Joseph Orr, “Summer Lilies,” 20 x 24 in. Courtesy of Castle Gallery, Fort Wayne, IN
Paintings by nationally known artist Joseph Orr from Osage Beach, Missouri, as well as Victory Wang, Pam Newell, Jeffrey T. Larson, and more will be included in “A Survey of Excellence,” an invitational exhibit of paintings by artists from middle America.
Joseph Orr in his Osage Beach studio with his painting, “Summer Cabin,” which will be included in the exhibit. Orr paints from his studio and the Missouri countryside. He is represented by Kodner Gallery (St. Louis)
The Heartland Art Club exists to promote and encourage the creation of quality representational fine art through education, exhibits, and engagement. Established by a group of artists and supporters in St. Louis, Missouri, and now over 100 members strong, Heartland Art Club, a 501(c)3 organization, seeks to elevate representational art, its disciplines, and its history.
Heartland’s inaugural exhibit, “A Survey of Excellence,” includes works by 25 artists and opens August 23, 2019, 6 to 9 p.m., at the club’s office and exhibit space, the former OA Gallery (Kirkwood, MO).
Bryan Haynes, “The Great Mayer Oak,” acrylic on canvas, 50 x 40 in.Billyo O’Donnell, “White Farm House and Round Bale, Missouri River Valley,” oil, 18 x 24 in.Brenda Morgan, “Western Beauty,” oil on canvas, 16 x 12 in.Chris Krupinski, “Apples, Stripes, and Jar,” transparent watercolor, 30 x 22 in.Ali Cavanaugh, “Rise and Fall,” watercolor on clay panel, 30 x 30 in.Victor Wang, “Reaching the Past,” oil on canvas, 48 x 63 in.Jeffrey T. Larson, “Milk Jar and Turnips,” oil on Belgian linen, 20 x 24 in.Evan Church, “Diani Fisherman,” oil on canvas, 28 x 24 in.Miguel Malagon, “Orange Line,” oil on linen, 18 x 24 in.Pam Newell, “Arbor Rose,” oil on linen panel, 9 x 12 in.
The exhibit is free and open to the public during regular gallery hours through September. The artists participating in the event were invited by a panel of the club’s board members. The participants were selected for displaying consistent excellence in creating quality representational art. Participating artists live or have spent a significant portion of their lives in the middle of the US. In addition to Joseph Orr, other prominent artists showing work are Heartland board members Bryan Haynes and John Whytock, Scott Christensen and Ali Cavanaugh.
Additional Paintings by Joseph Orr:
Joseph Orr, “The Green Barn,” 20 x 24 in. Courtesy of Kodner Gallery, St. Louis, MOJoseph Orr, “Summer Cabin,” 16 x 12 in.Joseph Orr, “Red Truck Diaries,” 20 x 24 in. Courtesy of Highlands Art Gallery, Lambertville, NJJoseph Orr, “Holiday Cove,” 40 x 40 in. Courtesy of Kodner Gallery, St. Louis, MOJoseph Orr, “Heart of the Heartland,” 24 x 30 in.
When you and I talk about art, the eyes of non-art lovers glaze over. If we try to slip into a museum with friends, they resist and would rather go shopping.
Let’s face it, not everyone has a love affair with art.
If you’re the kind of person who eats and sleeps art, who is continually looking at art books and studying paintings, and who is more obsessed about it than most of your friends, then this brief note might be for you.
My Mistress
My name is Eric Rhoads. I’m the publisher of Fine Art Connoisseur and PleinAir magazines, and I too am obsessed with art. My wife would tell you that art is my mistress. Like you, I spend all my spare time reading about art and studying paintings.
Sharing Our Professional Experiences
People used to marvel when I would share stories about the doors that would open up as a result of my involvement with the magazine. Because of this, 10 years ago our editor, Peter Trippi, and I decided it would be nice to share these kinds of experiences with a small, select group of people.
Exceeding Major Museums
We invented an art experience that is simply like no other. Frankly, I’ve been told that even the art experiences put on by major museums don’t match the experiences we’ve created. Our goal is to give the same kind of access we receive — a trip for people who absolutely love art, who don’t mind looking at art most of the day for a week or more and still can’t get enough.
caption: You’ll see actual places Van Gogh and others painted on our special VIP behind-the-scenes art trip this October.
We strive to give you access to the greatest art experiences, take you behind the scenes at museums, and bring art historians or curators to you, so you receive a full understanding of what you see.
Deep Exclusivity
If you’re the kind of person who craves premium experiences in the finest hotels and the best restaurants, and access to experts and experiences few others in the world will ever have access to, this is an experience you will treasure.
Deeper Friendships
And if you love to make friends who have art in common, who share your passion and your level of exclusivity, you’ll make lifelong friendships from this trip. We’ve become a family, and, though most return when they can, when someone new joins in, they are instantly embraced.
Private Access
In the past nine years we’ve given a very small number of people the experience of a lifetime. Most come back year after year, and if they don’t, it’s usually because of a wedding or other family commitments. We’ve had amazing experiences, including access to art that was only available for viewing by the elite class, hidden away in museums; access to the studios and homes of deceased artists that were not open to the public, only possible because of our relationships; unheard of private access to avoid crowds at places like the Sistine Chapel, the Hermitage Museum in Russia, and the private access-only areas of the Van Gogh Museum; a private viewing of The Last Supper; and dozens more.
Very Rare Opportunity
What I’m about to tell you is a very rare opportunity. This trip is available to only about 48 people because we have to keep this group under 50 to allow access into some of the small collections and experiences we plan to visit. Forty-two of the seats are already booked, so only six remain. Because this is our 10th-anniversary trip, where we are “pulling out all the stops,” some people are trying to rearrange schedules to be a part of this experience, so I suspect these remaining seats could be gone before summer is over, or sooner.
Been There, Done That … Not
In the past some of our guests almost did not come because they had already visited some of the areas we were visiting and seen the museums. Yet every year we hear our guests tell us the trip was a totally different and unique experience, and one they could never have done on their own or even with paid guides. In fact, one guide who had been working in an area for 30 years was surprised to learn of a place we visited in her town that she had never been aware existed. This is all because of the power of deep connections and friendships that allow us to open doors. So if you’ve been to Provence and the South of France, don’t let that stop you from returning. This will be entirely different.
Something to Look Forward to This Fall
On October 11, our group will meet up in the South of France and we will tour the treasures of this beautiful area, which is rich with amazing art experiences. Of course the area was frequented by Van Gogh, Cezanne, Chagall, and Gauguin, so if you love the Impressionists, this is an amazing trip. But the area offers a huge variety of other art treasures and experiences that we will visit. And even if you’ve seen these beautiful areas before, this experience promises to be different from what you’ve experienced before, and fall is an amazing time, when tourism is slim and colors are brilliant.
Whether you’ve traveled with this small group before or this is your first big adventure with us, you’re in for a spectacular time.
Watch this video:
Above: Publisher Eric Rhoads and Editor Peter Trippi have a casual porch talk about the upcoming Fine Art Trip.
With October just around the corner, we’ll need you to reserve your seats now so that airfare can be secured. We highly recommend you do it this week.
We’re looking forward to seeing you in France this October.
PS: Because this is our 10th year and because of such high interest in the art of the South of France, and because of the beauty in the fall, this will be one of our most spectacular trips yet. But we can only take 48 people, and there are 6 seats left. Whether you’re a couple or a single or you want to bring some friends, prepare for some incredible art experiences and lifetime memories. And give yourself a break, get away from the stress and business of life … you deserve it.
The Bowdoin College Museum of Art is marking the 125th anniversary of its Walker Art Building with “Art Purposes: Object Lessons for the Liberal Arts.” This exhibition draws its title from an inscription in the rotunda (“to be used solely for art purposes”) and seeks to explore the implications of these words.
Alfredo Jaar, “Angel,” 2007, c-print.Heather Dewey-Hagborg (b. 1982), “Stranger Visions: Sample 7 NYC (Reconstruction of a Face Based on Found DNA),” 2012–13, polymer, 12 x 7 x 4 in., courtesy Fridman Gallery
On view are approximately 150 works of modern and contemporary art — a mix of longtime favorites from the permanent collection and new acquisitions and promised gifts. (The museum has acquired nearly 10,000 objects since its expansion in 2007 and now holds approximately 25,000.) The show is accompanied by a new collections catalogue, the museum’s first in nearly 40 years, authored by more than 70 contributors.
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.
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