Apr 052024
 

This mural, by @elpinchegogo, @denseinthehead, @keefaura, and @eder_one, was spotted in 2019 outside the A+D Museum in downtown Los Angeles.

Eder Cetina (eder_one) also runs Wilson Cetina Group, which has worked on numerous artistic projects for various organizations and museums.

Mar 212024
 

Niki Zarrabi created this mural in 2019 for the Ladies Who Paint event in San Diego.

She is currently showing work at ABV Gallery in Atlanta for their Spring Group Exhibition, REFRESH, on view until 3/23/24.

Feb 222024
 

It may not be spring quite yet but these blooming magnolia trees created by artist Tony Tasset may have you doing a double take. For this work he created two bronze trees with hand painted flowers that sit among five live trees located in a small park in downtown Pittsburgh.

Magnolias for Pittsburgh, 2006, is the latest art installation in the park, organized by Pittsburgh Cultural Trust.

Jan 022024
 

Frank Weston Benson, “Natalie”, 1917, Oil on canvas

Childe Hassam, “Gathering Flowers in a French Garden”, 1888, Oil on canvas

Luther Emerson Van Gorder, “In the Park”, before 1894, Oil on canvas

Tampa Museum of Art’s current exhibition, Frontiers of Impressionism: Paintings from the Worcester Art Museum, features paintings by American and European impressionists and is a lovely reminder of the extraordinary works these artists created during this time period. The enduring popularity of the impressionists throughout the years makes sense when walking among these paintings. The use of color and brush work, as well as the details and beauty of the subject matter (not to mention the wealth and comfort often depicted)- make the viewer feel like they are being transported through time to the artist’s idyllic world.

From the museum-

In 2024, the term “impressionism” celebrates its 150th anniversary. Such a significant occasion inspires reflection on the profound impact that a relatively small group of artists in Paris made by positing a new mode of painting: one that favored painting outdoors over in a studio, immediacy over planning, the everyday over the grand, and the fleeting over the eternal. In doing so, the impressionists upended centuries of traditions in European art. This exhibition explores the radical impulses behind impressionism and its seemingly endless adaptability, as artists from around the world came to Paris to study and returned to their homelands, assimilating what they had absorbed and propelling the movement further.

The Worcester Art Museum pioneered new artistic horizons by embracing impressionism early in its history. The French and American impressionism collections at the Worcester Art Museum have long drawn visitors to the galleries. The first directors purchased works by Monet from his Parisian dealer, Durand-Ruel, as well as directly from American impressionists, making the Museum one of the first in the United States to collect impressionism actively as contemporary art. Over the past 125 years, this collection has grown, encapsulating the story of the movement’s roots and emergence in France and its subsequent expansion to the United States, Germany, Scandinavia, and beyond. Highlighting more than 30 artists, including Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Mary Cassatt, Childe Hassam, and Max Slevogt, this exhibition demonstrates impressionism’s international allure, captured in subjects as far-flung as Monet’s famed Giverny lily pond to the natural wonders of the Grand Canyon.

Below are a few more selections from the show.

Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas

Max Slevogt, “Selbstbildnis im Garten (A Self-Portrait in the Garden at Godgramstein), 1910, Oil on canvas (detail)

Paul Signac, “Golfe Juan”, 1896, Oil on canvas

Thomas Cole, “View on the Arno, near Florence”, 1837, Oil on canvas

Lovis Corinth, “Vordem Spiegel (At the Mirror)”, 1912, Oil on canvas

John Singer Sargent, “Katherine Chase Pratt”, 1890, Oil on canvas

About the unfinished painting above (from the museum)-

A successful society portraitist, Sargent painted the elite from his international social circles. In June 1890, Sargent visited Worcester, Massachusetts, where he was inundated by requests for portraits. The sitter’s father, Frederick Pratt, a noted collector and eventual acting director of the Worcester Art Museum (1908 and 1917), became friends with the artist and invited him to return a few months later to paint his daughter, Katherine- although the idea for Katherine’s portrait originated in Sargent’s first trip to Worcester, when he had made a sketch of hydrangeas. Sargent’s vision of Katherine against a backdrop of flowers, however, proved less than satisfactory for his client and he abandoned the painting for another, more formal depiction. As an unfinished work, this painting reveals the immediacy of Sargent’s process, with careful attention to broad swaths of color and patterns in the brushwork to convey flower petals or folds of clothing.

This exhibition will be on view until 1/7/2024.

Jun 102023
 

Ketsy Ruiz, “El Yunque in my Corazón I and II”, acrylic on canvas

Work by (L to R)- Chloe Lewis, Kyra Connolly, Ketsy Ruiz. and Joerod Collier

Photos by Joerod Collier, Ceramics by Babette Herschberger

Currently on view at Parachute Gallery in Ybor City, Tampa, is the group exhibition Buy Me Flowers & Call Me Pretty. The show celebrates the beauty of nature and features seven artists with Florida roots.

The artists included are-

This show is on view until 6/25/23.

 

May 112023
 

 

Andrew Edlin Gallery is currently showing a collection of rarely seen works by artist Beverly Buchanan. It covers her years as an abstract expressionist painter in NYC and her later work inspired by the rural South.

The gallery’s press release gives a really good history of this wonderful artist-

The first section of the show features the artist’s abstract paintings and works on paper from the 1970s, alongside post-minimalist sculpture from the late 1970s and early 1980s. The second section introduces a later, more personal side of Buchanan’s oeuvre, her colorful depictions of flowers and small folk-inspired assemblages created during the same period as her well-known “shacks.” A number of the works in the show, many of which were part of the artist’s private collection, have never been shown.

Though Buchanan wrote about her love of “making things” from an early age, it wasn’t until 1971, when she began taking evening classes taught by African-American painter Norman Lewis (1909-1979) at the Art Students League in New York, that her career as an artist took off. Abstract still-lifes that she made in Lewis’s class in 1972 are displayed here for the first time. That same year, her paintings were included in a group show at Cinque Gallery, a nonprofit space co-founded by Lewis and Romare Bearden (1911-1988), which showcased the art of emerging minority artists.

Having witnessed demolition sites in Harlem and SoHo, Buchanan evoked the visual erosion of architectural facades through what she dubbed her “Wall” paintings. In 1976 she presented a selection that she called “Torn Walls” in a two-person show titled City Walls at the Montclair Art Museum in New Jersey. In his New York Times review, David Shirey described the show as “indisputably a tinderbox of a display that will cause sparks to fly” and “the kind …one sees more regularly at the Whitney Museum and at some of New York’s avantgarde galleries.” Three of these paintings are being shown for the first time since that exhibition, forty-seven years ago. The show also includes a monotype, small studies, and a large painting from a series she titled “Black Walls.” The latter was originally featured in Shackworks, a seminal exhibition that opened at the Montclair Art Museum in 1994 and traveled to nine other institutions from 1994-1996.

By the late 1970s, Buchanan was further exploring the aesthetics of architectural decay through sculpture, i.e., cast concrete assemblages, made from pieces of stone, brick debris, clay, and cement mixtures. She arranged these works in clusters on the floor, documenting them with photographs, and exhibited them, notably at Truman Gallery in New York in 1978, and at the feminist artist cooperative A.I.R. Gallery in 1980 in its groundbreaking show Dialectics of Isolation, curated by Ana Mendieta. Some of the small black terracotta works on display may be considered as studies for these larger assemblages.

After moving to Georgia in 1977, Buchanan became increasingly interested in making what she referred to as “environmental sculpture,” artworks that mimicked exterior surfaces and were also site-specific installations that were allowed to decay over time and become part of the surroundings. Most notably, in 1979 she completed Ruins and Rituals (also the title of the Brooklyn Museum retrospective from 2016-2017), and in 1980 Marsh Ruins, with funding from a Guggenheim Fellowship. To construct the three mounds that comprise Marsh Ruins, Buchanan produced her own tabby cement. Composed of the lime from burned oyster shells mixed with sand, water, ash, and other shells, tabby is what colonial settlers used to build structures in coastal Georgia, the location of Marsh Ruins. In her zine “Making Tabby for Brick Sculptures,” Buchanan documented the labor-intensive process of making tabby, a task that in the eighteenth century was typically delegated to enslaved workers. Two smaller iterations of these structures, with bits of oyster shell showing in the concrete, are laid out in the show alongside four other examples of her cast concrete assemblages. Though little is known about their exhibition history, we do know that the artist placed these cast concrete works in her garden in Athens, Georgia. They retain stripes of the green, blue, black and earth-toned paint with which Buchanan initially covered them. The faint outline of her signature “B.B.” is also visible.

Buchanan’s later work is intimately linked to her natural surroundings and folk art. As a native Southerner, she drew on memories from her childhood as well as the lush Georgian landscape and yard art of local self-taught artists. A passionate gardener, Buchanan produced vivid oil pastel flower drawings and small assemblage works. She loved to rummage through thrift stores collecting marbles, wedding toppers, and beads, to create what she referred to as her “Christmas trees,” and “spirit jars,” her take on memory jugs, a prized Southern Folk Art form. Buchanan was particularly moved by a visit to folk artist Nellie Mae Rowe’s home in Fayette County, Georgia, and reminisced: “Being at Nellie Mae Rowe’s home was like being engulfed in a magic forest of her work because every surface had a mark from her hand and the simple chewing gum works made you never take gum as just chewing gum again.” A distinctive chewing gum jug and pin are also included in the show.

This exhibition closes 5/13/23.

Apr 122023
 

“With a Full Heart”

“Unforbidden Pleasures”

“Unforbidden Pleasures” (detail)

“Wild Nights”

Currently at the Creative Pinellas gallery is Yolanda Sánchez’s Out of Eden, a collection of her paintings and textile work. The gallery is filled bright pleasing colors and this is the perfect exhibition to celebrate the spring season.

On the Creative Pinellas website, Sánchez discusses her work in a detailed essay. Below is a section of that piece.

Whether in painting or textiles, my working instruments are rhythm and color. I am interested in the joyful, playful or even spiritual properties of light. I am reflecting the light and color of where I live, of my immediate environment.

This artistic practice is improvisational and process-oriented, abstract. The relationship of one color to another creates a rhythm and tempo and establishes the composition. Each color suggests the next color, almost like the “call and response” form found in many musical traditions. There is a continuous orchestration, as the colors converse with one another, suggesting a mood or vibe.

I am often not sure where it is going or going to go. It is a surprise at every turn. I shape my perception as I work.

My textile work is informed by the Korean art form known as Bojagi. Humble in its origins, nameless women made these traditional textiles as often extravagant visual pieces using mundane, leftover fabric from wrapping, storing and transporting goods. Over time, the nobility introduced finer, more delicate cloth.

In its traditional form, design characteristics include stitching and seams to create linear elements, especially with translucent fabrics. These features differentiate and distinguish Bojagi from patchwork textiles found in other cultural traditions. Nevertheless, Bojagi shares what feminist art historians identify as centuries-old histories of turning scraps of fabric into beautiful objects and ultimately shifting perspectives from private to public.

I pay homage to these unknown women, authenticating their domestic work – and I affirm their values of inclusion, pleasure, love, the familial, the decorative, the colorful and joyful, the spiritual and the everyday.

My Bojagi-inspired textile work – painting with thread and fabric – honors the Korean tradition. Still, while relying on the conventions and basic structure, these pieces extend and interpret the Bojagi into a more contemporary form. I offer a new direction by varying medium and size and utilizing color compositions and stitching techniques less anchored to established methods.

Material, color, texture and transparency are crucial elements in this work, as is the geometry inherent in the design. While geometry, in this case, emerges from a particular culture, the form does not demand a specific culture-dependent response. Its only function is beauty. It is about the sensual delight derived from looking – the viewer can ascribe or chose meaning, if at all.

As an order, rhythm and pattern are generated within the geometry, creating beauty through harmony and stability, color dominates as a suggestive poetic force, concurrently evoking a connection to my immediate tropical environment. It sets as my intention arousing a sense of place, a feeling, and the atmosphere of an abstract garden, or even a walk through a field of flowers.

It is the color but also the sensuousness of nature that I endeavor to suggest in both my paintings and textiles.

This exhibition closes 4/16/23.

Mar 212023
 

The images above are from Annette Kelm’s photography exhibition Present Past Perfect at Andrew Kreps Gallery.

From the press release-

In her work, Kelm moves freely between studio, and documentary photography to explore the function and history of objects, as well as the implications of their representation. A series of new photographs document ephemeral still lives built in her studio, combining colored paper and cardstock backdrops, with vegetation and found objects. Ultimately, these contemporary Vanitas-like compositions are left open-ended, as Kelm discloses their constructed nature, as seen in works like Sumach / Essigbaum, 2023, where the edge of a table and curve of the backdrop suggest the provisional process of the works’ making. Through this strategy, Kelm explores the implications of the framing and display of objects, as well as the value systems in which they exist.

A new series of photographs documenting vintage button pins continue Kelm’s ongoing exploration into the graphic manifestations of protest. Adorned with slogans such as “Keep Abortion Legal” and “If his home is his castle, let him clean it”, each button pin is affixed to a uniformly cropped jean jacket. Sharing an overhead view, and a serial format, the varying placement of each button suggests the individuality of an imagined wearer, culminating in a crowded, all-over composition.

Kelm’s interest in the socio-cultural history of objects is evoked in her 2019 series Recyclingpark Neckartal, presented here for the first time in the United States. The series documents 14 travertine columns originally commissioned by the National Socialists from Lauster quarry in Stuttgart in the 1930s, as part of an unrealized monument to Benito Mussolini planned for “Germania”, the planned reconstruction of Berlin overseen by Albert Speer. Kelm captures these in multiple angles in their current location, a recycling center. Seen through trees and brush, the columns stand overshadowed by a towering waste incinerator, surrounded by parked cars and traces of activity. Together, these views suggest the often uneasy approach society takes to addressing its dark past.

Jan 242023
 

Florida artist Jane Bunker’s Mandala, is one of several of her paintings of lilies on view at Soft Water Gallery in St. Pete, Florida.

Proceeds from the sales of her work will be donated to the Woodson Warriors Scholarships Fund. Administered by The Carter G. Woodson African American Museum of Florida, the fund distributes scholarships to local African American college scholars. Bunker established the fund in 2019 while she was a volunteer at the museum.

Apr 162017
 

This is a great weekend to take a road trip to see the super bloom going on in Southern California. It’s so big you can even see it from space! One of the best places to go at the moment is Carrizo Plain National Monument, east of San Luis Obispo. A shorter distance away, if you are traveling from Los Angeles, is Antelope Valley California Poppy Reserve, which still has some flowers in bloom. You could also check out desert flowers blooming at Joshua Tree National Park which, like all National Parks, is free this weekend (4/15-4/16) and next weekend (4/22-4/23).

For more information on the wildflowers, the best places to see them, and current images- check here.