artPark

MICHAEL JANIS - April Spotlight artist of the month

Out of the collection of artists Laura and I represent and follow, I can't think of any who have been busier than Washington, DC glass artist, Michael Janis.  In addition to him co-directing and teaching at the wildly successful Washington Glass School, Michael has hit the Spring exhibition season in full stride.

 

Earlier this year, Michael was included in the Corning Glass Museum's New Glass Review - arguably one of the most prestigious and important glass competitions.  Also earlier this year, Michael was nominated as a finalist for the annual Washington, DC Mayor's Art Award.  Michael is currently participating in a group show titled "Dialogues in Glass" at the Mayer Fine Art Gallery in Norfolk, Virginia (runs through May 14). Then, on May 15, Michael opens a two man show at the famed Duane Reed Gallery in St. Louis, Missouri (runs through June 13).  And, finally, Migration will feature his work at the Affordable Art Fair in New York City in May (May 6 through May 10).  Whew!  I'm thinking, at this point, there might be a few artists out there who are a bit jealous.

 

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For the AAF, we anticipate this primarily painting, photography, drawing and printmaking fair to get turned upside down by Michael's glass powder drawn images on fused glass panels.  Michael's melancholic imagery combines the allegorical and the urban, but his materials and process are so elemental.  All of this is brought together by his highly refined technical skills which uniquely bring forth these deeply beautiful and animalian pieces of art.  For more on Michael's process, take a look at this video interview created by the Verizon FiOs creative film production team.

 

From Michael's artist statement:

Inspired by ways we transform ourselves, Michael Janis creates glass pieces that have both visual and spatial depth.  By layering and fusing sheets of glass with overlapping elements, Michael creates an interactive commentary using simple forms with intricate glass powder drawings. 

 

Seamless construction and simplicity of form contrasts with the intricacy of his imagery.  Objects from his “Tarot” series are based on the symbols and forms used in Tarot playing cards. Traditional Tarot cards incorporate icons based on everyday life, religions, astrology and also numbers. The Swiss psychologist, Carl Jung, saw all of the Tarot symbols as "descended from the archetypes of transformation", and used the Tarot imagery in his therapy.

 

Michael’s kilnformed work takes scenes and suspends them within layers of fused, formed and coldworked sheet glass. Using crushed glass powder to create drawings, Michael plays on the elements of light, color and also sequence.  The glass powder is sifted onto glass sheets, and by scraping and scratching the sifted black glass dust he crafts his artwork. The glass panel is then fired in an electric kiln at temperatures up to 1600°F. This time consuming process facilitates drawn out contemplation of often overlooked imagery. 

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We will be featuring all the pieces pictured on this page at the Affordable Art Fair (May 6 through May 10).  For more information on Michael and the availability of these pieces and others, please contact us.

 

[Images include: 1)  Full of Uncertainties and Reasons.  Cast glass, steel, glass powder imagery.  18"x36"x2".  $6,000.  2) The Moon - from the Tarot Card Series.  Cast glass, steel, glass powder imagery.  18"x36"x2".  $6,800.  3) The Sun - from the Tarot Card Series.  Cast glass, steel, glass powder imagery.  18"x36"x2".  $6,800.  4)  Seeking Shelter 1.  Cast glass, steel, glass powder imagery.  20"x20"x2".  $3,000.  5) Seeking Shelter 2.  Cast glass, steel, glass powder imagery.  20"x20"x2".  $3,000.]

ArtistADay.com

There's a nice and simple website that promotes artists and their work. It's called ArtistADay.com. Today, the site is featuring the work of Migration artist Randall Stoltzfus. Give it a look. Rate the work (give it a 5). Read the Comments. Leave a Comment.

Interested in seeing the real thing? Migration will be featuring Randall's work at the Affordable Art Fair in NYC from May 6 through May 10. Last year, Randall stole the show at AAF.

Randall is also having a solo exhibition at the Limn Art Gallery in San Francisco from April 18 through May 30.

Hitting both coasts simultaneously means these are busy days for Mr. Stoltzfus – but that's appropriate for an artist of his caliber.

[Image:  "Late" by Randall Stoltzfus.  48"x60", Oil on linen.  $7,000]

The Arts and Innards of Russell U. Richards!

Friday, Laura and I spent a fantastic night out on the town soaking up some art.  Our first stop of the evening was to see Russell U. Richard's exhibit at the McGuffey Art Center titled "The Arts and Innards of Russell U. Richards!"  This was a long awaited for show for Russell.  Simply put, this show made McGuffey look better than I have ever seen it.  Russell provided the full package.  His artwork electrified the space (more on that in a sec.), but what also shined was the execution of the entire concept.  It's the little things.  Russell clearly put a lot of thought, time and effort into the organization and hanging of the show.  Each piece was beautifully framed, hung precisely and lit perfectly.  Too often I have been to McGuffey (and a variety of other galleries) and seen lighting for crap and hanging so poor that I couldn't bear to look at the work on the walls.  Note to all artists:  Presentation is a significant part of your work.  Put some forethought into it as you create your work.  It can make or break an otherwise excellent piece of artwork.

Back to Russell...  I have been aware of his work since first arriving in Charlottesville 8+ years ago and visiting McGuffey where he has his studio.  I liked it then.  I love it now.  Initially, I found myself confused by his frenetic assemblage of lines and flat shapes and colors.  But now I see the importance of the overlapping outlines of his comic-style people and creatures as a process of weaving and layering that ties them all together and tells a multi-faceted graphic tale captured in one frame.

This work is comic book-like, but it is not for children... or the faint of heart.  From afar, the images and concepts are apparent - colorful people, gardens, paths, rooms, monsters, buildings, machines, games, etc.  But closer inspection reveals the real Russell.  He is telling a graphic and often mystical tale.  Much of it is related to his own trying times, but there is plenty about the varied and twisted world he sees around him.  It is a fantastical journey and a beautiful visual story.

 

Russell has the heart and style of the greatest folk artists past and present (think Howard Finster), but he also exhibits the skills of the most refined MFA graduates.  Russell executes his complex ideas with a precise and beautiful craft, and it speaks in a clear and creative visual language.  I am a fan.

 

In addition to the exhibit of his original artwork, Russell has created a book of his life, journey and art.  This is the description:

Russell Richards is an artist known for his fantastical and imaginative imagery. "The Arts and Innards of Russell U. Richards!" is both an art book and memoir tracing his struggles with a devastating chronic illness, and how art helped him live through it, with beautiful full-color reproductions throughout. “Russell Richards’ work is electrifying- sometimes brutal, and always uncompromising. Yet his violent and erotically charged world is tempered with a wry sense of humor (served black.) His complex and original visions have left me gasping for breath and lusting for more for almost 20 years.” -- Daniel Zimmer

See the exhibit.  But Russell's art.  If you can't get to Charlottesville, buy the book here.  $35.00

Images include:  Top, Halloween; Middle, Nude Pool; Bottom, The Arts and Innards of Russell U. Richards (book cover)

The Dot and The Line - Final Weekend

If you haven’t already, please come by Migration this weekend, before we close our exhibition of drawings by Warren Craghead and Brian Mallman called The Dot and The Line.

This show features the work of two contemporary masters of the pencil. The original pages from Warren's book, How To Be Everywhere, and his story, This is a Ghost, are still available. We also have available a selection of Brian's graphite on board drawings from his continued Meetings series.

Both artists have received numerous national awards and accolades for the unique aesthetic of their drawing skills. To call them "creative" is an understatement. In a word, Warren and Brian are breaking barriers and lifting the skill of drawing to high art. Adding a piece or two will compliment anyone's collection of original artwork.

Laura and I are extremely proud to present Warren's and Brian' work. Don't miss this opportunity to see what we believe is the future direction of contemporary art: beauty, creativity, resonance, simplicity and craftsmanship.

 

(Images include: Top, Warren Craghead, page from This Is A Ghost; Bottom, Brian Mallman, Meetings #22)

Laurence Downing - our newest acquisition

During our recent holiday travels, Laura and I dropped into one of favorite galleries - Somerhill Gallery.  Somerhill is located in Durham, NC and owned by the venerable Joe Somerhill.  In the past year, the gallery has moved and settled into a gorgeous new space that showcases the its wide ranging collection of art in a vast and elegant setting.

 

As we strolled through new space admiring any number of interesting pieces, Laura and I simultaneously spotted a clay sculpture by North Carolina artist Laurence Downing. It is titled "Black Eye," and it captured us equally. To us, it speaks of how man's spirituality is born from his relationship with Nature.  The decision to buy it was a no-brainer.

 

  

Laurence Downing received his BFA in Sculpture from The University of North Carolina at Chapel Hill.  He has studied with Xavier Toubes and at the Penland School of Craft, the Rhode Island School of Design, and at the Art Institute of Chicago.  Laurence has been widely exhibited and is currently teaching at the Durham Schoolof the Arts and at the Durham Arts Council.

 

About his work, Laurence says this:

 

A Biblical parable cautions the farmer not to build barns and store up wealth for this world. It cautions us not to store up what moth and rust will destroy. Water towers and silos remind me of ways our pasts and stored provisions direct our movement. These towers and silos are repositories for our collected wealth. They are our source for sustenance even if they are misplaced confidence in things and our past gain. We are encouraged also to consider the birds because they do not toil or spin or store up wealth, but depend on God for their provision. The birdhouses and silos point at the dysfunctional irony of birds acting a bit like people. The implied function and loaded imagery are wasted on the birds. They also remind me to focus on more permanent matters.

 

More images of Laurence's work can be found here.

 

The Dot and the Line

Migration celebrated its final Charlottesville exhibition with a reception honoring the drawings of Warren Craghead and Brian Mallman.  Despite falling on the evening after New Year's Day, we had a very nice crowd who all seemed to dive into the detail, beauty and resonance of Warren's and Brian's work. 

The original pages from Warren's book, How To Be Everywhere, and his newest story, This Is A Ghost, jumped off the wall.  Brian's newest additions to his Meetings series of drawings on board caused heads to cock while coming to grips with the the unique quizzical facial renderings.  I even caught a few people trying to mimic some of the portraits (although I'm sure they will deny it).

As part of this exhibition - The Dot and The Line - Warren has flexed his illustrated book skills and created an exclusive book of the same title the cover image is pictured above).  It is free and can only be accessed through the Migration website.  Go here and click on the link.  You will then be able to print out the book and make it yourself.  Trust me, it's worth the minimal effort and time.  Plus, it is a unique opportunity to get a free book.  Leave a comment and let me know how you like it.

Finally, for those of you who were not able to make it to the opening (nursing a New Year's Eve hangover, no doubt), I give you a few images of Warren's and Brian's work below.  Of course, this is nothing like seeing the originals.  Drop by the gallery this month.  The show will close January 26.  Or, if you are out of town, contact the gallery and we will provide you with much more information and additional images.  Buying any one of these pieces will get your 2009 off to an excellent start.  I promise you, owning a Mallman or a Craghead will make your 2009 a special year.

  Warren Craghead - sample pages from How To Be Everywhere, graphite on paper.

Warren Craghead - page from This Is A Ghost, graphite on paper.

Warren Craghead - Portrait of Guillaume Apollinaire, collage,12"x12".

Brian Mallman - from the Meetings series, graphite on board, 24"x24".

Brian Mallman - from the Meetings series, graphite on board, 24"x24".

Brian Mallman - from the Meetings series, graphite on board, 24"x24".

Brian Mallman - from the Meetings series, graphite on board, 24"x24".

Lino Tagliapietra

In this age of over exaggerated expressions of excellence, the term "maestro" is often overused. The reality is, in a lifetime, you and I should consider ourselves extremely lucky to experience the craft of a true maestro. Luckily, I have had a few: Pavarotti (opera), Yo Yo Ma (cello), Dean Smith (coach), Michael Phelps (swimming), and Michael Jordan (basketball). Recently, I added one more maestro to my list: Lino Tagliapietra.

During a weekend trip to Washington, DC, Laura and I did what we always do when we are in DC – we dropped into the Renwick Gallery (of the Smithsonian American Art Museum). Through January 11, 2009, the Renwick is featuring an exhibition titled Lino Tagliapietra in Retrospect: A Modern Renaissance in Glass. This exhibition of 140 individual pieces and sculptures blew my socks off.

  

My first introduction to Lino's work was nearly 20 years ago - back when he worked with Dale Chihuly in Seattle (writer's note: in my mind, Lino was the skill that made Chihuly what he is now). It has been a treat to follow his career and watch Lino take his mastery of Venetian glass-blowing techniques to new heights. Despite being rooted in the traditions of Murano glassworks, the inventiveness of Lino's work keeps it relevant to contemporary aesthetics. It wows me every time.

I highly recommend you to see this show (or, at the least, enjoy this slideshow of the exhibition). However, be warned... After experiencing the breadth and unabashed beauty of Lino's exquisite handwork, you will likely be spoiled for all other high-end glass art.

Images: Left, Mandara (2006); Right, Nubia (2000). Both photos by Russell Johnson.

Let There Be Light

Last Friday, Laura and I kicked off the holidays (i.e. winter solstice) by going to the annual outdoor art exhibit held on the campus of Piedmont Virginia Community College. The show is called Let There Be Light. It is a one night affair and begins at sundown. As you probably guessed, the art displayed is all light-centered. It is a fantastic opportunity to experience art in a non traditional setting.

Although a bit chilly, it was a gorgeous evening – the full moon added a touch of drama and natural beauty. Rarely do we get to see art in so many different forms: paper constructed lanterns gracefully floating over the surface of a still pond powered only by the breeze; a giant screen playing a loop of the effects of light on the eye's dilating pupil; glow-stick clad dancers performing on a grassy hill; a school of fish cast against a classroom building; a pottery kiln made of paper in full fire. And there was much, much more. It was a true visual feast.

Here are some pictures:

  Floating Lanterns by Stacey Evans and John Grant (photo by Stacey Evans)

  Dilate by Rob Tarbell

  Dance Move Burglar by Brushwood’s School of Dance (photo by Stacey Evans)

  School by Fenella Belle (photo by Stacey Evans)

  Paper Kiln by Tom Clarkson

Naturescapes by RANDALL DAVID TIPTON

Migration is celebrating the opening of Naturescapes, the newest paintings by Oregon artist Randall David Tipton, this Friday, December 5 with a reception at the gallery from 5:30 pm to 8:00 pm.

It feels like this show has been a long tome coming. Laura and I have been in love with Randall's watercolors on yupo for many, many months. Although showing a few of his paintings in the past, this will be our first exhibit of Randall's work en mass. We couldn't be more excited - like Christmas has come early.

   

I have written before on Randall's work and his mastery of his chosen medium (read my earlier reports here and here). To this date, I have not come across any painter who can control watercolors with such a loose touch and unabashed expression. The power of movement in each and every one of his landscape paintings is remarkable.

   

A special twist to this show is that we are presenting a large number of smaller pieces. Sizes range from 5"x5" to 6"x6" to 9"x12" to 12"x12". Prices are $95 for the smaller ones up to $350 for the larger ones. Talk about bang for your buck! This is the most affordable art we have carried. The prices simply belie the quality of each piece.

   

Please come to the gallery and experience Randall's explosion of colors and beautiful renderings of west coast landscapes. It will be a great way to kick start the holiday season.

About his paintings, Randall says this:

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.

For more on Randall and his work, go here.

Sarah White taps Laurel Hausler

Right on the heels of me getting all excited about Maggie Taylor's artwork appearing on the cover of Shawn Colvin's new album, "These Four Walls," Laura and I get word from one of our very favorite local artists, Laurel Hausler, that her artwork will grace the cover of Virginia based singer-songwriter Sarah White's new album, "Sweetheart" (buy it here). It’s been 20 years since I’ve gotten excited about album cover art, and now I get a two-fer in a matter of days. Cool.

Sarah's talent for songwriting recently received national accolades at the 2007 Mountain Stage New Song Contest where she won Best Song for "Sweetheart." For those of you who missed Sarah's performance last month at the filled-to-the-brim Gravity Lounge here in C'ville, she will be performing tonight (Nov 14) at Frye Springs Beach Club, and again in Richmond at The Camel on November 20.

As for Laurel… She has been tearing up the visual arts scene lately. Most recently, she had an exceptional solo show at the Nevin Kelly Gallery in DC called "A History of Dogs and Witches." In it, Laurel got to show off her newest series of paintings, ink and watercolor drawings, sculptures and other works – all of which have been described as erudite, evil, haunting, mysterious, beautiful and charming (read an interview of Laurel in the DCist here). Prior to the Nevin Kelly show, Laurel exhibited in the main gallery of the Gallery in the Woods in Brattleboro, Vermont. We also saw Laurel's paintings exhibited in New York at the Affordable Art Fair this past June.

Collaborations like these are win/win/win situations: When the visual arts and the musical arts come together, the painter wins, the musician wins, and the audience wins.

Taubman Museum of Art

There is a new jewel in Virginia’s art museum landscape. The former Art Museum of Western Virginia located in Roanoke has spent the last three years undergoing a complete transformation and is now the grand and spectacular Taubman Museum of Art. The Taubman Museum is celebrating its grand reopening this weekend. Go to Roanoke. Enjoy the dramatic architecture and glorious new exhibition spaces. Be a part of the art.

 

Here are some excerpts from recent Taubman Museum press releases:

The Art Museum’s new 81,000 square foot facility has been designed by emerging Los Angeles architect Randall Stout, principal of Randall Stout Architects, Inc. and an internationally admired proponent of sustainable "green" architecture. The building is a dramatic composition of flowing, layered forms in steel, patinated zinc and high performance glass that pay sculptural tribute to the famous mountains that provide the city’s backdrop and shape the region's spirit.

The new building will house the Art Museum’s permanent collection and feature greatly expanded exhibition spaces and education spaces, including a larger Art Venture, the Art Museum’ interactive gallery and art center for children and families. It also will incorporate a multi-purpose auditorium, a flexible theater/programming space, a book and gift shop, a library and study center, an art studio, and a café with indoor and outdoor seating. A dramatic, spacious atrium will provide a meeting place for the community, as well as a premier downtown venue for special events and receptions.

Summarizing his approach to the design for the Taubman Museum of Art, Randall Stout said, "A guiding principal of this project is creating a powerful relationship to the natural landscape and its influence over life, learning and art in Roanoke. Our references to nature are intended as deeply meaningful ones and are central to the purpose… The beauty of architecture is that it creates a democratic situation by engaging every observer equally and making room for every possible interpretation. Like art, it connects people with their own past experiences and future ambitions, and provokes an intriguing array of responses…"

Public opening is Saturday, November 8th, 10:00 am. 110 Salem Avenue, Roanoke, Virginia.

Check out this full list of opening day events.

Keeping up with... ERWIN TIMMERS

Reported by Laura:

We thought we’d catch everyone up on what glass artist Erwin Timmers is doing. I got a chance to spend a few hours with him at the Washington Glass School a few weeks ago when I made a trip up there to collect a work by another WGS director, Michael Janis. Erwin looked fantastic and energized by all the work he’s been doing. It was my first visit to the studio, which is enormous.

A little background… Erwin Timmers is a co-founder of the Washington Glass Studio and Washington Glass School. Originally from Amsterdam, he moved to California and graduated from Santa Monica College for Design Arts and Architecture. In 1999 he moved to the Washington DC area. His approach to art is multifaceted, incorporating metalwork, innovative lighting and glass design. He teaches glass, lighting, sculpture, and metal work. Industrial salvage and recycling are recurring themes in his work, which he sees as crucial parts to the interaction with one’s surroundings.

60s    70s 

80s    90s

Currently, Erwin is part of a show at Visarts in Rockville, Maryland called Glass Evolving. It will be on view until Nov 16. These images are of new work included in that show. I saw these pieces on my visit, and they are luminous and beautiful. The glass he used in them was tempered glass, so he went through an extensive melting and re-melting process to be able to use it. Even more importantly to my narrative mind, the works have a lot to say. For this series titled "What We Leave Behind" (pictured), what he did was collect a group of objects – sunglasses, battery, portable music device, money / credit cards, and phones among others – from each decade, the 1960s to the 2000s. What we get is a visual historical journey through the items we use every day and how they have changed. These objects are set into the glass as if they were found in rock 1,000 years from now. They are part history, part social commentary, and part beautiful imagery. All the elements of important artwork, although Erwin continues to see himself as more of a craftsperson. Which brings up an interesting point about the line between art and craft and how thin it is getting. But I’ll leave that for another discussion.

 detail of 2000s 

Erwin recently had new work in a show, "The Art of Trash," at the Baltimore Public Works Museum. And he is just opened a new show in Norfolk at Mayer Fine Art Gallery.

Erwin is a very busy artist, and his work is getting better and better. Get a piece while it is still underpriced at one of these great locations, or visit the studio, or give Migration a call and we’ll help you get a great piece.

Keeping Up with… TIM TATE

It’s not easy keeping up with glass artist Tim Tate. He is a true shooting star in the art world. Since we exhibited Tim’s widely collected video reliquaries at Migration this past April (with Michael Janis and Erwin Timmers of the Washington Glass School), Tim has been extremely busy. Some of his highlights include shows at Jane Sauer Gallery (Santa Fe, NM), Marx-Saunders Gallery (Chicago, IL), Donna Saeger Gallery (San Rafael, CA), Pentimenti Gallery (Philadelphia, PA), Habatat Gallery (Berkshires, MA), Billy Shire Fine Arts (Los Angeles, CA), Morgan Contemporary Glass Gallery (Pittsburgh, PA), and Maurine Littleton Gallery (Washington, DC). Tim also won the 2008 First Place Niche Award for Blown Glass, and had two of his reliquaries auctioned off for over $40K each. Not a bad year, huh?

Now Tim is going international. Tim’s video reliquaries are included in a show titled "Light & Technology" at The Steps Gallery in London opening this Thursday, Oct 16th. What makes this especially fun for Laura and me is that we were there when this international relationship was conceived. It goes back to April 2007 at the first (and only) artDC gallery fair. The Steps Gallery, Migration and The Washington Glass School all had booths that were next to each other. So while Laura and I were beginning our talks with Tim (and Michael Janis and Erwin Timmers), the director of The Steps Gallery, Davinia Bulford-Cooper, was doing the same. Although the lifespan of that fair may have been short, the relationships developed there have proven to be long lasting and very fruitful.

As stated in their press release, The Steps Gallery says this about Tim’s work:

Tim Tate exhibits handmade glass vessels containing video pieces that depict and address the topic of using technology or human constructs to repair and aid the repetition of natural systems and phenomena.

The Steps Gallery is recognized as one of the UK’s leading promoters and exporters of young contemporary art. Over the years, it has established a reputation for identifying pioneering artists. The comprehensive gallery program is inclusive of innovative media, technology-based work, photography, sculpture and site-specific installations.

Imitation = Flattery

As the saying goes... Imitation is the sincerest form of flattery. With that said, you’ll understand why my eyebrows rose as I recently flipped through the pages of my Art & Antiques magazine. An article, titled "State of the Art Market – Through Thick and Thin" by Andrew Slayman (read it here) is a thorough investigation into the world of art as a viable investment tool. My eyebrows hitting the ceiling was due to the fact I had written an article on the same subject last March titled "Art as an Asset" (read it here). Eerily similar. Heck, Slayman and I even used the same Mei Moses All Art Index chart.

Despite having already discussed the subject five months earlier, I very much liked Slayman’s opening paragraph:

While art and commerce have never been strangers, it used to be customary to at least pretend that art was primarily an aesthetic matter. Not any longer. More and more people are speaking of art as an asset class, and few are embarrassed by the phrase "art investment." After all, why should they be? The art market as a whole returned 20% in 2007 versus 5.5% for the Standard & Poor’s 500, according to one art price index, while certain sub-sectors such as contemporary art performed even better. And at least four new art investment funds—which sell shares and use the proceeds to trade artworks for profit—have been announced in the past year and a half.

So if Art & Antiques, a glossy international magazine with a circulation of 153,000, wants to imitate me, I’ll take it. I’m flattered.

JAN ARONSON - "While Rome Burns"

Please join us Friday, October 3, 5:30-8:00pm for a reception with acclaimed artist Jan Aronson as we celebrate the opening of Migration’s exhibition of her newest series of oil paintings called "While Rome Burns."

Jan Aronson’s paintings are internationally recognized and applauded for their sharply colored and textured depictions of basic natural elements: rocks, leaves, clouds, trees and water. She has incorporated those elements into her new series, "While Rome Burns". The ominous title - a reference to Roman Emperor Nero and his legendary apathy in the face of the fires that destroyed the city in the first century- is a sign that Aronson has once again effectively infused her landscapes with her individual perspective. These interpretations result in a visually astounding personal adaptation of the basic elements of nature found around the world. As she explains:

"My work uses nature as its subject matter and my current series under the title While Rome Burns explores the turbulent and seductive elements of water in motion. Many of the pieces take a micro part of a water image and make it macro thus making the viewer confront the interior of the experience. Other works allow a more distant view but the feeling of being a part of the water still prevails. The title of the series While Rome Burns refers to my personal response to current national, international, and ecological events over which I feel I have little or no control."

The directional lines and muscular energy of Aronson’s "While Rome Burns" series reflect her belief that "while forces of the universe are chaotic, they are also balanced".

Aronson’s process begins by taking photographs, many of which are from her world travels. She essentially uses her camera as a sketchbook, taking it back to her studio to construct each painting based on her film record. She paints her scenes in oil or watercolor, or sketches them using graphite and colored pencil.

Jan was raised in New Orleans, Louisiana, and remained there to major in Fine Arts at the University of New Orleans. She continued her education at Pratt Institute in Brooklyn, New York, where she attained her MFA in Painting and a minor in Art History. She now lives primarily in New York City, but enjoys a country home outside of Charlottesville, Virginia with her husband Edgar Bronfman.

Jan has received national acclaim for her landscapes and portraits. She last exhibited in Charlottesville at Les Yeux de Monde Gallery in 2006, and before that at the Bayly Art Museum at UVA in 2001. She has also participated in several exhibits abroad, most recently at the Jan Van Der Togt Museum in Amsterdam, The Netherlands and at the United Nations in Geneva, Switzerland. Her work is a fixture among permanent collections across the world, and her renown has earned her a place in the list of Who’s Who in the World.

 

(Images include: Top, While Rome Burns - Water #10 oil on canvas 28"x42"; Middle, While Rome Burns - Water #6 oil on canvas 45"x80"; Bottom, While Rome Burns - Water #6 oil on canvas 60"x84")

HUNDERTWASSER

While sitting on my living room couch reading the latest issue of Art & Antiques, I had one of those serendipitous moments: Turning to page 86, I see a feature article on the Austrian artist Friedensreich Hundertwasser (1928-2000) written by Rebecca Ascher-Walsh. What made this so special to me was that I got to look up from the pages of the magazine and admire Laura's and my own Hundertwasser painting hanging on our living room wall. For those of you new to the work of Hundertwasser, here are a couple of excerpts from the article:

By refusing to adhere to established art-world mores and eschewing traditional design rules, Friedensreich Hundertwasser developed an enduring eccentric style that he applied to painting, architecture and philosophy.

He wore a uniform of studiously mismatched socks, quirky hats, and patched and handmade trousers and shirts – assuming it wasn’t and occasion when he simply eschewed clothing altogether. He railed against straight lines – calling them "the work of the devil" – embraced exuberant color and rebuffed critics to champion art’s potential for mass appeal. His moniker was a carefully considered nom de plume. By the time of his death in 2000, Friedensreich Hundertwasser was known as an eccentric and brilliant modernist artist, architect, environmentalist and philosopher: a man lambasted by the critics as he was embraced by the public.

Laura and I are terribly proud to own a little slice of Hundertwasser’s work – and we are even more proud to see him get a recognition here in 2008. He was a remarkable artist who lived a remarkable life.

Photography feels so good

Robin Blackshire’s photography exhibit, Repossession, opened last Friday. We had a great reception, and tons of people got a chance to experience her work for the first time as well as meet her. Robin gave precise explanations of her techniques and eloquent stories behind capturing each color rich photo. Laura and I find her art to be conceptually deep, rich with meaning, technically inspiring and, of course, visually beautiful.

While hanging the show last week, Laura and I were inspired to bring out some work of our other photographers. We gave attention to Alan Dehmer, Brian Kosoff, Becky Cohen, Joachim Knill and Peter Filene. It was a real pleasure to put a heavy focus on the art of photography. It is a widely varied medium that appeals to such a broad audience. By the smiles on the faces of our Friday night guests, we made the right decision.

To get your photography fix, come by Migration. Robin’s Repossession will be featured through September 30.

“Repossession” by ROBIN BLACKSHIRE

Nobody likes the repo-man… unless of course Mother Nature is doing the repo. That’s exactly what photographer Robin Blackshire has captured: the natural cycle of manufactured goods being reclaimed by the earth and its elements. In her series exhibited at Migration, Robin uses recollections of her childhood environment in her digitally enhanced photographs. The "junked cars and trucks" that her father frequently brought home and stored in the family’s backyard offered her a plethora of lighting and composition possibilities. The color of the automobile paint and the wear of the metal were always developing, as were the natural elements surrounding the abandoned vehicles. And, the varied effects of the sun’s rays on any given day made a walk through her own backyard an artist’s dream.

Aside from showing the interaction of decay and growth, Robin’s photographs exploit the color of the automobiles using innovative digital scanning technology. The transparent film that Robin uses and the process of oil mount drum scanning allows her to give detailed, individual enhancements to each of her photographs. Slight adjustments to the tones of the hues in the digital files allow each image to become a color study of the original, improve the overall image of each photo, and give a cohesion to the entire series.

 

Robin got her start in photography by chewing bubble gum. As an eleven year old girl she saw an ad on a bubble gum wrapper that said if you saved fifty gum wrappers you could earn a camera. So she chewed gum like crazy until she had enough wrappers to get that camera. She took it everywhere with her, and her love affair with photography began.

Robin earned her BFA in Photography and minor in Graphic Design at Shepherd College in Shepherdstown, West Virginia. Robin’s vibrant photographs have been displayed in such high traffic areas as the windows of Tiffany’s in Philadelphia, PA, and Tyson’s Corner, VA. This is Robin’s first solo gallery exhibition.

Migration will celebrate the opening of "Repossession" with an artist attended reception this Friday starting at 5:30pm. Please join us and meet one of Central Virginia’s newest photography stars.

Alex Nyerges

Laura and I received a special visit yesterday at Migration. While in Charlottesville for a meeting at Monticello, Alex Nyerges, the Director of the Virginia Museum of Fine Arts, and his lovely wife, Kathryn, took time from their day’s schedule to tour the gallery.

For those who don’t know, Alex Nyerges has been the director of the VMFA since August 2006. He took the reigns from Michael Brand after Dr. Brand left Richmond to direct the J. Paul Getty Museum in Los Angeles (nice step up). With the director’s position, Alex inherited the current 165,000 square-foot expansion of the Museum scheduled to be completed by the end of 2009. This was the first time either Laura or I had met Alex.

In addition to being impeccably dressed, Alex displayed an abundance of grace, good manners, a wealth of knowledge, and, most importantly, a sharp eye for contemporary art. It was a pleasure getting his frank feedback on many of the artists we are currently exhibiting. In particular, he pointed out the beautiful content and design of Alan Dehmer’s gum bichromate printed photographs, the instinctual eye of Robin Blackshire, the subtle beauty of Bill Emory’s black and white photos, and Craig Meacham’s natural artistic and story-telling style.

What really caught Laura and me off guard was how both Alex and Kathryn talked about their frequent visits to the gallery scene in Richmond and in their travels around the country. Throughout my career in the arts, I have known many museum administrators and plenty of directors. As I look back, it surprises me how few of these museum professionals actually spend time in the art trenches (i.e. studios and galleries). Alex clearly has a love of the arts and supports it on every level from the bottom to the very top. Nice.

The Commonwealth of Virginia is fortunate to have Alex Nyerges as its leading steward of the visual arts. He is championing the VMFA into the future with a forward sighted vision and profound respect for the art and history it carries with it. Laura and I are eagerly awaiting the grand opening of the VMFA expansion… and the many parties associated with it.

DAVE SIMPSON, aka “Mr. DaVinci”

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

 

This DaVinci award goes to Dave Simpson. Most of us know Dave as the long time owner of the C&O Restaurant. Dave is one of Charlottesville’s best restaurateurs, but did you know he is also an art aficionado and an aesthete?

In addition to the restaurant, Dave manages the C&O Gallery - which is located next door to the restaurant. Now, people who know me know that I hate the trend of hanging art in the local restaurants, bars, coffee shops, law firms and chiropractor’s offices and calling it an "exhibition." Quite honestly, I consider it a step below vanity galleries. The C&O Gallery is not this. Dave has a true love of art and its professional presentation. He also has a huge desire to see artists succeed. By making a portion of his space available for exhibiting art (rather than loading the floor space with tables and chairs and selling more food and drink), Dave shows us all his commitment to his passions by using the space as an art gallery.

And don’t think Dave doesn’t have an excellent eye for the best art this town has to offer. He has brought us shows by the likes of Bill Emory, Michael Fitts (the same show that sold out in New York City), Leah Fanning Mebane, Tom Cogill, John Hetzel and others. Not bad for a guy who specializes in food and wine.

The truth is Dave doesn’t have to do this. He owns (in my opinion) the best restaurant and catering service in Charlottesville. The C&O Restaurant combines a top notch menu with the best wine selection I can think of. So, adding the struggles of managing an art gallery shouldn’t be a priority for Dave. But it is. He has admitted his simple love of doing it and the satisfaction he gets from it. To us, it shows.

Some people may think this DaVinci award is based more on personal feelings rather than objective facts. But, bear with me… Dave has been a real champion of Migration and the kind of business we are bringing to Charlottesville. Laura and I have repeatedly been buoyed by Dave’s support and friendship. Thanks, Dave!

Award SCORECARD:

DaVinci – Beryl Solla, Elizabeth Breeden, Rob Tarbell, Maggie Guggenheimer

Velvet Elvis – University of Virginia Art Museum, Charlottesville City Council, Pinkie and cvilleMUSE

A DaVinci Award for MAGGIE GUGGENHEIMER

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

With a name like Guggenheimer, you know she’s got to have a little of the arts in her. And that’s exactly what Charlottesville is finding out about the Piedmont Council of the Arts’ Executive Director, Maggie Guggenheimer.

  

For those of you who are unfamiliar with PCA… It provides arts information and services, builds and enhances cultural partnerships, and strives to showcase Central Virginia as an arts destination. PCA’s vision is to serve as a "nexus for all things arts-related" in the community and provides services with and for artists, arts organizations, and arts educators.

Maggie took over PCA a little over a year ago when the organization appeared to be rudderless. In just a handful of months she has put PCA back on the map, and we are seeing some of the fruits of her leadership and energy. What impresses me the most is knowing how much Maggie is getting done with very few resources. Thus far, PCA has implemented new arts education and access programs with local government, area educators, and community partners; it recently launched a new and improved website; and it has relocated its offices to the more visible (and appropriate) McGuffy Art Center. All of this on a budget that barely covers wages and rent.

For the future, I envision Maggie taking on a bigger role in PCA’s fund raising and really getting PCA’s goals off the ground (we all know money is what makes things move). Partnerships with nonprofits will expand to partnerships with commercial businesses. Artists, arts organizations, educators, students and the public will all benefit. Although it’s a 30 year old organization, I see Maggie giving PCA a bright new beginning. Gosh, I hope my crystal ball is working.

Award SCORECARD, thus far:

DaVinci – Beryl Solla, Rob Tarbell, Elizabeth Breeden

Velvet Elvis – University of Virginia Art Museum, Charlottesville City Council, Pinkie and CvilleMUSE

ROB TARBELL, a master of all

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

The history books refer to Leonardo DaVinci as the original Renaissance man. He experimented in many artistic, creative and scientific disciplines and set new standards of excellence in each. Since arriving in Charlottesville, Rob Tarbell has proven to be a modern day Renaissance man. Seems fitting that Rob receive a DaVinci award.

Rob has made his presence in the Charlottesville art scene known with gusto during 2008. Seems you can’t turn around without running into his work. Whether driving down 250 racing past his masterfully whimsical metal sculpture "A Bad Case of the Mondays" (pictured left), or his fantastical porcelain dipped stuffed animal collection exhibited at Second Street Gallery last February (any regular gallery-goer totally screwed up if they missed that one), or his magically delicate smoke drawings at Les Yeux du Monde in April (pictured below), or, most recently, his curated show "The Others" at PVCC’s Dickinson Building.

In Rob’s words:

In my practice, making art is as much directing intent as it is about scientific tinkering. All of my diverse work is linked by the transformation and manipulation of traditional materials and the exploration of non-traditional ones. The loss of an original and the use of elaborate processes are inherent to the creation of the smokes, paintings, and porcelain series. The work intends to both balance accident with control and give permanence to the ephemeral.

In the visual arts world, artists must walk a thin line between exposure and over-exposed. Crowds can be fickle. One day they love an artist’s work; but after they have seen it a couple of times, they tend to give it a luke-warm reception. Rob Tarbell, however, stands far from the risk of over-exposure. His mastery of each diverse project keeps his work fresh, hot, and pushes into the realm of "important". For the past year, he has been giving Charlottesville a top-of-the-line one-man-show. Rob is raising the bar of artistic excellence in Charlottesville, and we are all benefiting from it. I consider Charlottesville fortunate to have him here and even more fortunate that he continues to be prolific pumping out great work both in front of the curtain and behind it.

SCORECARD, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

DaVinci – Elizabeth Breeden

Velvet Elvis – Charlottesville City Council

ELIZABETH BREEDEN – a true DaVinci

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

Elizabeth Breeden has been a poweful cog in the Charlottesville arts wheel for nearly 3 decades. For years, she and her late husband, David, opened their Biscuit Run home to artists and anyone interested in the arts for dinners, gatherings, viewings and just plain old talk. It was a focal point of creative thinking in this town.

Born from some of those hippy-esque gatherings was Art In Place. Art In Place satisfied a citizens’ cry for the promotion of public art in Charlottesville. Elizabeth has been president of the non-profit organization since its inception in 2000.

The primary function of Art In Place has been the selection and placement of numerous large-scale, public art sculptures. Since most of the sites are found on the sides of busy roadways, Art In Place is often referred to as "40 mile an hour art." Although the art gets maximum exposure, viewers get an average of 1.78 seconds to study it, and enjoy it. Better than nothing, I guess.

For me, one of the real beauties of the Art In Place project is that it is "refreshed" on an annual basis. Each year, new work is selected and placed in the set locations throughout the city. So, if you get a little tired of seeing the same stainless-steel towering sculpture on your daily commute to work, fear not, a new one will replace it soon enough (and maybe the next one will be stone or clay or wood).

Recently, Elizabeth was kind enough to invite me to join the panel of jurors for the 2009 version of Art In Place. My first impression was: this is not your normal selection committee. We were a team of eight extremely diverse people charged with selecting the specific pieces to be exhibited. Some had experience in the arts; some didn’t. Some were civic leaders. A couple were there because of their knowledge of landscaping. And a couple… well…. I’m not sure what they brought to the table. Bottom line: Elizabeth did an excellent job of juggling our viewpoints and maintained artistic integrity and civic needs/requirements with the challenges of placing giant sculptural structures. No small feat. And we are all the beneficiaries of her organizational talents and tireless passions for bringing art to otherwise vacant landscapes.

Bravo, Elizabeth, Bravo. For this I award you a DaVinci

(Above photo of Elizabeth by Jen Fariello.)

Scorecard, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

And a DaVinci award goes to... BERYL SOLLA

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

[Sound of fanfare music, followed by a hush, then the tearing of an envelope]  And the winner of a DaVinci is... Beryl Solla.

Since arriving in Charlottesville in 1999, Beryl has been the leading mover and shaker in Charlottesville’s art scene who you probably have never heard of (despite having a cool name). While keeping a moderately low profile, Beryl has been a grass roots supporter and promoter of the arts for many years. Simply put, she is instrumental in what people see, how they see it, and how it is created.

In her day job as Associate Professor of Art at PVCC and heading the art department, Beryl has been instrumental in elevating PVCC’s Fine Arts Department (part of the Humanities, Fine Arts and Social Sciences Department) to national stature through her teaching, curating, and leadership. Recent exhibits found at PVCC’s Dickinson Building included "Let there be Light" (a one-night-only-and-you-should-not-have-missed-it exhibit) and "Wonder Women." Both outstanding shows.

In her more public roles, Beryl is often called upon to assist with the selection and/or judging of local arts in the area. Contributing her keen eye for high quality and evocative art has ensured we see only the best Charlottesville has to offer. Beryl is also a member of various boards and committees. Until recently, she sat on the Piedmont Council of the Arts board during a time when great changes took place in that organization. She is also a member of Second Street Gallery’s Artist Review Panel.

If all that isn’t enough… Beryl has become one of the areas’ biggest proponents of creating collaborations joining various organizations in the community. Keep your eyes open for her next project called "Yard Art" – art installations created in people’s own yards popping up all over town.

No matter what I say about Beryl, I think one of the best sources of unadulterated feedback is directly from her students. Here is a small sampling of what they have said:

Beryl we love you. Take her class or miss out on the best.

awesome, awesome teacher. i love art, and still she made me love it more!!

Lady is off her rocker, but she's firkin great. I learned a lot in a very relaxed and chill environment. I will definitely take her for future classes if possible. She's hilarious.

Excellent professor. She's crazy, and fun, and allows you to express your creativity.

Love Her Class!!! Encourages you to do your best work. Respects her students but enjoys joking around.

you want a real art teacher..beryl is it!

‘Nuf said. Congratulations Beryl. You are a true DaVinci in my books.

 

Keeping Up With… Beth Cavener Stichter

Beth Cavener Stichter reports from her new home in Eastern Washington that she has been back to work following the purchase of and move to a new home, building a new studio, and recovering from a hand injury. Despite the turmoil, she has produced a new body of work that is on exhibit at the Art Spirit Gallery in Coeur d'Alene, ID. The exhibit is titled "Apologia." Read a review here.

    

There’s no question in my mind that Beth’s new work is equally as powerful as all that I have seen before. She continues to make some of the most visually and emotionally powerful sculpture seen today.

As part of Migration’s summer show "Conscious Clay", one of our hopes has been to show the varied ways that clay is used in art. In other words – pottery is not just about pots. Although we did not include any figurative work in the exhibit, please consider Beth’s sculptures as a sort of "virtual addendum" to the show.

 

   

Images include: Top left, The Wilderness Within; Top right, Hare Leaping Over Nothing; Middle, A Rush of Blood to the Head; Bottom left, Beth at work; Bottom right, Breathe.

Brian Mallman in Domino Magazine

Domino Magazine has just posted a list of favorite artists its high fashioned reporters gleaned from this year’s Affordable Art Fair in New York. We are proud to see included in the short list of 16 was Migration’s Brian Mallman (see slide #7). Domino states:

Brian Mallman's mastery of the graphite line makes his offbeat drawings as powerful as they are good-humored.

Domino Magazine – The Guide to Living with Style is an international magazine with a total audience of 3,553,000. It was created to help busy, style-conscious people furnish their homes in a comfortable, personal way. The underlying belief of Domino is that your home is the backdrop, the setting, and even the springboard for your life: the more efficiently it functions, the more it reflects your needs and the life you live, the happier you will be.

Domino is a member of the CondeNet group of publications which include The New Yorker, Vanity Fair, Architectural Digest, Gourmet, Style, Wired, Glamour, Cone Nast, Bon Appetit and Epicurious.

The Narrative pottery of STANTON HUNTER

I said pottery… not poetry.

The ceramic arts have seen creations come in all shapes and sizes: From bowls, plates, teapots, cups and mugs, to a plethora of sculptural forms. It seems there is nothing that can’t be sculpted out of clay. But what about words? Can clay be text? California ceramist Stanton Hunter thinks so.

Over the years, Hunter’s ceramic work has ranged from traditional functional objects and sculpture to installation and site-specific work. In every case, he combines daunting technical skill, a profound commitment to natural elements, and an investigation into the possibilities of the everyday and mundane.

Most recently, however, Hunter is using his skill to turn clay into words – or is it words into clay? – through his "Earth/Sky text translation project." Based on various poems, poetry and verses, Hunter creates wall mounted series made from clay and glass that include shapes for punctuation, colors for nouns, textures for verbs, materials for adjectives, etc. The result is a physical imagery coupled with text that speaks volumes and gives new meanings to old poems and verses.

Hunter relates to the material of clay as decomposed rock or landscape that he transforms back to landscape. Hunter’s second series of wall pieces showing at Migration "his "terrain" work) is an excellent example of this sentiment. Here, raking light expose the peaks and valleys of a distance landscape. On the moon or in the desert. Mountains or the floor of the ocean. It is graceful and organic.

We are very pleased to include Stan Hunter’s work in Migration’s "Conscious Clay" exhibit. He shows us that pottery is not all about function, form and surface. Hunter redefines what clay can be. Through his magical creativity and imagery, he allows us to read clay. He reclaims the earth and makes it new again. It is beautiful art created out of an ancient medium.

Stan Hunter lives on the west coast, but exhibits regionally, nationally and internationally. He teaches ceramics and sculpture at Chaffey College in Rancho Cucamonga, CA, and previously ran the ceramics program at Scripps College. His experience teaching, guest lecturing and educating himself in the fields of music, Psychology and Eastern thought contribute to the aesthetic design of his pieces.

Raku pottery by STEVE MITCHELL

The last 25 years or so has seen the Raku pottery technique become increasingly popular among professional and hobby potters alike. The drawing of red hot pots from a kiln, the subsequent smoking of pots (and potters) in sawdust, the tense excitement as the final results emerge when the pots are cooled and cleaned have proved irresistible, especially for potters with pyromaniac tendencies. Many a pottery course has ended with the obligatory raku firing on the last day - a lighthearted event conducted with a stick of wood in one hand and a glass of wine in the other! More recently, however, a growing number of potters have turned to this medium as a 'serious' expression of their work, finding new (or perhaps old) and varied techniques to explore. The famous Japanese potter Hamada said that he wanted to wait until the end of his life before making raku pots as it was the most difficult and important technique to master.(1)

Raku pottery is always a crowd pleaser. Trouble is, not every potter is good at Raku. The random and chance effects are difficult to master and often become an evil mistress turning otherwise beautifully thrown pots into charcoal covered, crackled shards.

At the heart of Migration’s summer exhibit, "Conscious Clay," is the nonfunctional and exquisite Raku pottery of Steve Mitchell. Steve is the rare potter who can lasso the randomness of differing Raku techniques and create pots whose surfaces are beautifully decorated with the subtleties that only the dance of fire and smoke can create. In Steve’s words:

I experiment with shapes/forms, glazes and firing techniques constantly. I like wood firing and Raku best because I feel more of a connection to this, the last phase of the creation of the vessel. I am altering the work to the last moment. I concentrate on orb shapes and larger forms as they are more of a challenge to throw and alter.

Beyond the traditional Raku reduction technique, Steve’s pots are created through a couple of differing Raku-styled techniques: Ferric Chloride and Sodium Silicate. The Ferric Chloride technique is a colorful effect similar to Raku. The pots are fired to 1800 degrees, cooled and coated with Ferric Chloride; leaves, string and other combustibles are added to the surface; then the pot is covered with foil and fire to 1200 degrees and cooled. The temperature differences on the surface of the pot create the color effects. Steve’s Sodium Silicate technique is new work for him. The pot is started as a tall narrow cylinder, then Sodium Silicate saturated with Red Iron Oxide, is painted on the wet clay. When the Sodium Silicate is hard the cylinder, while still wet, is stretched into the vase shape cracking the surface. After bisque firing, a translucent silver nitrate glaze is applied and the piece is then fired to 2200 degrees followed by the Raku reduction technique.

Steve’s exploration into the varying interactions between new materials and firing techniques as well as his combination of natural and chemical forces gives his work a fresh look and a clear expression of his personal love of pottery.

Steve is from Western Virginia and currently operates his studio in the Blue Ridge Mountains outside of Roanoke. In 1980, he began a stained glass studio in the old Roanoke Downtown Market in 1980 called "Studio 103" where he made stained glass windows for residential and commercial applications. He moved to Richmond to manage a claims operation for a large Insurance Company and stayed there till 1997 then moved back to the Blue Ridge Mountains. Steve worked on his ceramic art as a hobby until the spring of 2007 when he took early retirement and focused on pottery full-time. Since then, his work has been shown in Museums and Galleries in North Carolina and Virginia. Steve is a board member of the Blue Ridge Potter’s Guide, member of the National Council on Education for the Ceramic Arts, and an invited participant in the Artisan’s Center of Virginia. Among his many awards, he has won first place at the Blue Ridge Potter’s Guild Show Gallery twice in the last three years, and won "Best Raku Form" at the biennial Mid-Atlantic Clay Conference in 2007.

(1) This excerpt courtesy of "Raku a Review of Contemporary Work" written by Tim Andrews.

Tom Clarkson

Laura and I first met Tom Clarkson in Atlanta about 15 years ago. He was exhibiting his pottery at the annual American Craft Council Craft Fair there. Like the proverbial moth to a flame, both Laura and I were drawn to Tom’s artwork. We were taken by the grace, fluidity, beauty and consistency. We were then doubly pleased to discovery that all of Tom’s pots were entirely functional (white stoneware). We bought a wonderful casserole that has graced our kitchen ever since.

While still living in Atlanta, we ran into Tom at other ACC Craft Fairs and said our annual hellos. Over the years, a nice little relationship developed. So, shortly after we moved from Atlanta to Charlottesville in 2001, we thought how funny it would be to seek Tom out. Through his regular participation in the prestigious ACC Fairs, we were already keenly aware of Tom’s stature in the national pottery scene, but little did we know that he is a living breathing institution here in the Charlottesville art scene. Virtually every potter in this area has been influenced by Tom in one manner or another - usually through his roll as the head of the ceramics department at the Piedmont Virginia Community College, but often as a supportive friend and colleague. Over and over, we have heard people describe Tom as "one of the best, most generous teachers around." Yup. That sums it all up in our mind.

Needless to say, when we opened Migration, we contacted Tom for his advice… and for his pots. He gave freely.

As many of Migration’s clients and patrons know, Laura and I are focused on bringing the art work of artists living outside of Virginia to our gallery. We feel strongly that exposure to all the stimulating art beyond our little neck of the woods is important for the development of the art scene in central Virginia. With that in mind… while pulling together the final list of ceramic artists we wanted to exhibit in our summer show, "Conscious Clay," we curiously found ourselves focused on Tom’s pottery. The quality of his work is undeniable. His artistic grace and exquisite craftsmanship continually stood out among the many artists’ work we reviewed. Although we strive to exhibit the great art made by artists outside of Virginia, sometimes, the best art is found right here in Charlottesville.

What stands out most in Tom’s pottery is how he honors the many characteristics of the clay. For example, Tom often creates the look of wet clay on the surface of his finished pieces. To achieve this technique, he begins by throwing the clay, and then he manipulates its surface to include elements of the different textures it has had throughout the entire process. He finishes with wood-ash glazes that accentuate those details. The result is a functional piece of fine art. Tom modestly states that this technique shows "a harmony between form, surface and function."

Tom Clarkson's work expresses all that is artistic in functional pottery. Marrying form and function in vessels whose beauty needs no function is his strength.

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.