Monday, December 29, 2008
Posts have been scarce, I admit, over this holiday season. After multiple openings for my exhibit Christmas was another flurry of of arranging rooms and setting out party food. Thank goodness nothing ever happens in January (except the inauguration—I'll be sleeping on a bus to wake up in DC on the 20th!).
With 8 inches of snow we seemed all set for a white Christmas but rain and wind caused the snow to retreat to patches. A record-tying day (62 degrees!) the following Sunday melted the rest and allowed me to open my studio garage door and begin to tackle the chaos left after my show. You can't tell by the photo but I managed to clear out half of it, and started putting up some insulating plastic sheeting over my screens. My machine seems right at home in the mess though!
I'm also starting to apply what I learned in my CSS web design class to a long overdue overhaul of my website. I've redone the homepage and hope to work my way through the site making it bigger, cleaner and more up to date. Check it out.
Wednesday, December 17, 2008
I'm scanning in a bunch of slides for another Blurb book, this time as a Christmas present, and I came across this one of one of my first one-person shows. This one was the Gaspee Days Art Festival in 1975. The kids on the right are my brother Matt and sister Tess, seated is my sister Nancy. They still come to my shows.
Making books on Blurb is getting addictive. I'm now thinking of making a book of my national park artist-in-residence journals. It would be a good project to work on while I work on my painting to send to Mesa Verde.
Wednesday, December 10, 2008
The catalog for my show St. Hugh's Bones is now available to order online. I'll be sending the link out to those who signed up soon. Those who bought a painting, and the owner of the beautiful shoe machines, without which this series would not be possible, will soon receive a book in the mail. Anyone else who in interested in ordering the full color 40-page book online or just previewing the first 15 pages can find out more at this link http://www.blurb.com/bookstore/detail/459612
Sunday, December 7, 2008
I woke up this morning to a white world. The first snow of the season was a good solid one, covering the yard, trees, and all the thin twiggy remnants of my summer's neglected gardens. Only yesterday I raked up the last 8 bags of the oak leaves, just in time apparently.
The snow felt good and fresh, and inspired me to tackle some cleaning and organizing of closets, part of my winter's goal of containing my indoor sprawl.
I've always loved painting snow scenes. Their starkness has the same attraction I have felt in the sand dunes of Cape Cod and the Badlands of South Dakota. The monochrome, the outlined shapes, the way the surface of the land becomes visible makes me want to explore the transformed landscape. The painting below is one of a series I did in 1994 called the Elements of Winter. I hope to do some more snowscapes this winter.
My show is over and back in the studio, despite my having lost the brakes on my 20 year old painting-transport-vehicle last week. The old red truck is fixed now, and did a great job of hauling 2 loads of work. I, on the other hand, am a bit achy after loading the 25 heavily-framed paintings from the gallery to the truck, and the truck to the studio. My other goal this winter is getting back in shape after too many weekends spend standing in front of an easel. You have to be strong to be an artist.
Friday, December 5, 2008
As far as I know, I'll be taking back all the paintings to the studio, and then I will face the problem of storing them. I haven't really been back in the studio since I finished, so it still looks like it was vandalized. But soon I'll sweep it out and set it straight, that will probably put me in the mood to start something entirely new.
I've very grateful for all those who stopped in the gallery to see my show, both at the openings and during the week, and for all the very interesting comments on my work. I should get the final proof of the exhibition catalog early next week, and then I'll put it in the online bookstore and post the link.
Monday, December 1, 2008
The opening was followed by dinner at the Cactus Grill, and we pretty much took over one room of the restaurant. They were very accommodating, even though I made reservations for 20 and about 30 or more showed up! Despite the good time, I'm glad to kick back a bit now, putter around and rediscover other bits of inspiration that I've tucked away in closets, boxes and drawers. Not to mention the inspiration I could get by just getting out into the woods.
My show is up until Saturday, so if you missed the opening and still want to take a look, the gallery is open from 10 to 6. The catalog will also be available to order online soon, so send me your email if you'd like the link.
Friday, November 28, 2008
Thursday, November 20, 2008
My studio looks like it was hit by Fall, but it felt more like Winter last weekend as I went on a painting marathon to finish the last, large (46x58) painting for my show. Temps were unusually low, just edging 30 and gale force winds were blowing, and I didn't have time to do my usual insulating of the garage door. So even after cranking the propane stove for hours, I could barely get the inside temp up to 50. It was comfortable enough though, as long as I wore long johns, 2 pairs of sweatpants, a tank top, t-shirt, a sweatshirt and fleece jacket, 2 pairs of socks and a hat. Whew, that's a lot of clothes.
But the big painting is done, and I deliver it tomorrow, when the gallery will hang the last of my paintings in time for my reception on Saturday. The 40 page catalog will be done as soon as I photograph the big painting and upload the final version. It will be available to order online, and I'll post a link soon. If you'd like me to email you the link, send me your email.
I'm looking forward to tying up the final loose ends of this 3 and a half year project... some serious recharging is in order.
Tuesday, November 18, 2008
Hopefully the weather will be better for my (re)opening on the 29th, when I will have delivered the remaining paintings from the St. Hugh's Bones series. Until then I am still working on the final big painting. This morning I stopped in my studio before heading to work and couldn't resist taking off my gloves and painting out an errant cloud, trying to keep paint off my coat. Hopefully I'll wrap it up this weekend.
The gallery is also opening this Thursday for Gallery Night Providence.
As I mull over what direction I am going to head in after the machine series I'm getting inspiration from two fabulous painters, Sue McNally and Gregory Amenoff. I had seen the work of Amenoff for many years and always have felt the pull of it. I recently have been exploring his website. Very cool stuff.
I discovered McNally's work last year when I went to a one-night exhibit at Castle Hill in Newport. Her work is large and the room was packed, but I squirmed my way through the crowd many times to see the work. I missed her show this year because I was so frantic about getting mine delivered on time, but I'll have to be satisfied with visiting her excellent website.
Friday, November 14, 2008
Thursday, November 13, 2008
My paintings were hung and lit very nicely, and I only had to switch two labels. Considering how odd some of my title are, that's pretty good. It was mostly a photo crowd, of course, so the crowd was decidedly on that side of the gallery, but it's great to get "exposure" to that group as well. My opening is Saturday, it'll be a fun party...
Tonight I'm off to the Blackstone to see my husband's band Plan 9 . If you like great guitar work in a wall of pyschedelic sound, head on over to Pawtucket. They go on about 10.
I'm still feeling real good about election night, every once in awhile I stop and realize...hey, Obama won! and it cheers me up. And to add to his talents, I find he is a pretty decent cartoonist as well! Who knew? This is from the Pioneer Local in Chicago.
Monday, November 10, 2008
I packed up my paintings this morning and loaded them in the old truck in the dawn's early light. I was glad that they all fit in one trip. When they're all the same size there isn't as much worry about where the corners fall, so I could stack them pretty high.
When I got to work I found out, to my joy, that tomorrow is a holiday (Veteran's Day)! I've been too busy even to anticipate it, but I sure can use the time. I'm trying to finish my show catalog which unfortunately may not be ready for my first opening, but hopefully shortly after, and in time for the second "one-person-show" opening on the 29th. I'm using a site called Blurb to make it and am hoping to order a bunch, and then put it in their bookstore so that it can be ordered online.
It does feel good, if a bit strange, to look out my office window and see my truck in the parking lot loaded with paintings, and know that most of my work of the last 4 years is ready to deliver.
Thursday, November 6, 2008
After that it just a matter of trying to crowd into the tiny elevators to get back to the car and drive to my sister's house in time to watch Obama's speech and pop open that long awaited bottle of champagne. A great night. A great speech.
And what made it even better the next day was to see the reaction from around the world. The sight of other countries waving the American flag and cheering made me feel very proud. It was a sight I didn't think I'd see again.
I know that this doesn't mean the world really loves us and all our problems are over, but at least now I feel there is some HOPE!
Monday, November 3, 2008
When those are in the mail I'll have a few less things to think of... just finishing my frames, getting my email invite ready, finishing my big painting, finishing my catalog, all in about a week. But that won't prevent me from going downtown Tuesday night for the election result festivities. The show will get done somehow, lets just HOPE the right thing is done for this country.
Thursday, October 30, 2008
Peter Goldberg, in conjunction with The Narragansett Bay Commission, is showing photographs of the Combined Sewer Overflow Project (CSO) and is exhibiting with me the first week or so of my show. His opening is on November 12, from 4 to 7 pm. Since my work will be up as well, it's another chance to snag a glass of white wine in a plastic cup while viewing it.
This photo is from my journey down to the center of the earth, but I'm curious to see Peter's photos. I'm fascinated by the CSO project (see my slideshows of The Utility Shaft and The Main Shaft). Alas, the tunnel is now sealed so there is no hope of getting down there again. I am going to try to go to the opening unless I am frantically finishing up details of my show. Peter's work will come down on November 25, at which time I will put up more of my paintings to make it the one person show that I thought it would be from the start.
The gallery is also open on Gallery Night on November 20, so it works out that there will be 4 receptions during my show, November 12, 20, 15 and 29, all from 4 to 7. The opening on the 29th will include the new paintings I've added. Confusing? I'm sure, but after all this work, I'm not going to say no to festivities and wine.
Wednesday, October 29, 2008
But my frames are mostly assembled, and I'm starting to attach the paintings. I'm amazed at all the hardware I have to buy to accomplish this task. But I guess it's not that surprising considering I have 20 paintings to frame. They have to be delivered in less than two weeks, so I think I'm on track, but without a moment to spare.
Now if I can just get some press releases in the mail...
Wednesday, October 22, 2008
I went back to the shoemaker's shop for the fourth time about a week ago to visit my machines during the annual Warren Walkabout. It's a bit disconcerting to see them, they're familiar and strange at the same time. Some seem smaller, almost like miniature models, in others I see new details that I want to rush back and incorporate into my paintings. This was probably my last visit, chances are good that I'll be moving on to a different subject after my show, although I'm still not sure what. The natural world always seems to be what I plan to return to, but a chance encounter, like that with shoe machines, can divert me.
While in Warren I talked with the shoemaker himself, Tim Noonan, and to my surprise he had not heard of St. Hugh, although he was very familiar with the other patron saint of shoemakers, St. Crispin. He showed me a hammer with "Crispin" stamped in the metal head, and a tool he uses actually made out of a bone, though I doubt it was St. Hugh's bone.
You know who's more like me?
Notice who gets the credit card bills for this family. And you can't script these little kids. This video was recorded in July, when celebrity Palin was just a twinkle in John McCain's eye.
Thursday, October 16, 2008
Sunday, October 12, 2008
In fact, here it is right before my Russia show, the last time that I went all out making frames.
I'll be glad to deliver the paintings to the gallery in about 4 weeks (gulp) and sweep it out.
But once the show is up and the cold weather settles in I'm not sure how often I'll be able to work in this studio. I managed to hang on to my day job, which these days is a good thing, but the bummer part is that they are probably going to change my schedule so I might not get back home to my studio till 6 or 7. Since it takes about 2 hours to warm up the space in the dead of winter, it will mean starting at 8 or 9 at night. I'll do it somehow though...I'm not going to stop doing my work just cause I have to make a little money.
Like a lot of people, I've been obsessed with politics lately. I must check the polls a dozen times a day. I'm liking what I see though, I hope we can keep it going. I'm also glad to see so many art blogs I visit have gotten political and show their support for Obama, so I know I'm not the only artist being distracted by this critical election. The more we are subjected to the dirty campaigning of McCain and Palin, the more I'm convinced that they deserve to lose even more than Obama deserves to win. If like me, you've been appalled by the anger filled McCain/Palin rallies, Edward Winkleman turns the anger back where it belongs.
Monday, October 6, 2008
Last week I found that, instead of my exhibit being a one person show for the 3 weeks it will be up, I will be sharing the gallery with a photographer, Peter Goldberg, for the first week (then I'll add more paintings to make it a one person for the next two weeks).
I hear that he will be exhibiting photos of the CSO, the huge sewer tunnel that is being drilled under Providence that will divert the rainwater that sometimes overwhelmed our sewage treatment plant and caused sewage to flow into the bay. I actually went down into the tunnel shortly after they started drilling and wanted to do a series of paintings about it. I never did get back underground though -- so many paintings, so little time! I did take a lot of photos and put together a couple of slideshows (The Utility Shaft and The Main Shaft) of my subterranean journey. I'm not surprised to see another artist inspired by the project, and am curious to see the photos myself.
Saturday, October 4, 2008
Friday, October 3, 2008
Thursday, October 2, 2008
As I was chatting with Liz my eye was caught by the large and intricate paintings The Atrium Gallery behind her. The exhibit was of paintings by Augustin Patino. I didn't have a lot of time to look, but the more I did, the more I saw in the paintings. The work was full of detail without being fussy, the best being the piles of wrecked cars spreading in fungus-like patches over the apocalyptical landscapes. It's a show a show definitely worth checking out if you're in the area.
Monday, September 29, 2008
But once I leave the ergonomic office chair, close my studio door and sit for a bit in my old painting chair it becomes of little importance. My battles are in here.
I toured the RISD Museum's new wing on Sunday with some out of town guests. It sure is a change from the old wing—for one thing, it has a escalator! That kind of blew my mind. The Chihuly show was ok, but I thought it was rather thin, despite the dramatically lit and reflected installations. I'll have to go back and take another look when it's not so crowded. I'd like to take another look at the David Macaulay show too. I have to really respect the work that went on behind the pages of his books. Contrast his thoughtful sketches with the "art fair" type paintings that Chihuly whips out for his assistants as studies for his glass designs.
44 days till the hanging.
Monday, September 22, 2008
I also have to accept the possibility that it won't make it into the show, it's more important to get it right than to finish it by some arbitrary date.
Meanwhile, here's a totally unrelated, but cool photo of rain in the grass....
Wednesday, September 17, 2008
These two have been around a while and are well organized...
Saatchi has gotten a lot of publicity, and has a bazillion artists, but someone need to take a class in web design!
This is the latest one I found, it takes a while for your work to show up, but after 2 weeks if it's not there, an email will do the trick. The quality of work on this site seems very good.
Irving Sandler Artists File
Does posting your work on these sites help? I really can't say. But they do allow you to place your web address and other info on them, and they do come up in search engines. So it couldn't hurt if you want to get your work out there. If anyone knows of others, let me know and I'll look into it!
Sunday, September 14, 2008
How the shoomakers stole away Saint Hugh's bones and made them working tools thereof, and the vertue that they found in the same; whereby it came that when any man saw a shoomaker travelling with a pack at his back, they would presently say: "There goes Saint Hugh's bones."
Upon a time it chanced that a company of journeymen shoomakers passed along by the place where Saint Hugh's dead body was hanging, and finding the flesh pickt cleane off from the bones, they entred thus into communication amoung themselves:
"Never was Saint Hugh so bare", quoth one, "to carry never a whit of skin upon his bones."
"Nor thou never so bare", said another, "to beare never a penny in thy purse. But now seeing you talk of Saint Hugh, it brings me to remembrance of his legacy that he gave us at his death."
"What was that?" said the rest.
"Marry", quoth he, "I will tell you. When the gentle prince saw that the cruelty of the time would not suffer him to be liberal to his friends, but that his life was taken away by one and his flesh given to others, he most kindly bequeathed his bones unto us."
"Tush", quoth another, "that was but to show his mind towards the shoomakers, because he had received of them so many favors; for alas, what can the dead man's bones pleasure the living?"
"No", quoth another, "I can tell you there may be as great vertue found in his bones as the brains of a weasill or the tongue of a frog."
"Much like", answered the rest, "but I pray thee shew us what vertue is in those things you speak of."
Quoth he, "I will tell you: the braines of a weasill hath this power, experientia docet, that if the powder be mingled with the runnet wherewith women make their cheese, no mouse dares touch it. In like manner the tongue of a water-frog hath such great force in it that if it be laid upon the breast of any one sleeping, it well cause them to tell whatsoever you shall demand: for by that meanes Dick Piper knew he was a cuckold. Againe, I know that those that are travellers are not ignorant that whosoever puts but six leaves of mugwort in his shooes, shall nere be weary, though he travell thirtie or fourtie miles on foot in a forenooon."
"That, indeed, may be true", quoth one, "for by the verie same hearb my last dame kept her ale from sowring. And it is said that where housleek is planted the place shall never be hurt with thunder. Pimpernel is good against witchcraft, and because my sister Joan carried alwayes some about her, Mother Bumby could not abide her. Therefore, what vertue a dead man's bones may have we know not till we have tryed it."
"Why, then", said the third man, "let us soon at night steal Saint Hughe's bones away and, albeit the tyrant will be displeased, yet it is no theft; for you say they were given us, and therefore we may the bolder take them. And because we will turn them to profit and avoid suspition, we will make divers of our tools with them; and then if any vertue do follow them, the better we shall find it."
To this motion every one gave his consent; so that the same night Saint Hughe's bones were taken down, and the same being brought before a sort of shoomakers, there they gave their opinion that it was necessary to fufill the will of the dead, and to take those bones in as good a part as if they were worth ten thousand pounds. Whereupon one stept out and thus did say:
My friends, I pray you, listen to me,
And mark what S. Hughe's bones shall be:
First a drawer and a dresser,
Two wedges, a more and a lesser.
A pretty block, three inches high,
In fashion squared like a die,
Which shall be called by proper name,
A heel-block, the very same.
A hand-leather and thumb-leather likewise,
To pull out shooe-thread we must devise;
The needle and the thimble
shall not be left alone,
The pincers, the pricking-aule,
and the rubbing stone;
The aule-steele and tackes,
the sow-haires beside,
The stirrop, holding fast,
while we sowe the cowhide;
The whetstone, the stopping-stick,
and the paring-knife --
All this doth belong
to a journeyman's life:
Our apron is the shrine
to wrap these bones in:
Thus shroud we Saint Hugh's bones
in a gentle lamb's skin.
"Now all you good yeomen of the Gentle Craft, tell me now", quoth he, "how like you this?"
"As well", replyed they, "as Saint George doth of his horse, for as long as we can see him fight with the dragon we will never part from this posie."
"And it shall be concluded that what journeyman soever he be, hereafter, that cannot handle his sword and buckler, his long sword or a quater-staffe, sound the trumpet or play upon the flute, and bear his part in a three-man's song, and readily reckon up his tools in rime --except he have born colours in the field, being a lieutenant, a sergeant, or corporall -- shall foreit and pay a pottle of wine, or be counted for a colt." To which they answered all, viva voce: "Content, content"; and then, after many merry songs, they departed. And never after did they travell without these tools on their back; which ever since were called Saint Hughe's bones.
Saturday, September 13, 2008
My other goal today was to finish my statement, finalized what I'm calling my exhibit, and work on my postcard and gallery book. But I'm procrastinating of course, by working on frames and writing this blog. My frames I think will go well, I've simplified my design, so now it's just production line of sawing, clamping, gluing, nailing, assembling, sanding, spraypainting, and finish work for at least 16 oil painting frames and numerous frames with glass. It looks like an awful lot when I write it out, but I can do it, because....I have to!
But enough procrastinating, I've got to tackle that statement.
Sunday, September 7, 2008
August was a good month for painting, but my garden is growing wild, and I still haven't been for a bike ride this summer! But it's now only 2 months to my show, so that will take priority. I'm to the point now where I have to write a statement. Is there anything more painful for an artist? Fortunately I discovered this site, The Market-O-Matic (1.0)
[fine arts version]. I knew there must be an easier way! Here's what the Market-O Matic came up with for me...
Work of Anti-Art in the Age of Mechanical ReproductionI'm going to go with it...
Kathy Hodge's work investigates the nuances of vibrations through the use of fast motion and close-ups which emphasize the Mechanical nature of digital media. Hodge explores abstract and anxious scenery as motifs to describe the idea of hyper-real space. Using warlike loops, lasers, and slow-motion images as patterns, Hodge creates meditative environments which suggest the expansion of time...
The vortex creates, the chaos permeates. In the synaptic space, art objects are resurrections of the creations of the vortex -- a vortex that uses the chaos as a machine to deconstruct ideas, patterns, and emotions. With the devolution of the electronic environment, the vortex is approaching a point where it will be free from the chaos to realize immersions into the machinations of the delphic space. Work of Anti-Art in the Age of Mechanical Reproduction contains 10 minimal flash engines (also refered to as "clipper chips") that enable the user to make complex audio/visual compositions.
And despite my neglect, I did manage to get some beautiful little tomatoes from my pitiful little garden...
Thursday, September 4, 2008
This is the first painting I did for the series I am going to exhibit in November. Hopefully I am working on the last now, although I'm tempted to try a few more if time permits...which of course it won't!
Tonight I'm taking a break, instead of staying up late painting and torturing myself listening to McCain's acceptance speech, I'm going to grab a drink with a friend at the local watefront watering hole, right next to these guys, Reliant and Resolute (painted in 1988).
I need a drink after the Huckabee act...
"Barack Obama's excellent adventure to Europe took his campaign for change to hundreds of thousands of people who don't even vote or pay taxes here. It's not what he took there that concerns me. It's what he brought back. Lots of ideas from Europe he'd like to see imported here."OOh, scary Europe, best to stay home where it's safe...
(sorry to get political, it takes a lot to get me to sound off! Here's some comic relief to make up for it -- McCain's Voice Mail to Palin Leaked to Press (Listen))
Saturday, August 30, 2008
And if you've had enough of politics, try some pollocks!
Hint, click to change color...
Thursday, August 28, 2008
Monday, August 25, 2008
Here's a video of me during my artist residency at Mesa Verde National Park. It's a bit goofy, but gives an idea of the feeling of wandering through the ruins alone. That is, alone except for my filmmaker husband John, who took the footage.
Thursday, August 21, 2008
I was going through some old images on my computer and came across this one of me in my studio in Providence circa 1987. I'm amazed at how small the little attic room looks now, lit with only a small window and the lightbulb on a stand you can see on the left. I did some of my biggest paintings in that studio, you can see the finished painting behind the one on the easel here. As sparse as my lifestyle was in those days, I'd love to go back in time sometimes....
Monday, August 18, 2008
I was concerned that I would miss my appointment, but when I got there I found myself in a short line of cars waiting to check in. They didn't ask my name or check to see if I had an appointment, their only question was "what do you have?" "Oil paint, jars and rags" "Pull up over there". Two friendly men unloaded my truck, returned my empty cans and I was on my way in about a minute. I could have really just shown up without an appointment, but I think they schedule people just to keep the traffic moving. I was glad to see so many other people dropping off stuff, and a large crew of people sorting trash and directing it towards safe disposal. Here's a link to find out when they're coming to your town. They take old computer stuff too.
Friday, August 15, 2008
This week I started thinking seriously about framing for my show in November. I really would like to buy frames, but haven't seen any that would suit my paintings at a reasonable cost, so I may be back to making them myself again. I've come up with a simplified version of a very work-intensive frame I had originally planned for the oils, so I'm going to make a sample and if it works, I'll go that route.
I sorted my studies as well, most are on paper so I'll need to frame behind glass--boy do I hate that kind of framing. I'm lucky though, I had stocked up on some simple oak frames in all sizes that the RISD museum was "deaccessioning". They were selling them very cheaply, but they can still be called "museum quality frames"! I think I'll splurge and have the mats cut for me though. I've never mastered that skill, despite the acres of matboard that have gone under my knife.
Wednesday, August 13, 2008
I'm going to occasionally post an ad from some of the vintage art magazines I've collected. I love reading commentary on artists, who are now either famous or forgotten, from 50 or so years ago. I find the ads almost more fascinating, often humorous in retrospect and sometimes beautiful. This one, from ARTnews Annual of 1957 I'll file under beautiful.
Monday, August 11, 2008
I'm posting what I think is my latest finished painting from the Shoemaker series that I'm going to exhibit in November. I say "I think" because sometimes I decide a painting is finished and then it refuses to settle down and keep nagging from its corner of the studio. Yesterday I went back into a painting that I had considered finished months ago. It's always bugged me though, so it's actually a relief to paint out some sections and rethink them. It already looks better.
It's not every studio session that I dare to make decisions like that. Sometimes I have a whole day in the studio but my brain is not connecting to my work. Or the opposite happens. I'm really focused and connected, but other obligations pull me away from the studio, so I can just open the studio door and stand in front of my painting for a few minutes, car keys in hand...
I don't know what's more frustrating, but I think the former, since I feel like I should be able to just "snap out of it". It would be better on those days just to go for a bike ride or walk but studio days are so rare. . .
Saturday, August 9, 2008
From the road in Big Bend National Park.
I've been going through my photos from western Texas this week so I think I will post a couple of my favorites for the next few blogs.
The bizarre beast called the Javelina near the Window Trail in Big Bend.
A interesting part of traveling is always visiting art museums in other cities. We had an afternoon in El Paso before we flew back with not quite enough time to cross the bridge into Mexico, but had planned it so we stayed in a hotel right across the street from the El Paso Art Museum.
It was a little disappointing that we seemed to be the only visitors, despite free admission, but the entire downtown area was also deserted. July is considered "off season" in El Paso because of the heat. The collections were very interesting though, and it's a large and modern museum. I especially liked the Spanish Viceroyal Collection. This is the museum's description...
The Spanish Viceroyal Collection reflects the period of the Spanish Empire in the New World. The collections of 17th through 19th centuries include paintings on panel, canvas, copper and tin. Many of these works were used as devotional images and were created by artists such as: Nicolás Enríquez, Antonío de Torres, Francisco Martínez, and Juan Sánchez Salmerón. Many works from this collection are permanently displayed in the Roderick Gallery.Mostly iconic religious themes, the work had a dark richness of color and brushwork that was complimented by over-the-top carved and mirrored frames that suited the work perfectly. I also liked a portrait by Tom Lea, especially the bottom half where the figure is played against the landscape.
The Art Binational 2008 Binacional de Arte, a joint exhibition with the Museo de Arte Ciudad Juarez was still on exhibit. All of the artists were from western Texas and Mexico, so it was interesting to see contemporary work from a different part of the country.
Another place I like to visit when traveling is cemeteries. There was a great one in the ghost town of Terlingua. It occurs to me that I might be looking for some of the same things in cemeteries I look for in the local art museums, they both contain an attempt to express and symbolize uncomprehensible and sometimes scary life experiences.
It feels more like fall today than the first week of August and it's tempting to tackle my neglected and overgrown gardens in this coolness. But my neighbors apparently have the same idea and the lawnmower duet is at full volume either side of my house. And now it's just become an trio, as the neighbor across the street has just fired up his mower. I think after this post I'll escape to the relative quiet of my studio...especially since a weed whacker was just added to this chorus...western Texas sure was quiet.
Tuesday, August 5, 2008
My studio calendar in July logged less x's than last month I think, meaning I was in the studio less. Most of that was due to spending 8 days in Texas and the preparation that goes with it. But I was in the studio till late last night, and now that I'm back, it's full steam ahead for my November show. Framing will be a big issue, I'd like to get some steel or iron frames made without spending too much. With about 14 medium to large paintings to frame, the cost could add up fast!
I'll post a report and some photos from my Texas trip soon. We had a great time--Western Texas and Big Bend National Park are absolutely beautiful.