Saturday, July 23, 2011

New Paintings! Ya Matrix....

Painting #1 (2 sided with coffee bean and weathering)
 Close up of Painting #1
 Painting #2 (2 sided w/coffee bean and weathering)
 Painting #2 (with added needle work)

 Painting #3 
 Needle work bleeding from eyes
 Closer perspective

Painting #4 (FRONT)
 War of man (please look as closely as you can you will find over 7 figures in internal war)
 Close up
 Painting #4 (BACK) 
Whispers of the war on the back of the canvas

Friday, July 22, 2011

Excited for James Turell's Skyspace to open starting July 25!

 James Turrell's skyspace

Public Announcement of Skyspace Reopening

By Patrick Brooks - Posted on July 28 2010
Live Oak Friends Meeting (Quaker), announces the regular viewing of James Turrell's skyspace will begin again on Friday 30 July 2010 approximately 60 minutes before sunset. All are welcome. 

The Meeting House and skyspace, 1318 West 26th Street, Houston, TX 77007 will open every Friday one hour before sunset for prayer, meditation, and viewing of the skyspace. Private group viewings can be arranged by contacting the meeting scheduler at 
James Turrell, Leslie K. Elkins Architecture, Atlantech Systems, and W. S. Bellows Construction reengineered and rebuilt the moveable roof component to the skyspace. The project was coordinated by LOFM Property Clerk, Philip Koch. Questions should be directed to 
The meeting wishes to thank the Houston Endowment for providing a grant to fund the reengineering and remaking of the moveable roof component of the Turrell skyspace.

James Turrell (born 6 May 1943) is an American artist primarily concerned with light and space. Turrell was a MacArthur Fellow in 1984. He is represented by The Pace Gallery in New York. Turrell is best known for his work in progress, Roden Crater, located outside Flagstaff, Arizona, where he is turning a natural cinder volcanic crater into a massive naked-eye observatory.

Wish I could be in Barcelona - In the Labyrinth:

Àngels Ribé 1969–84
15 July–23 October 2011

Exhibition curated by Teresa Grandas 

Museu d'Art Contemporani de Barcelona
Plaça dels Àngels, 1
08001 Barcelona 

The exhibition by Àngels Ribé (Barcelona, 1943) covers a period of her production from 1969 to 1984. This period is particularly significant for it marks the appearance of a new aesthetic model that would have a fundamental influence on the creation of new ways of conceiving the artistic practice. The associative and symbolic functions of art are renegotiated: the artwork ceases to be an autonomous entity, as was the norm in the modernist tradition, and its meaning becomes dependent on an interchange with the spectator. In this way, the ambiguity and the multiplicity of references and readings that are an intrinsic part of the work of art are revealed. Àngels Ribé, having begun her artistic career at that time and within those parameters, consolidated a language of her own that has continued until today through various supports and media.

In 1969 Ribé moved to Paris, where she began to develop her interest in art. Soon after she was to focus on de-emphasising the object in actions where the inclusion of elements and materials in nature, the work in the space, the presence of the artist's or the spectator's body as narrative elements, and the integration of geometrical forms became a fundamental part of her discourse. Some of Ribé's works are characterised by the use of unconventional materials such as foam, water, light and shadows. In these pieces, the artist plays with decontextualisation. Also important is the artist's interest in things found by chance and in the ephemeral, and in potentiating the narrative possibilities of the environment. During the seventies, Ribé moved to the United States, first to Chicago and a few months later to New York, where she would settle until 1980. In both those cities, she established contacts with the new galleries and exhibition spaces that were then emerging as an alternative to the anachronistic institutional politics and as promoters of an emergent artistic scene. 

During those years, Ribé also became interested in performance and installation. In her performances, she no longer seeks to invest the object with an artistic entity; it is the presence of the artist and the spectator that brings a subjective factor to the development of an action in a particular time and space. The aim here is to shift the production of the meaning of the artistic object towards experience, in a process of de-objectualisation of art. It is an attempt to understand the work as something not necessarily durable, to transfer the quality of the artistic object to something immaterial and to negate its objectuality. Ribé's performances are characterised by contingency, by the possibility of one thing becoming another, by the ephemeral. 

Other works allow Ribé to enrich her vocabulary and to deal with the intervention of the unconscious and subjectivity in perception, to incorporate conjunctional aspects and the analysis of contradictory information, as well as aspects of her condition as a woman and her personal baggage. Can't Go Home and Amagueu les nines que passen els lladres, 1977, are installations that reflect on the possibility of action, on the contrast between past and future, reality and the dream world, memory and desire. The dual situation that Ribé proposes in these works reveals a personal, feminine, fragmented and stigmatised imaginary, but also a parallelism with the political situation of the country, at a time when it was undergoing a process of construction of the State, precariously articulated between the burden of the recent past and the possibility of a different political imaginary. 

At the beginning of the eighties, Ribé started working with a symbiosis of media: sculpture as a support for painting or sculptural painting. The exhibition also presents a selection of drawings from 1984, shown here for the first time, where the wearing out of paint through the repetition of strokes accentuates the feeling of loss and fragility, so frequent in Ribé's work, in marked contrast with some of the paradigms of modernity that favour the durability and monumentality of the artwork.

The exhibition is accompanied by a publication including texts by Teresa Grandas, Antoni Llena, Bartomeu Marí and Abigail Solomon-Godeau. 


Thursday 29 September, at 7 pm
Lecture by Abigail Solomon-Godeau
MACBA Auditorium. Free admission. Limited seating

Daily guided tours
(included in the admission fee)

Further information and Twitter

Opening times
Weekdays, 11 am to 8 pm
(from 25 September, 11 am to 7.30 pm)
Saturdays, 10 am to 8 pm
Sundays and holidays, 10 am to 3 pm
Closed Tuesdays (except holidays) 
Open Mondays

*Image above:
Gift of Dinath de Grandi de Grijalbo. © of the reproduction: Rocco Ricci. 

Monday, July 11, 2011

New Mentor | ART stuff...

My new mentor is Terrell James!  She is so awesome.  I am so lucky to have her.  Her website is

She is exhibiting lots of places among the many:

Terrell James: Field Study

May 8 – October 2, 2011

Organized by the Cameron Art Museum Terrell James: Field Study compliments Clyde Connell: Swamp Songs by showing two women artists of different generations, one influenced by the other, exploring themselves and their lives through abstract expressionism - painting, sculpture, teaching and writing.
The title references a body of work called Field Studies, which have evolved from color studies done on the palette in preparation for formal paintings - the palettes became "automatic" paintings/drawings in themselves. This exhibition will feature work influenced by the Cape Fear region and will include paintings, sketchbooks, writing and historic artifacts. James’ work is in the permanent collection of the Dallas Museum of Art, Dallas, TX, Menil Collection, Houston, TX, Museum of Fine Arts, Boston, MA, Museum of Fine Arts, Houston, TX, Portland Art Museum, OR, Tacoma Art Museum, Tacoma, WA and the Whitney Museum of American Art, New York.

She is repesented by
Hiram Butler Gallery

She gave me all sorts of great information in our meeting!  
a)  Looking at Art - Looking At Art is a personal project of Marshal and Victoria Lightman. The Lightmans moved (involuntarily, at first) to Houstonfrom Boston in 1985. By 1987, they had started collecting the work of local artists…now, they cannot stop themselves from educating and encouraging Houstonians to support their local art community. Established in 1989, Looking At Art visits artist's studios, galleries, alternative spaces, museums, and collectors homes. Looking At Art is completely independent and is funded solely by class fees. It is never involved with commissions or sales of artwork—although collecting is always applauded. Please take a minute to read about all of our programs.
Terrell will be speaking and I will give you an update of what she talks about tomorrow!

b)  she gave me ideas on approaches of hanging my art so that you can see both sides
Throughout the three days it took us to prepare the skins to be stretched across the frames we were each careful to keep taking turns with every task on each skin. When it was time to cut out the drum heads we let the hides choose the drums they would become, because of course each drum pattern fit best in one area of the skin but not in others. In this way we never imposed our desires on the process of making the drum, but let the process reveal each drum's best fit to us. I feel this is why this shamanic drum has such a generosity of clarity. It has only ever had to be itself, and therefore we can each see ourselves in its face.

c)  She also talked about her husband
He is an unbelievable architect - check out his stuff.  
Here is an example of something he built:

d)  She introduced me to Clyde Connell 

Clyde Connell, who became a full-time artist only in her 60's and who was known for totemic sculptures, imposing wall reliefs and runelike drawings, died on May 2 in a hospital in Shreveport, La. She was 97 and lived in Lake Bastineau in northwestern Louisiana.
Except for some traveling, Mrs. Connell spent her entire life within a 50-mile radius of Shreveport. She was striking even in old age, with white hair and a self-contained presence that sometimes drew comparisons with Georgia O'Keeffe.
Like O'Keeffe, she drew inspiration from the region in which she lived. She used brown earth and red clay to color her drawings and sculptures, as well as bits of iron scrap that her son, Brian, a cotton farmer, found in his fields. She had a mystical view of nature and described her drawings as transcriptions of its music, heard on the bayou.
Mrs. Connell, whose name had been Minnie Clyde Dixon, was born in 1901 and grew up on a large plantation, an experience that left her with a lifelong sympathy for black people in the South and an affinity for their culture.

e)  She introduced me to John Luther Adams

Like many composers of his generation, John Luther Adams did not grow up immersed in scored music. Adams began playing music as a teenager, as a drummer in rock bands. Through his experience in rock bands, friends introduced him to the music of Frank Zappa, through which he discovered Edgard Varèse and Morton Feldman(Kosman 2001). Similarly, Varèse's liner notes brought him to John Cage.[citation needed] But it was not until Adams discovered Morton Feldman that he found his calling.
Adams attended Cal Arts as an undergraduate in the early 1970s, where he studied with James Tenney andLeonard Stein, graduating in 1973 (Kosman 2001). His group of classmates includes the composers Lois V Vierkand Peter Garland.[citation needed]
After graduating from Cal Arts, Adams began work in environmental protection. This work first brought him to Alaska in 1975. His deep love for the location led to his permanent migration there in 1978. It continues to be the driving force in his music to this day.[1] From 1982 to 1989, he performed as timpanist and principal percussionist with the Fairbanks Symphony Orchestra and the Arctic Chamber Orchestra (Kosman 2001).
In 2006 Adams was named one of the first United States Artists Fellows. Previously he has received awards and fellowships from the National Endowment for the Arts, the Rockefeller Foundation, the Rasmuson Foundation, and the Foundation for Contemporary Arts.[1]
Adams's musical work spans many genres and media. He has composed for television, film, children's theater, voice, acoustic instruments, orchestra, and electronics.
His frequent use of static textures and subtle changes show his obvious affinities with minimalism, and his tendencies toward extended, meditative, and intuitive structures convey his true love of the music of Morton Feldman.[citation needed]
Lou Harrison said he is "one of the few important young American composers,"[2] while Adams himself says: "My music has always been profoundly influenced by the natural world and a strong sense of place. Through sustained listening to the subtle resonances of the northern soundscape, I hope to explore the territory of 'sonic geography' - that region between place and culture...between environment and imagination."[3]

The Immeasurable Space of Tones - John Luther Adams - Part 1


f)  I am considering other resist techniques - I think I m going to Mastic ... lets see what experience I can have 

g)  She gave me books to read! I will write about them once I am finished reading.  

h)  Book Terrell's paintings are on the cover of - Lastly, I thought I would share a book that Terrell James’s art painting is on the cover.  I ordered this so once I get it I will share some of the poetry. Awesome stuff:


Classes I will take this semester are:
American Art from Thomas Hart Benton to Jackson Pollock
American art between the end of World War I and the end of World War II remains understudied.  Although some individual figures such as Edward Hopper and Georgia O’Keefe are well known, the larger context is largely unfamiliar.  In this course we will examine this fascinating period in which several movements developed, perhaps the most significant being Regionalism in both its urban and rural aspects.  From the time of the 1913 Armory Show, Regionalism was fueled by a general feeling that American art had become too influenced by European “isms.”  Artists such as Thomas Hart Benton felt that there should be an authentic “American” art and, thus, the movement produced such iconic works as Grant Wood’s “American Gothic.”  During the Great Depression, many artists worked for government programs designed to assist the arts and it brought many city-based artists to new subject matter throughout the country.  Mexican muralists, such as Riviera and Orozco, created an interest in large-scale public art.  Future abstract-expressionists such as Gottlieb and Rothko all emerged from these influences, and Thomas Hart Benton would become the most influential of Jackson Pollock’s teachers.  This series will be illustrated by many unfamiliar images which illuminate the works of the more familiar artists.
From the Paleolithic to the 14th Century
This course starts, once again, the ongoing series of lectures “Astonishing Art Through the Ages” in a revised, refined and expanded version.  These lectures examine works of art that are unprecedented and highly original, attempting to understand how each work came about and what the artist was “thinking” in the process of creation.  Furthermore, these lectures as a whole constitute a philosophical attempt at articulating the nature of originality in the arts.  In this course we will cover material from Paleolithic times, from Classical Greece and Rome and from the Middle Ages.  Some of the works that will be considered are the Woman from Willendorf, the Lascaux Cave paintings, the bust of Akhenaton, the Kritios Boy, the Apollo from the Temple of Olympia, the Pantheon, The Hagia Sophia, the Alhambra, St-Denis Basilica, and Masaccio’s Arena Chapel.



This is the weekend of ArtHouston, a weekend where pretty much every gallery in town has an opening. Seeing it all it going to be a serious trek. TheArtHouston website shows thirty five participating galleries.

1)  Started at Meredith Long & Company   
I met a wonderful new friend Kellie there who I fell absolutely in love with.  What a gallery.  I also enjoyed Bas’s my neighbors paintings Meredith Long is long time denizen of Houston and is considerable venerable in the art world. Founded in 1957, which as Houstonians' know is pretty much the beginning of time in this city.

He has known the great ones who have passed through Houston and to the other side, Dominque de Menil, Phillip Johnson, in addition to hosting important exhibitions of paintings by Childe Hassam, Frederic E. Church, Mary Cassatt, Helen Frankenthaler and Kenneth Noland to name a few of them.

He also funds an award in his and wife's name to CORE fellows in addition to being a trustee at the MFAH.

2) Vaughan Christopher
Where I saw a beautiful Haring and a Picasso print I loved.

3)  Nau-Hau
I found one of my favorite Houston Artist here.  Sandra York - check her out!  

4) Anya Tish
ArdAn Ozmenoglu, Jen Rose, Karin Bos, Orna Feinstein, Sang-Mi Yoo, Steve Wiseman.

5) Barbara Davis
Joe Davidson
Paul Fleming
Joe Mancuso
Daniel McFarlane
Mie Olise
Gavin Perry
Danny Rolph
Anthony Thompson Shumate
Peter Wilson
Jason Yates

Hiram Butler Gallery                   
Bryan Miller Gallery                        
Last udpate:
2011 Boston Young Contemporaries Exhibition - OPENING THIS WEEK!

Gallery Address:
808 Commonwealth Ave
Boston, MA. 02215

Opening July 15th
Gallery Hours: 1-5