 x 33 in.Kim Wiggins, “Last Light Along the Llano Quemado,” oil, 24 x 18 in.
Who Needs Friends When You’ve Got Picasso
Heather Arenas
14 x 18 in.
Oil
From the artist:
“This painting arose from a time that I went to an opening of a private collection. There was one woman who was intent on studying every painting closely. The rest of the people seemed to be there to socialize and didn’t appear to care about the work on the walls or this woman. I couldn’t help but connect with her because I have often felt like I was closer to the friends on the walls than the people in the room.
I’m what I would call a contemporary impressionist. I use broken color and strong brushwork but I say contemporary because of the combination of graphic contrast and grays. I try to build a composition that can draw people from across a room. For this exhibit, I’m embracing my inner contemporary artist and applying more techniques that I have only flirted with in the past. In particular, I am emphasizing line and pattern in more direct ways.
I paint from photos that I personally shot because I don’t want to just copy an image. I start with an idea that inspired me to take the picture in the first place. How do I feel in this place? Happiness, excitement, chaos, a somber feeling? Whatever it was, I want to get THAT on to the surface. I don’t worry about whether my subjects match the photo. I often use multiple photos to combine gestures of people to recreate the feeling. Instead of limiting the focus to a recognizable place or person, I’m really trying to create a recognizable feeling with paint. I get the most joy when a collector tells me how my painting makes them feel! That means I have connected with them on a personal level.
I typically work on wood surfaces like cradled birch because I can apply paint then wipe it down or sand it without affecting the surface. I sometimes work alla prima when painting from life but for my studio work, I apply lots of thin layers and finish with thicker brush work in key places. I paint with traditional oil painting techniques but will do whatever is necessary to get the feeling I’m after whether it takes brushes, paper towels, rags, cotton swabs, or even my fingers. Da Vinci’s paintings have been said to contain his fingerprints. Maybe someday my work will be identified by my fingerprints.”
“Heather’s work fascinates viewers of all ages! Her museum paintings depicting famous works of the masters are highly engaging and her loose brushwork is admired by our most sophisticated collectors.” Gallery Director, Jason Stone, Reinert Fine Art
View more of Heather’s work at Reinert Fine Art: in-person in Charleston, South Carolina, or online on her gallery artist page.
Come see Heather’s latest body of work at Reinert’s Fresh Impressions show December 6-16 at Reinert Fine Art & Sculpture Garden Gallery 179 & 181 King Street in Charleston.
See Reiner Fine Art’s full lineup of exceptional artists on their website, Facebook (Reinert Fine Art), and Instagram (@reinertfineart) pages.
Mickalene Thomas, ”Sandra: She’s a Beauty 2.” Credit: David Mitchell
On a gorgeous summer evening in Milwaukee, over 500 artists, makers, guests, and supporters came together to christen Saint Kate – The Arts Hotel as it officially opened its doors to the community. Drawing inspiration from Saint Catherine, the patron saint of artists, Saint Kate is among the first hotels in the nation to broadly celebrate art in its many forms – from painting and sculpture to dance and drama.
“At Saint Kate, we are curating an experience designed to stir one’s imagination, invite exploration, and challenge thinking,” said Greg Marcus, president and CEO of the Marcus Corporation, which owns and manages Saint Kate. “More than an exquisite hotel, Saint Kate is a powerful reminder of the beauty that can be found in the creative process. Whether you’re conceiving something big and bold, or quiet and subtle, Saint Kate is here to support, empower, and instigate.”
Credit: David Mitchell
Russell Bowman, former director of the Milwaukee Art Museum and founding art advisor of Sculpture Milwaukee; Linda Marcus, nationally recognized multidisciplinary artist, designer, and storyteller; along with Saint Kate Curator Maureen Ragalie, formerly of the David Zwirner Gallery and Cristin Tierney Gallery in New York, oversaw the development of the hotel’s permanent art collection and special exhibits, including over 100 works by artists influential in contemporary art.
Jason S. Yi, “Plume 02” and Tom Bamberger, “Red Grass.” Credit: David Mitchell
Upon entering the hotel, guests are welcomed by a life-sized cast bronze Deborah Butterfield horse sculpture, “Big Piney.” Next, a large lithograph by renowned figurative painter Alex Katz sets the tone at check in, and throughout the first floor, guests can find works by Paul Druecke, Terry Winters, Michelle Grabner, John Riepenhoff, Judy Ledgerwood, Damien Hirst, Candida Höfer, Sky Hopinka, Beth Lipman, and Mickalene Thomas.
As guests take the stairs to the second floor, they are struck by the awe-inspiring “Plume 02,” from Jason S. Yi, a site-specific installation that references the beautiful yet destructive nature of smoke plumes. Next to Jason S. Yi’s “Plume 02” is Tom Bamberger’s “Red Grass,” a digitally altered panoramic photograph that explores the horizon and naturally repetitive landscapes.
Alex Katz, Reception Desk, and Deborah Butterfield, “Big Piney,” Credit: David Mitchell.
Each floor also reflects a form of art — photography, industrial design, painting, mixed media, music, printmaking, illustration, and performance — and celebrates the diversity of Milwaukee’s growing artistic community. Photographs of the hands of the hotel’s construction team indicate each floor number in American Sign Language, evidencing authorship of the space and proof positive of their creative roles.
Lin Linder, Room Showers. Credit: David Mitchell
Through a historic collaboration, the Museum of Wisconsin Art established its first downtown location, MOWA | DTN, at Saint Kate. The 1,700-square-foot premier gallery in the lobby of the hotel currently features its inaugural exhibition, titled “Downtown,” which considers the vibrant historic traditions of Milwaukee’s core as well as the social realities that characterize its urban environment. The exhibition includes work by ten artists who live and/or work in Milwaukee. It runs through September 8, 2019.
Kehinde Wiley, “Sleep,” 2008, oil on canvas, 132 x 300 in. (335.3 x 762 cm), Rubell Family Collection, Miami
Drawn from the acclaimed Rubell Family Collection, “30 Americans” at the Nelson-Atkins Museum of Art (Missouri) presents American experiences as told from the distinct perspectives of 30 African American artists including Jean-Michel Basquiat, Carrie Mae Weems, Kerry James Marshall, Mickalene Thomas, Rashid Johnson, Kara Walker, Hank Willis Thomas, and Kehinde Wiley.
Through more than 80 paintings, drawings, prints, sculptures, photographs, and videos, the influential artists in “30 Americans” are significant contributors to the complex dialogues surrounding race, history, identity, and beauty that have shaped contemporary American art and life for the past four decades.
Although it has traveled the country for a decade in various iterations, “30 Americans” is tailored to be a unique experience at each venue. Based on our communities’ histories and in relation to ever-evolving contemporary conversations, the exhibition and its robust accompanying programming will reverberate throughout Kansas City and the region, making “30 Americans” fresh, powerful, and as relevant as ever. Art will be a catalyst for community and conversation.
The project as a whole is a reflection of a deep collaboration between the Nelson-Atkins Museum of Art and a dedicated community advisory group for whose valuable voices and contributions the museum is most grateful.
E. M. Saniga, “Plums, Pottery, and Canned Food (My Morandi),” 2016–2019, oil on panel, 13 x 15 in.
New York: Steven Harvey Fine Art Projects (SHFAP) presents “By Heart,” an exhibition of three representational painters, Susan Lichtman, Stephanie Pierce, and E. M. Saniga. Each of these painters reproduces the world around them with a highly distinct process and result.
Susan Lichtman, “Camo Jacket,” 2019, oil on canvas, 14 x 20 in.
Susan Lichtman paints her immediate reality — her house, family, and environs. Her pictures possess a quality of being fictions linked to memory. Jennine Culligan, Director of the Eleanor D. Wilson Museum, wrote, “Since 1987, the first floor of her home, her large studio a few steps away, and the daily comings and goings of her family have been her main source for compositions based on observation and imagination.” In an interview with Larry Groff of Painting Perceptions, Lichtman states, “I’ve always painted interior spaces, and am . . . influenced by all the European and American painters of domestic interiors, from the De Hooch and Vermeer to Hopper and Porter.” Lichtman is a subtle colorist, creating complex harmonies on a large scale. She has said, “To me, close-valued color is magical. It’s a way for the paint to imply the fiction of light and air.” Despite the apparently autobiographical details of her paintings, Lichtman is engaged in constructing a purely fictive space. She remarks, “Painting needs to put forth an event, or an idea, that is purely visual.”
Lichtman is the Charles Bloom Professor of Fine Arts at Brandeis University. Her recent shows include List Gallery, Swarthmore College, Swarthmore, PA; Smith College, Northampton, MA; the Bannister Gallery at Rhode Island College; and the Lenore Gray Gallery, Providence, RI. Lichtman had a solo show spring 2017 at the Eleanor D. Wilson Museum at Hollins University. She had her first New York City one-person show of paintings, “My House,” at Steven Harvey Fine Art Projects in June 2017, and was part of the group show, “The Light of Interiors,” in July 2017.
Stephanie Pierce, “Satellites,” 2019, oil on canvas, 30 x 32 in.
Stephanie Pierce exhibits two new paintings that depict the windows and plants in her loft. Her plants serve as a kind of filter between the artist and her environment. Pierce moved to New York City three years ago from Arkansas to take a teaching position at FIT. Since then, she has painted New York through her windows from Staten Island to Bushwick. Her work is about a kind of steady looking that requires taking extended periods of observation.
Pierce combines layers of transparent and opaque paint to produce a shimmering optical description of place. Her images seem to be in a state of flux, assembling and disintegrating before the viewer’s eyes. Working from prolonged observation, Pierce tracks the liminal passages of light. Traces accumulate and evolve into images that threaten to lapse into abstraction. Her working process follows a similar rhythm. She explains, “It’s a continual looking, responding, destroying, renewing.”
Brett Baker wrote about her exhibition at SHFAP in 2014, “She approaches the ‘impossible’ task of capturing nature with lucid patience — a consistent, unhurried focus. . . . In her paintings, thousands of highly varied marks rise into place, each notation of light rustling gently against the next.”
Pierce was born and raised in Memphis, Tennessee. She obtained her MFA at the University of Washington in Seattle. In 2007 she began teaching at the University of Arkansas. While she was there, she created a DIY space for art and music called Lalaland. Two years ago she took a position teaching painting in New York City at FIT. In 2014 she received the Joan Mitchell Foundation Painters and Sculptors’ Grant. Her work was included in “Disrupted Realism” at Stanek Gallery in Philadelphia in winter 2018. She had a solo show at Steven Harvey Fine Art Projects, Signal, in February 2018.
E. M. Saniga has a worldview that may seem anachronistic. His 18th-century Quaker residence, the dogs and other animals that surround him, and the still lifes of local vegetables look as if they could easily exist in a different time period. And yet, it is the peculiarities of Saniga’s carefully wrought scenes that stay with us — the echo of pose between a woman and her dog as she trains him to sit, the upended pattern in a triptych of pies above a Pontormo reproduction, a dark figure of a man posed against a brilliant yellow pair of moths, and the vivid, painterly meditations on places in Italy related Corot’s plein air Italian paintings. His compositions create a dream-like impression of languor tinged with a strange undercurrent.
Saniga is simultaneously a scientist (he recently retired as the Dana Johnson Professor of Information Technology at the University of Delaware) and an artist. He was guest of honor at the Jerusalem Studio School residency program in Civita, Italy, in 2012 and had a one-person show at Rothschild Fine Art in Tel Aviv in 2018.
Though he paints from life, Saniga says, “I use everything available in making paintings. I generally start at least parts of a painting from life and then I edit using memory, photographs, or whatever else seems to help.” He also states, “Representational painting is so old-fashioned anyway, but we still do it in spite of the resistance to it in today’s world of art.” Roberta Smith wrote in the New York Times that Saniga continues “to erase the line between progressive and traditional.”
Together these three artists make a marvelous case for the vitality of painted work from life. Sparkling, unknown, intimate, and exploratory, we become privy to their understanding of place, humanity, and picture making.
Justin Wood, “Bowl of Grapes,” oil on panel, 11 x 14 in.
Collins Galleries was established in 2011 with the intent to exhibit the work of accomplished representational artists who prefer to work directly from life.
William R. Davis, “Soft Winter Glow,” oil on panel, 12 x 16 in.Justin Wood, “Grapefruit,” oil on panel, 8 x 10 in.William R. Davis, “Lifting Fog,” oil on panel, 8 x 6 in.Justin Wood, “Jar and Grapes,” oil on panel, 8 x 10 in.William R. Davis, “Fisherman at Dusk,” oil on panel, 12 x 16 in.
The gallery is located in Orleans, Massachusetts, a popular coastal destination on Cape Cod that attracts heavy tourism during the summer months.
“Conceptualizing Light: William R. Davis and Justin Wood” is on view on at Collins Galleries through August 23, 2019.
‘Some Things Last Forever’ by Elizabeth Rouland, Oil, 30”x40”
Fort Collins, CO: The Museum of Art | Fort Collins is exhibiting “Our Planet: Exploring Our Changing Environment” as well as glacier drawings from Trine Bumiller and Colorado wildlife and landscape photography from Michael Madrid through September 29, 2019.
More from the museum:
“Our Planet” is a unique art exhibition created by Colorado artist Bob Doyle. He gathered 16 accomplished Colorado artists to depict how climate change is affecting our lives and environment both locally and globally. The objective of this art exhibition is to engage people on the subject of climate change by creating art that draws them into the subject visually and emotionally; connecting them to real-life experiences and scientific understandings about what is going on today. This is not a typical art exhibition but an emotionally impactful experience and learning opportunity.
Bob Doyle, “Ablaze,” oil, 30 x 40 in.
The artists exhibiting paintings in the show are:
Cliff Austin
Sina March
Rick Brogan
Susan McKelvy
Carole Buschmann
Pushpa Sunder Mehta
Marcie Cohen
Carol Peterson
Bob Doyle
Jennifer Riefenberg
Susan Foster
Elizabeth Rouland
H. Cedar Keshet
Barbara Takamine
Sarah St George
Elizabeth Van Ingen
At the same time, in our Lynnette C. Jung-Springberg Gallery, MOA will present the work of acclaimed Denver artist Trine Bumiller with her sketchbook drawings of 14 glaciers remaining in Colorado. This body of work was created from on-site treks to all the glaciers to record, remember, and respect their role in our environment. Trine is a graduate of the Rhode Island School of Design and spent a year with RISD in Rome, Italy. After graduating, she lived in New York City, working for Betty Parsons and Jack Tilton Galleries and pursuing her own studio work. Since moving to Colorado, she has exhibited her work nationwide in galleries and museums.
Marcie Cohen, “Glacier’s Grace,” oil, 12 x 16 in.
Also exhibiting in the Lynnette C. Jung-Springberg Gallery will be the animal and landscape photography of northern Colorado by acclaimed Fort Collins photographer Michael Madrid. Since 2015, Madrid has been the International Sports Director for USA TODAY Sports Images. Madrid holds degrees in photography and in journalism. His professional affiliations have included the White House News Photographers Association, the U.S. Senate Press Photographers Gallery, the National Association of Hispanic Journalists, and the National Press Photographers Association, where he is a former member of the board of directors.
Executive Director, Museum of Art | Fort Collins, Lisa Hatchadoorian states, “These three timely exhibitions show how 18 Colorado artists are grappling with the effects of a rapidly changing climate and environment on the Front Range and in our beloved national parks and wild spaces around the state.”
Bob Doyle, “Pica Scream,” oil, 16 x 12 in.
The exhibition is supported in part by Eye Center of Northern Colorado, City of Fort Collins Fort Fund, Jay’s, Fort Collins Magazine, DaVinci Signs, KUNC, KRFC, Loveland Reporter-Herald, Dr. Daniel Ostergren, audiologist, and Dr. Peter Springberg. Please go to moafc.org/events/ for more information and pricing on all events.
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