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Trawick Prize

I am thrilled to see and pleased to announce that Warren Craghead is one of the 53 semi-finalists for this year’s Trawick Prize: Bethesda Contemporary Art Award. Warren will be exhibiting his quixotic and fearless drawings at Migration in January 2009.

2008 marks the 6^th annual Trawick Prize. Over 350 artists from Maryland, Virginia and Washington D.C. submitted artwork to the competition. Up to 15 artists will be invited to display their work from September 2-27 in downtown Bethesda at Heineman Myers Contemporary Art. The top four winners will be awarded a total of $14,000 in prize monies making this visual art competition one of the largest in the nation.

Former Second Street Gallery director, Leah Stoddard, is one of the three jurors for the competition. Leah has always had a sharp eye for talented artists and their evocative work. No doubt worthy winners will be selected.

Another Migration favorite, Susan Jamison, is also a semi-finalist. Good luck to both Warren and Susan.

What we saw at AAF NYC

During the four and a half days of the Affordable Art Fair, neither Laura nor I had much of a chance to get outside our own booth and fully study all the other great art exhibited at the fair – heck, it was so busy, we had to remind ourselves to take restroom breaks. We did however, get a few chances to take a spin around the fair and at least catch what other galleries had up on their walls. There were over 70 galleries at AAF exhibiting a minimum of three artists’ work each (total of more than 300 artists’ work under one roof - yowza). It was particularly nice to see a large amount of high quality drawing and printmaking exhibited. Overall, we thought the work exhibited was very even - no dogs at this fair.

Although this is far from a thorough list of what struck us as being particularly good work, it is a sampling of what caught our eye:

Ray Maseman (printmaking) @ New Grounds Gallery (Albuquerque, NM)

 

David Wheeler (painting) @ Art Movement (London)

 

Laurel Hausler (painting and drawing) @ Nevin Kelly Gallery (Washington, DC)

Macha Suzuki (drawing) @ Sam Lee Gallery (Los Angeles)

 

Marianela de la Hoz (egg tempera) @ Alida Anderson Art Projects (Media, PA)

 

Some of our already known favorites were also represented at the fair, including Maggie Taylor, Tim Tate and Lenny Campello.

Charlottesville Art representing in New York City

Last week, Migration exhibited at the Affordable Art Fairin New York City. The fair is a juried event for exhibitors. We were judged and accepted primarily on the quality of the artists we intended to exhibit. Needless to say, we were very pleased to be accepted and included with the other 70+ galleries hailing from around the country and world (US, Europe, Asia, Canada, South America and Australia). For us, it was particularly important that we had the opportunity to introduce our artists’ work to the New York art market as well as show off the quality of work we have here in little old Charlottesville.

From the feedback Laura and I got (both in word and, the most relevant indicator of approval, sales), the Charlottesville art scene was well represented in New York City. In fact, we received a lot of praise as being "one of the best galleries at the fair" (modesty is forcing restraint here). Laura and I obviously give all the credit to the six artists we exhibited: Brian Mallman, Foust, Arturo Mallmann, Randall Stoltzfus, Joachim Knill and Alan Dehmer.

During the fair, two different documentary film makers spent a notable amount of time filming in the Migration booth and interviewed us about the significance and importance of our artist’s work. Some of our patrons were also interviewed as they strolled through. We also had two Japanese news teams focus on the Migration booth as part of their fair reports. We’ll link to these international video feeds as soon as they are posted.

Migration and its artists also got some attention from the local media. Read a few of the reviews of AAF NYC here, here, here, here, and here.

In addition to what Migration was doing, one of Charlottesville’s top artists, Michael Fitts, was represented at AAF NYC by Bethesda, Maryland gallery The Fraser Gallery. Prior to the final day of the fair, Catriona Fraser reported that 75% of all of Michael’s work sold at the fair.  (I’m not sure, but he may have sold out by the time the fair closed on Sunday). Well done, Michael.

And, it was a real treat to see former C’ville gallery owner (Nature Gallery) Laurel Hausler’s spiritual and beautifully haunting paintings at the fair. Laurel is represented by Nevin Kelley Gallery in Washington, DC. Laurel’s work truly stood out on the fair walls in Chelsea.

So, I can safely say that the Charlottesville art scene was not only well represented in NYC, but it scored big! [insert sound of cheering crowds.]

Affordable Art Fair NYC – Recap

Who said the art market is suffering? Yes, we’ve all read the news of how the glum US economy is hurting the art market; there have been plenty of reports from Christie’s and Sotheby’s about the latest Picasso hitting the auction block selling for $41 million rather than the expected $44 million. But, I have reported in the past that I hate seeing the art market solely measured by the multi-million dollar sales of famous work on the secondary market. This just isn’t an accurate way to measure what is really happening out there. It’s like judging an entire iceberg by measuring only the tip sticking above the surface of the water. So much more lies out of sight. I am here, however, to say that the grass roots art market is far from dead.

As first hand experience, I offer this: Laura and I spent last week in New York City where Migration exhibited at the Affordable Art Fair. All art offered at the fair was priced between $100 and $10,000 (hence the name "Affordable" and, I believe, is a better representation of the broader art market rather than what a Picasso or Van Gogh or Koons is currently selling for). It was billed as "the place for new and established collectors to discover and buy paintings, drawings, sculptures, video, photography and limited edition prints from distinguished galleries." Over 70 top-notch galleries from around the world exhibited.

From our perspective, the results of the fair were tremendous. For starters, the attendance figures were huge – from a long line of people strung down the block on Wednesday’s opening night, to a constant flow of people coming through the doors each of the following four days. But what truly stood out in my mind was the overall high level of energy at this fair. Virtually everyone was thoroughly engaged, genuinely inquisitive, thoughtful, appreciative, and most were savvy enough to look at everything, take notes, and return with a list of excellent questions about the art and artists. Neither Laura nor I ever felt any of that "art attitude" or snobbery that often floats through some of the other gallery fairs out there.

Although dubbed "affordable", the quality of art exhibited was terrific and the gallerists were all working hard to keep up with the many potential customers. To top it off, the AAF administrators and staff maintained a great enthusiasm and professionalism throughout the four and a half days. Kudos to fair director Laura Meli for her most excellent work. (I particularly like this quote from Ms. Meli and how the fair is an excellent opportunity for collectors and artists: "It's a way for those interested in the arts to get their first exposure to the art world. It's a way for experienced buyers to see galleries they've grown to love and be introduced to new and young artists. And it's a way for us to help artists get the exposure that they need to continue to make the beautiful things that we enjoy so much.")

Bottom line… We all may be grumpy about spending $4 per gallon of gas, but there is still a strong desire to buy beautiful and meaningful artwork which enriches our daily lives. The grass roots art market is alive and well.

All the hard work Laura and I put into exhibiting at AAF NYC paid off in spades. Promoting and selling the artwork of Migration’s artists is what it is all about for us. Fair attendees clearly enjoyed and appreciated the work we exhibited, and they bought (with gusto) what they loved. Sales were made to museum collectors, first-time art buyers, experienced collectors, local buyers and international buyers. We sold a significant number of pieces from each of the six artists we exhibited (even a complete sellout of Arturo Mallmann’s paintings). It was a great fair for us and our artists.

We’ll be back next year.

Affordable Art Fair - Opening Night

Wow!  What a night... Last night was the opening of the Affordable Art Fair in New York City (located in the Altman Building / Metropolitan Pavilion at 135 18th Street).  The doors opened at 6pm on a beautiful early summer evening, and a line of people quickly strung down the street.  Inside, the energy was flowing and spirts were high.  It was great to see such a large and engaged group of people.  For over three hours, Laura and I were moving fast to keep up with everyone.  It was great.

As we had hoped, the best part was introducing our artists' work to the New York crowds.  Better yet, each of them garnered a great deal of attention... and sales.  We can now say that Alan Dehmer, Joachim Knill, Brian Mallman, Foust, Arturo Mallmann and Randy Stoltzfus have all been successfully shown in New York.

Laura and I will post a more indepth article detailing what we see and experience during the next four days.  In the meantime, come to the Fair and see it all for yourself.  Migration is at booth A-301.  AAF NYC runs through Sunday evening.

Quotable quote

I love this one…

"At the end of the day, you can’t hang money on your wall. The only reason I like money is you can buy art with it."

Said by Miami real estate developer and art collector Martin Margulies. Mr. Margulies opened The Margulies Collection at the Warehouse in Miami in 1999 to house (and be available for public viewing) his extensive collection of over 4,500 pieces of contemporary and vintage photography, video, sculpture and installation.

Tim Tate X 2 = $82,000

This news was broken by our good friend Lenny Campello… This past weekend, two Tim Tate Video Reliquaries were auctioned for $41,000 each for a total of $82,000. The auction was caught on video – watch it here. These were the same type of Tim Tate Reliquaries that were just exhibited at Migration last month and priced at $7,000 each.

You do the math!

As we have said leading up to (and during) our exhibition of Tim’s work (and Mike Janis’ and Erwin Timmers’) last month, this is the hottest art on the market right now. These three artists are pushing the current glass movement into a new level of importance. Proof is in the price tag.

For those who were on the fence about buying one (or two, or three) of Tim’s pieces while they were here in Charlottesville, all is not lost. Laura and I will be happy to contact Tim and help you bring a piece home. Give us a call.

Opening night - Suzanne Howes-Stevens

Last night, Migration opened its newest exhibit featuring the paintings of Connecticut artist Suzanne Howes-Stevens. The weather was perfect, and the crowds responded by coming out in force. It was a terrific night filled with beautiful art.

A repeated observation of the evening was seeing how deeply engaged everyone was. That says a lot about Suzanne’s artwork, but it also says a lot about our patrons. Often people can float into a gallery and float out and you never know how they are responding to the art. Last night, it was clear those who came really enjoyed and were touched by Suzanne’s map themed “waterland” paintings. Once in the gallery, everyone lingered and pondered each of the pieces. The art spurred conversations and passions. Although a difficult choice, people eagerly picked out their personal favorite – it was different for everyone. 

Migration represents artists from all across the country. We do our very best to bring our artists to Charlottesville for their respective openings. Suzanne and her husband graciously drove down from their home in Connecticut. During openings, the one thing each of our artists regularly comment on is how engaged and cogitative our Charlottesville patrons are. Questions, comments and observations are rarely mundane. For them, Charlottesville art lovers are deeply quizzical and thoughtful. People here recognize high quality work and freely express their appreciation for it.

Thanks to those who came out and visited last night.

Migration’s exhibit of Suzanne Howes-Steven paintings will run through June 27, 2008.

Suzanne Howes-Stevens

During the months of May and June, Migration: A Gallery will feature the paintings of renowned Connecticut artist Suzanne Howes-Stevens. Join us this First Friday, May 2 from 5:30pm to 8:00pm for a reception with the artist. Earth Openings is Suzanne’s second show at Migration and will run through June 27, 2008. To honor the artist’s commitment to protecting the beauty and health of our endangered waterways, Migration will donate a percentage of the sales made during the exhibit’s May 2 opening night celebration to the Chesapeake Bay Foundation.

Suzanne Howes-Stevens' work combines beauty with a mission.  Working oil paints so that the opaque medium takes on the spontaneous and delicate quality of watercolor, Suzanne captures scenes of the world at its edges, where the water meets land - primarily images inspired by her lifetime spent living along the New England coast. She uses maps as a background and a border to ground her work with a sense of place and meaning.

Suzanne regularly searches for inspiration while paddling in her kayak or canoeing through various New England waterways, taking her camera along to record these hidden life-giving places. Then in her studio, Suzanne refers to the snapshots and creates her pristine worlds. Suzanne’s use of maps as her "canvas" allows her to emphasize the borders that exist between water and land. Those spaces that we love so much are disappearing; this is often reflected in the water scenes drifting into the map area. Hers is a potent imagery with a poignant feeling and innate beautify that will not leave you unchanged.

In Suzanne’s words:

For many years I have been attaching maps and nautical charts to canvas and panels and layering oil painted images over them. I seek to merge the topographical aspects of the maps with the visual expression of the layers of land and water and light. The maps provide grounding or an anchor for the landscape images, serving as a metaphor for our connection to the earth and our journeys across it. They also help me to establish the structure of the painting and often suggest the physical elements of the places mapped; the water movement, the trees and grasses which seem to echo the actual lines and grid works within them. Trees become roads, grasses and foliage become topography lines, lines of latitude become horizons, and so on.

Occasionally the maps are completely covered over or are only faintly visible beneath the paintings. These works are most often inspired by the marshes and swamp lands of New England. During my childhood, playing in and exploring the tide pools of Cape Cod Bay, I developed a reverence for the sea and shores, and a deep connection to my seafaring ancestors. In my adult life, somewhat landlocked in Connecticut, I have learned to love the marshes and swamps, which I see from most highways throughout New England. These places of humble beauty and silent regeneration are always present and near, but hidden and unvisited at the same time. They are only noticeable during the late fall and winter when the foliage has fallen.

If you look at any topographical map of the eastern United States you will see vast areas of undeveloped wetlands. I call them "Marginalia" referring to the fact that they are, like the coastal marshes, the edges of the earth or the margins, which hold the secrets of a universe quietly vibrating with new life. I like to think of my paintings as gentle reminders of the unseen fragility of "waterlands" which are often totally unprotected from development and ultimate destruction.

Suzanne’s skillful and sensitive paintings become feasts for the soul as well the eyes. Watery scenes are rendered by delicate brushstrokes filled with the tenderness and passion she has for these fragile habitats. Despite the quiet and reflective tone of Suzanne’s paintings, their transcendental qualities generate a tremendous amount of power. Each piece is a moving and respectful reminder of the absolute beauty unspoiled Nature possesses.

About Suzanne Howes-Stevens:

After studying fine arts at Massachusetts College of Art (BFA) and Hartford Art School (MA), Suzanne taught painting and drawing at Manchester Community College from 1973-1997. During those years, she also created an extensive body of work. An early retirement from teaching in 1997 allowed her to focus completely on her painting. The grants she has received include a Connecticut Commission on the Arts Grant, a Greater Hartford Arts Council Individual Artist Fellowship, a Weir Farms Visiting Artist Award, the Ruth Chenven Foundation Grant, and the George and Helen Segal Foundation Grant. Suzanne's work is represented by the finest galleries on the Eastern seaboard and can be found in numerous public and private collections, including the William Benton Museum, AT&T, Fidelity US Trust Co., Meditech, and Northwestern Community College. Suzanne’s honors and excellent reviews are numerous.

Rawstuff Gallery

Laura and I caught the latest exhibit of UVa art student’s work at the temporary site called Rawstuff Gallery. The space is tucked behind and above the Studio Art-Craft House on Main Street in Charlottesville and is run entirely by students. Our effort to get there was well worth it.

Despite being a little rough around the edges (with a name like Rawstuff, what else should I expect) I was thrilled to see such a high level of energy and passion in the work. It gave me a lot of hope and enthusiasm about the art being produced at UVa.

So, down the road, keep your eyes open for these four very talented artists (I believe they are all underclassmen):

Sara Yenke, Rebecca Cummings, Sarah Horton and Arlene Sherwood

Image: by Rebecca Cummings

Susan Jamison

Last Saturday, Laura and I were treated to a visit at the gallery by Roanoke artist Susan Jamison. Susan was in town for the 2nd Street Gallery Art Auction Benefit – she donated one of her exquisite egg tempera paintings to the auction.

My first introduction to Susan’s paintings and drawings was in a January 2007 exhibit at 2nd Street Gallery. Finding her work tucked in the back of the gallery, I felt like I had discovered a visual treasure. I was wowed. Three months later, I was thrilled to see her paintings again – this time represented by Martin Irvine (Irvine Contemporary) at last year’s artDC gallery fair. I specifically told Martin how pleased I was to see Susan’s work in the show. He smiled knowingly and agreed.

Now, a year later, it is clear to me Susan is on the right track as her reputation is soaring.

Having admired an artist’s work for a while then getting a chance to meet them in person is always an interesting experience. Sometimes the artist’s personality just doesn’t match their art. In this situation, it was a joy to discover that not only do we like Susan’s work, but we found her to be a thoroughly engaging, thoughtful and delightful person. Laura and I spent probably too long talking with Susan and sharing stories. It was such a pleasure finding out how attuned she is to the business side of her work, but still being reasonable, practical and fair about it all.

In describing Susan’s work, it would take a lot of effort for me to say it any better than this write up by the folks at Irvine Contemporary:

Jamison uses large-scale panels to depict fantasy worlds that appear both timeless and of our own moment. Jamison combines two classic forms: the portrait, in a traditional Renaissance profile position, and panels reminiscent of Audubon and naturalist illustration and Asian art forms. The exquisitely rendered details in the paintings evoke a magical realism that balances naturalism with strikingly original allegories of the feminine.

Susan Jamison’s paintings read like vivid dream states of the figures depicted in the compositions: animals, insects, birds, and objects of the women’s world like needles, thread, and fabric, become symbolic projections of fantasies, fears, desires, and sexual longing. Like Fairy Tales and Renaissance allegory paintings, Jamison’s imagery captures primal and archetypal emotions about the body, sexual identity, and human relationships to the natural world.

The paintings engage our ideas of exposure, touch, and vulnerability: the heads and faces of the figures, each with eyes closed, are "exposed" for our viewing through the use of early medical drawings of biological features of the human head. This exposure of an underlying layer of the body is a metaphor for disclosing the interior life of each female figure. The bodies of the female figures are also nude but decorated with traditional henna tattoo patterns that at once expose each figure and focus attention on the organic and sensual surface of the body. The compositions invite viewers into haunting imaginary spaces drawn from the artist’s singular vision.

Laura and I are particularly attracted to the mystical elements of Susan’s art, and how she creates links between the human existence to that of the natural world. Specifically, the association between women, plants and animals sparks an image of extreme femininity. It engages and interests me every time. Stylistically, I’m drawn to the complete absence of background and shadow. Often we see this technique employed and it flattens the picture by bringing the imagined background forward. However, Susan’s renderings in near scientific detail give the absence of background an infinite sense of space. Beautiful work.

Susan is currently exhibiting at Spanierman Modern in NYC. The show runs through May 3. Catch it if you can. Or drop by Irvine Contemporary in Washington, DC (1412 14th Street NW) and ask for a viewing of the pieces they have there.

Side note: 2nd Street Gallery director, Leah Stoddard, reports that the Benefit Auction was a huge success. All but 6 of the 100+ pieces available were purchased.

CvilleMUSE

There is a new web resource for people seeking an answer to the age-old question "What’s going on in Charlottesville’s arts and entertainment scene?" Check out CvilleMUSE. It’s a community-centric publication where users can participate equally in the creation of content. The MUSE is a spin-off from the very successful Cvillain.

Here’s what it says about itself:

Whether we in Charlottesville explore the arts through the actors on a stage, the lens or line of a brushstroke, or the raising of voices in song, cvilleMUSE is here to promote, connect, and celebrate the artists and audiences of our community.

This is your place to discover new music, to find out about the performers and performances in our area, and to share your thoughts and opinions on what’s happening in and around Charlottesville. And if we happen to have a little fun along the way, we’ll consider it icing on the cake.

Kyle Redinger of Spicy Bear Network has done an excellent job of creating the site and bringing people together (anonymously, more often than not) who spur discussion on the topics that interest us most.

Other than listing the coolest and best shows and exhibits to see, the nicest part of CvilleMUSE is the discussions related to the posts. Comments offer unfiltered and pure feedback from the street. Plenty of rousing disagreements too. Few points are made without sufficient authority to back them up. Makes for great banter. I like that.

Keeping up with... RANDALL DAVID TIPTON

Laura and I have never been huge fans of watercolors. Oh, yes, we’ve seen our share of beautiful watercolors in the past, but, overall, we have seen far far far too many crappy watercolors which generally turn us off from wanting to even look at others (note to hobbyists: your poor watercolor efforts should not be rationalized by you saying you are painting "intuitively"). With that said, and having dabbled in the use of watercolors myself, I just don’t see how anything good could come of them. What a pain to work with.

Early last year, during one of Laura’s and my many quests for good/new/fresh art, we fell across the work of Portland, Oregon painter Randall David Tipton. Can I say "love at first sight" without sounding sappy? Who cares. It was. We fell completely in love with Randall’s watercolor landscapes. He creates the perfect balance of fluidity and the strength of color and line that we simply had not seen before. Tipton’s work stands equal with the work of the greatest expressionists of the 20th century. It makes you feel the beauty of the landscape, not just see it. If an artist just captures reality and doesn't filter it, something is missing. The result is less than the original. When an artist does what Tipton does something unique and wild appears.

One of Randall’s secrets is his use of yupo (a synthetic, machine-made, non-absorbent paper). The plasticized paper accentuates his range of colors and fluid technique. Pigments lie on top of the paper  instead of getting absorbed and washing out – or worse, bleeding together. Colors retain their true clarity. And, the plastic surface promotes the fluidity of the water medium - you can truly feel Randall pushing his paints across the surface.

Beyond the overall balance and beauty of Randall’s landscape imagery, for me, what truly stands out in all of his work are his colorist sensibilities. Specifically, I admire his use and mastery of both reds and yellows. Often over done by less talented artists, these two colors are generally considered the most difficult to command in a thoughtful and successful manner. Through his abstracted landscapes, Randall dazzles us with shocks and gashes of red. And his inclusion of yellows brings his paintings to life.

In Randall’s words:

Throughout my career the landscape has been my guiding orientation. Whether I’ve tried to reduce its complexity to bands and gestures or to focus intently on a particular aspect, my motive has always been to suggest something fundamental and primal. My impulse comes from a simple belief in the restorative qualities in nature. In the American tradition of Thoreau to Frederick Edwin Church to Arthur Dove and others, I include myself among those trying to expose and explore the transcendental relationship we have with the natural world.

Coming of age in the late 20th century, after the example and sacrifice of the abstract expressionists, I came to also believe in their faith in improvisation as a more direct link to the unconscious and therefore to something more authentic.

Ultimately, this is where my commitment lies; through the process of painting, alert to possibility, my belief in the redemptive essence of the landscape becomes an image.

It took a little effort to convince Randall to ship his work across the country and be shown at Migration. Although he has exhibited his paintings with great success on the west coast (primarily Oregon and California), Randall was cautious and a bit skeptical (as he should be) of how his work would be received on the east coast. And, it was a lot of money to ship for an untested market. But we were persistent… and it paid off. He agreed to try a few pieces last spring. Then he sent a few more in the summer.

Most recently, Randall has sent us some of his oil on canvass pieces (pictured). What a treat to see them in combination with his watercolors. The same qualities described above shine through. To top it off, Randall’s oils are very reasonably priced (very!). They won’t last long. Come by the gallery for a look. I can promise you, there is nothing else like Randall’s work on the east coast.

Images include: Top, Creekbank 2. Middle, Island Thicket. Bottom, Willows Creekbank.

Washington Glass School - Opening Night

We opened our glass exhibition featuring the art of Tim Tate, Michael Janis and Erwin Timmers last night.  Simply put, it was a packed house the entire evening.  Thanks to everyone who came out. 

Tim, Mike and Erwin came down from DC for the opening.  It turned into a unique opportunity for our patrons to hear the meanings and secrets behind their art

As Laura and I intended, everyone enjoyed and appreciated the exposure to what is being done with glass now.  No blown bowls, goblets or plates here.  This show features work that brings sculptural glass to a new place in the arts world by combining narrative and context to the highly technical aspects of manipulating glass.

The exhibit will be up through the month of April.  Come by for a great experience.

Tim Tate, Erwin Timmers & Michael Janis

Join us on April 4th for what promises to be Charlottesville’s most exciting exhibit of contemporary sculptural art as Migration proudly presents the art of:

TIM TATE, ERWIN TIMMERS and MICHAEL JANIS

Migration’s April exhibit features the work of the internationally renowned directors of the prestigious Washington Glass School. Together, these three artists are leaders in a movement to bring sculptural glass to a new place in the arts world; and their explorations of the narrative, biography, technology and skill continue to deliver nothing but success.

There will be an opening reception with the artists on April 4, 5:30-8:00pm. The exhibit will run through April 30.

Tim Tate is a Washington, DC native, and has been working with glass as a sculptural medium for the past 25 years. Co-Founder of the Washington Glass School, Tim's work is in the permanent collections of a number of museums, including the Smithsonian's American Art Museum's Renwick Gallery and the Mint Museum.  Tim is taking one of the newest media – videography – to new levels with his Video Reliquaries and is pushing the boundaries of contemporary sculpture by incorporating narrative and conceptual ideas with technique and craftsmanship. 

Erwin Timmers is one of the DC areas leading green artists and co-founder of the  Washington Glass School. His approach to sustainable design shows that it is not just the finished product, but also the process used to create the art. Reuse, re-forming and recycling are recurring themes in his work, which he sees as crucial to interacting with one's surroundings.

Michael Janis first began working with glass as an architect in Australia, where his projects received international awards. Michael's artwork was recently recognized in "50 Distinguished Contemporary Artists in Glass," a book about the best international glass design. His work is part of the permanent collection of The Art Institute of Chicago.  Mike’s works involve fusing artwork images together in an uneasy juxtaposition or creating transparent environments where reflections and shadows remove all boundaries. With a technique called "sgraffito" the delicate nature of glass powder is exploited and imagery can be changed by the slightest tap.

Regarding Tim, Erwin and Mike, Lenny Campello (the maestro of the Mid-Atlantic art scene) recently said this:

We have in them artists who are bringing narrative and context to glass, and slowly dragging it away from the vessel and the bowl and towards the fine arts end of the rarified upper artmosphere of the art world.

This is a first-of-its-kind art event in Charlottesville.  Come.  Enjoy.  Revel.

ArtPerk

There's a new web resource for artists and art related organizations called ArtPerk.  Other than having a very catchy sounding name, ArtPerk, created by Salam Dahbour and Missy Loewe, is out to build the most efficient and helpful site for both artists and posting organizations. Salam and Missy's collective experience in writing web sites and working with (and as) artists aided in the site design. They have entered shows, jurored shows, unpacked shows, hung shows, and over the years learned what artists and sponsoring organizations want and need in order to do what we’re all supposed to do – bring people together to share, discuss, purchase, and enjoy artist’s work.

There are plenty of other central posting sites for arts information, but ArtPerk boasts that it does a few things most other websites of this type do not. You have the ability to search for opportunities by media , by location, and other search parameters.  Nice.

Having spent some time navigating the site and even posting Migration's next exhibit announcement, I found it to be both thorough and very user friendly.  For the future, ArtPerk promises the site will feature discussion forums, articles on art business formation and success, even better ways to search, art related news feeds, and more interactive features to help artists and sponsoring organizations.

Although ArtPerk is based in the DC metro area, it lists national opportunities.  Keep your eye on this site.

Nell Boeschenstein

I'm an issue behind, but I see Nell Boeschenstein of the C-ville Weekly gave a nice shout out to artPark.  Nell says about artPark:

... the Joneses are chatty and accessible and fun, and thus they miraculously succeed in charging through my closed mind and reminding me that art can be fun!

It is also full of tidbits about the local Charlottesville art scene, as well as fun news items from the national and international scenes.

Read the whole article here.

For those of you who don't know, Nell regularly writes for C-Ville.  Specifically, she has a feature column called "Hit This Site".  In it, she brings attention to deserving web-pages and blogs gleaned from her research and persistent perusing.  In my opinion, she's a load better than Stumble Upon.

So, thanks Nell.  It's always nice to be noticed.

Virginia Festival of the Book

Migration: A Gallery supports the Virginia Festival of the Book.

Don't miss this very important discussion of the role the media plays in our lives and our culture. It will be held on Friday, March 28th at 2pm in the City Council Chambers. The panel discussion features four prominent authors, my favorite being my father, John E. Semonche from UNC-CH. Rob and I know you will enjoy it, and we hope you can attend.

How the Media Shapes Life As We Know It

Fri. March 28th, 2:00 PM

John Semonche (Censoring Sex: A Historical Journey Through American Media), Hank Klibanoff (The Race Beat: The Press, the Civil Rights Struggle, and the Awakening of a Nation), Stephen J. Farnsworth (The Nightly News Nightmare), and Mary Beth Mathews (Rethinking Zion: How the Print Media Placed Fundamentalism in the South).

Moderator: Aniko Bodroghkozy

Location: City Council Chambers, 605 E. Main Street, (434) 970-3113

John E. Semonche, author of Censoring Sex: A Historical Journey Through American Media, is a   professor of history at the University of North Carolina at Chapel Hill. Two of his prior books have dealt with the United States Supreme Court.

The Library Journal says this about John’s recent book: "[A]n engaging scholarly study as well as something of a witty rejoinder to those who would seek to impose their own personal values on the creativity of others. The combination of accessible writing and solid research make it equally useful for intellectual pursuits and weekend reading."

Censorship is the enemy of art and indeed life. I hope you can attend. (p.s. If you go, ask him about "Unveiling the Evidence" print he had in his office for years.) You can buy Censoring Sex here.

Also on the panel:

Mary Beth Mathews, author of Rethinking Zion: How the Print Media Placed Fundamentalism in the South, is affiliated with University of Mary Washington. She specializes in American religious history, fundamentalism and evangelicalism, and African-American religions. She previously worked on Capitol Hill.

Hank Klibanoff, co-author of The Race Beat, is the managing editor for enterprise at the Atlanta Journal-Constitution. A native of Alabama, he has been a reporter, national correspondent, and editor at the Philadelphia Inquirer, where he worked for twenty years; and a reporter at the Boston Globe and three Mississippi newspapers.

Stephen J. Farnsworth, Ph.D., is associate professor of political science at the University of Mary Washington. Author of three books, including The Nightly News Nightmare: Network Television's Coverage of US Presidential Elections, 1988-2004, he was for a year the Fulbright Research Chair in Public Policy at McGill University in Montreal.

Last night's opening

Following a good bit of deserved hype (and despite the cold rain), we had a great turn out last night at Migration's opening featuring the contemplative paintings of Arturo Mallmann.  Throughout the evening, words like magical, magnificent, meditative, mystical and marvelous were heard.  No matter how people described it, there was the sound of mmmmmm coming from everyone's lips.

Arturo and his fiancé Celine traveled across the country from their home in Los Angeles for the opening (they split their time between LA and Santa Fe).  It was a real pleasure to hear Arturo describe the inspirations and intentions of his artwork.

The show will continue through March 29.  Don't miss it!

ARTURO MALLMANN

The daily grind of being a gallerist can be just that… a daily grind. But there are those moments when I wouldn’t trade this job for anything. Laura and I recently had one of those moments.

This month, Migration is featuring the art of one of our long time favorite artists, Arturo Mallmann. Arturo lives and works in Santa Fe, New Mexico (although he spends a good bit of time in his former home of Los Angeles). For the show, Arturo shipped his newest paintings to us in Virginia. They arrived a few days ago. Anxious to make sure they arrived safely; Laura and I quickly unpacked the boxes they came in.

For those of you who don’t often handle art or deal with the shipping of art, packing and unpacking is not a pretty sight. The good thing about unpacking in the gallery is that we have floor space to spread out on. The bad thing is that copious amounts of shipping material go everywhere. It can be a real mess. This situation was no different. Cardboard was ripped open, and the interior packing material spilled across the floor. Despite this mess, we unveiled Arturo’s paintings and were brought to tears. It made us think of what the birth of a baby must be like (bear with me and realize we are a childless couple): Mess everywhere, but all attention is on the most beautiful brand new thing in the world. We held up each of Arturo’s paintings and marveled.

We have exhibited Arturo’s paintings since the day we opened Migration. In fact, he was one of the very first artists we invited to join the gallery. He has exhibited extensively in solo and group exhibitions on the west coast. Migration is currently the only gallery east of Texas to exhibit his art. Bringing Arturo to the east coast is something Laura and I are eminently proud of.

In addition to the overwhelming reception Arturo’s work has received in Virginia, we have taken his paintings to international gallery fairs such as artDC and SOFA Chicago. His meditative paintings have won the hearts of the art loving crowds there too.

Arturo builds so many layers into each work that the depth you are drawn to in the images is not only an illusion; it is real. His technique - to layer acrylic paint and resin and sand in between - is something he developed after years of work to convey his personal beliefs about light and darkness and their part in any journey and indeed in the human condition. His paintings simply beckon you to join him on his necessary and magical journey. His newest work adds more saturated color to his previously subdued palette.

Arturo’s art has a transcendental quality: the horizon is the primary element in the composition; the depicted people are small; and the power of Nature dominates. Arturo also gives a wink to minimalism, but the strength of his images and sentiments breaks through the quietness and simplicity of the composition. They generate a great deal of emotion in their meditative quality. In short, Arturo’s paintings are the visual embodiment of what Laura and I believe good art should be… a transformative journey.

In Arturo’s words:

Since I was a kid I always wanted to go to places where I could look very far away, be it the mountains, the ocean or the never ending horizon of the Argentinean Pampas. I never knew what to say when people asked me what was I looking at. I guess that what I liked was precisely that there was nothing in particular to look at; it was a great feeling of liberation for my frequently turbulent soul.

When I start a painting my first motivation is to develop a space that presents no barriers for the eyes. That is why depth is so important to me. For many years I've been developing a technique that more than creating an illusion of depth, it rather transforms the painting in a real three-dimensional space. This technique consists of innumerable layers of translucent acrylic colors applied between several coats of clear epoxy resin. One coat of the resin equals around fifty coats of varnish, so after a few coats of resin you can build up the surface of the painting up to an inch thick or more. The interaction of all these layers of colors between the coats of clear resin not only increases the depth, it also creates a much more vibrating final effect than the one you get when the colors are applied one on top of the other, without anything in between. When I finish a painting, it is difficult sometimes to tell which is the dominant color. You can say it is green or red but if you look carefully you see that whatever color you are looking at it is not just that color, but the result of multiple interactions instead.

I place the human beings that appear in my paintings very far away from the viewer, usually so close to the horizon that they frequently look on the verge of disappearing. I do that not only to further increase the depth but also because I want those human beings to be surrounded by a vast , naked and mysterious universe that presents no distractions, very different from the urban environment where most people spend their lives these days, an environment that is hopefully more conducive to approaching our deepest selves.

Arturo was born in 1953 in Montevideo, Uruguay, but lived most of his life in Buenos Aires, Argentina. He attended Universidad de Belgrano, Buenos Aires, Argentina (sociology) from 1971 through 1975. After having spent a few years writing poetry and short stories, he started painting and drawing (self-taught) in 1983. In 1988, Arturo moved to United States and has lived in Los Angeles and Santa Fe ever since.

Please join us at Migration for a reception with Arturo Mallmann on Friday, March 7 and celebrate the exhibition of his newest paintings. The gallery will be open until 8:30pm.

Find your inner artist

For all you would-be and wanna-be artists like me, this funky little website provides you an outlet to find your inner Jackson Pollock.

Below is my latest masterpiece. What do you think? Keep my day job, right?

Arturo Mallmann - opening March 7

Photographs and Books by Maggie Taylor

Since Migration’s Photography Invitational this past fall, we have received an overwhelming response to the fantastical artwork by Maggie Taylor. Her Photoshop manipulations have obviously struck a chord with many viewers.

Migration still offers a selection of Maggie’s photos. Contact the gallery for availability.

Images include: Left, Patient Gardener. Middle, Something to do. Right, Woman with a stone skirt.

Also, Maggie’s work has been featured in a variety of books. Take a look at these:

Maggie Taylor's Landscape of Dreams. By Amy Standen. Buy it here.

   Also…

Landscape of Dreams 2008 wall calendar. Buy it here.

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Solutions Beginning with A. By Lola Haskins and Maggie Taylor. Buy it here.

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Coming in Summer 2008:

Alice’s Adventures in Wonderland. By Lewis Carroll. Images by Maggie Taylor. Buy it here.

Godot arrives in New Orleans

This isn’t the newest of news, but when I came across it, I found it to be important…

In early November, there was a production of Samuel Beckett’s Waiting for Godot in New Orleans. I’m a Beckett fan – actually an absurdist fan – so any mention of a Beckett play catches my eye. This, however, was not your run-of-the-mill local playhouse presentation of two guys on stage sitting on a rock under a tree.

For starters, this production starred New Orleans native Wendell Pierce of The Wire fame (fyi: Laura and I are totally addicted to The Wire – in fact, I think Laura has a crush on Omar). But what sent this production over the top was it being shown in two of the hardest hit areas of post-Katrina New Orleans. One was set in front of an abandoned home in the Gentilly neighborhood of New Orleans, and the other at the vacant intersection of two previously vibrant streets in the Lower Ninth Ward. The concept of "waiting" could not be any more important than to the citizens whose lives were wrecked by Hurricane Katrina. Plus, the concepts of "absurdist" and "tragicomedy" fit in beautifully to how our federal government has handled the situation.

I think we can all remember President Bush standing proudly in front of the Disneyfied Jackson Square   confidently proclaiming that he will "help the citizens of the Gulf Coast to overcome this disaster, put their lives back together, and rebuild their communities." Bush also promised to "restore all that we have cherished from yesterday, and [to] rise above the legacy of inequality. When the streets are rebuilt, there should be many new businesses, including minority-owned businesses, along those streets. When the houses are rebuilt, more families should own, not rent, those houses. When the regional economy revives, local people should be prepared for the jobs being created." Bush even went so far as to declare that the "work that has begun in the Gulf Coast region will be one of the largest reconstruction efforts the world has ever seen." Eloquent words from his speech writers.

That was 29 months ago. Two years and five months. Anyone who has laid eyes on many of the destroyed New Orle