tag:blogger.com,1999:blog-24653952029827476972024-02-18T18:29:03.801-08:00Gabriel Diego DelgadoAssistant Director at Rosenbaum Contemporary and art critic and writer ---Gabriel Diego Delgado's commentary on artworld news and reviews, including in depth art conversations, behind the scenes exclusives and other art business insightAnonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.comBlogger69125tag:blogger.com,1999:blog-2465395202982747697.post-72544693095406371882018-04-05T08:24:00.000-07:002018-04-05T08:24:50.923-07:00Alex Katz "People and Places" exhibition at Rosenbaum Contemporary<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Vivian with Flowers, Alex Katz</td></tr>
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<span style="font-size: x-large;"><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz:</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">People & Places</span></span></h2>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">by Gabriel Diego Delgado</span></h3>
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<span style="background-color: transparent; color: #222222; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-size: x-large;"><i><b>A </b></i></span>dozen portrait and landscape paintings by 90-year-old renowned painter Alex Katz comprise the new exhibition, </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz: People and Places</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, at the Rosenbaum Contemporary gallery in Boca Raton, Florida. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">From landscapes depicting his Maine summer property and coastal waters to stylized portrayals of friends and family, Rosenbaum delivers an intimate look at Katz through a diverse array of locations and subjects. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The gallery’s first exhibition of 2018, </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz: People and Places</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, is dominated by miniature paintings, with a few exceptions. </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Leigh</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, a 96 x 48-inch painting governs a left wall within the space, towering over the 9 x 12-inch paintings to its right, while </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Sasha 2</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, a 34 x 34-inch archival print greets gallery-goers at the front door to deliver a prelude to the selections within the interior gallery. A wonderfully unique gem within this exhibition is an untitled village landscape painted in 1946 while Katz was only 19 years old. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In the book </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz Unfamiliar Images</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, artist David Salle interviews Katz on his upbringing, childhood and other aspects of his career. One key answer to a question of influence encompasses all that is Katz, in relation to the </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">People and Places </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">exhibition at Rosenbaum Contemporary. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">“In writing and thinking, I learned a lot from my mother. She was always critical of language, trying to make things clean.” </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">The reason this statement is so important to digest is the fact that it ultimately alludes to the reductive aesthetic that is signature Alex Katz. Pulling out only the essential visual components of his subjects, Katz delivers faces in a seemingly raw power stroke; however, contemplating upon modernist art theory magniloquence we can only arrive at the simplistic nature of his painterly preciseness. Flat, illustrative qualities are married with hard-edged accessories and minimal modeling techniques. At its core, a subtractive methodology by the artist allows him to edit out the visual noise and concentrate visually on the essential key elements of his art. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">In the paintings </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Stephanie</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Kym in White</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Carmen</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> and </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vivien with Orange</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">, Katz uses the negative space around the portraits to his benefit. Eliminating any need for backgrounds, the viewers’ attention is no longer diverted by the environment, but focuses on the Pop Art iconology of his immediate social circle. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Vivien with Orange</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> vibrates with a lambent orange background, while the model, Vivien, Katz’s daughter-in-law, lounges in a striped beach chair. A radiant red tank complements the choice hue of the tangerine tincture. Even with minimal muscle definition and lack of realistic depictions of contour, Katz artistically composes Vivien’s arm, angled upward in a naturalistic reclining nature. As a viewer, we understand all this with only the flat but fundamental aspects of artistic delineations. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs9acWk_oLa5GdAFzJtWh6HTdUL95dXcJIURc1DEllxFCMRv97YJ8KwvABNIhRmrpN0D5ewY9Wd5T9lO-qnDvGnCELnTt7C6yj5bKPYkO6qSeycIeBmEEXFNP1kn2o073fvZ8ssx0lBGE/s1600/DSC_0036.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Alex Katz, Vivian with Orange" border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs9acWk_oLa5GdAFzJtWh6HTdUL95dXcJIURc1DEllxFCMRv97YJ8KwvABNIhRmrpN0D5ewY9Wd5T9lO-qnDvGnCELnTt7C6yj5bKPYkO6qSeycIeBmEEXFNP1kn2o073fvZ8ssx0lBGE/s640/DSC_0036.JPG" title="Vivian with Orange" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vivian with Orange, detail</td></tr>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Leigh</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is the largest painting in the exhibition. By purposely locating the full frontal portrait of Leigh on the bottom edge of the composition, Katzanchors the subject to the physicality of the canvas. We see Leigh’s placement as a weight that secures the composition. The white space on the upper third of the painting is weightless. Katz’s use of the achromatic field is not so much a void but a masterful decision of the “less is more” disposition. A color field technique, Katz conquers the ability of using the white not as blank space but instead cleverly addressing the surroundings with the concept of white being used as a token of color versus a destitute environment lacking in notice. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Detail, Leigh by Alex Katz at Rosenbaum Contemporary</td></tr>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Enzo Cucchi once wrote, “The sensuality of his [Katz’s] paintings returns emotion to the skin.”</span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">This simplistic statement can be seen in </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Leigh </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">as the definition of the cheekbone, bridge of the nose, forehead and chin are all defined with the singular tonal deviation that defines the light and shadow. The emotional response lies in Katz’s simplistic treatment. </span></div>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yellow Leaves #5,</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> painted in 2006, is a small 9 x 12-inch oil painting on board that illustrates a Japanese-esque aesthetic—alluding to the geographically recognizable pictorial definition of space with a philosophical sophistication; an allurement that was even once mentioned by the Tate Collection in reference to Katz’s work. </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yellow Leaves #5 </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">is a darker color palette painting that encompasses aspects of this Japanese style. Wabi, which means transient and stark beauty; sabi, the beauty of natural patina and aging; and y</span><span style="background-color: transparent; color: #222222; font-family: "myriad hebrew regular"; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">ū</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">gen, profound grace and subtlety; are influential ideals in Japanese painting practices that have found a home in Katz’s landscapes. Quick whips of stil de grain yellow place the leaves on the defined branches. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Yellow Leaves #5</td></tr>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Yellow Leaves #5 </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">is reminiscent of</span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Katz’s nocturnal series. However, rich in contextual artistic history, Katz has described a time when he was trying to capture the essence of time passing, making painting sketches in fifteen minutes, right before dusk fell. These trees, enveloped in a threnodial temperament, are four verticals, vehicles that enable the upward sweep of leaves to define space. Appearing flat, the spatial definitions are in the inferred relationships. As </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Smithsonian Magazine</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> author Cathleen McGuigan once stated, “Katz’s subject is the last few minutes of daylight that no one can hang onto.”</span></div>
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<span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Unique to </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz: People and Places</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> at Rosenbaum Contemporary is a painting displayed by itself on a small wall on the right side of the gallery. Adjacent to the landscapes, this painting holds historical keys to Katz’s timeline. Painted in 1946, this untitled landscape depiction of a European village is set in a one-point perspective. All the buildings and structures dotted along the main road have guidelines that meet in the center of the composition. Painted when Katz was only 19 years old, this cityscape is very important to reference in this exhibition. In 1946, Katz was studying art at Cooper Union (1946-1949). His professors include such notable artists like Robert Gwathmey, Paul Zucker and Morris Kantor. The influence of the latter, Morris Kantor, is evident in this untitled artwork by Katz. For example, Morris Kantor’s painting, </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Farewell to Union Square</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> illustrates how Kantor’s influence on Katz was centered on a mentorship and instruction of style, color palette and composition. The elements within </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Farewell to Union Square </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">can easily be read as reflective properties in Katz’s untitled painting—Kantor’s woebegone city versus Katz’s village. Many artistic parallels and seemingly effective professor influences add significant important to this creation that was painted by Katz over 70 years ago.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PKIDHE1laGSKPM5F2uZL46R13bUzXR4cMrFzhSwoQ4jzqySubMtEs-EOrspoPRMy16Ls9cr39ZbUj28xKBsXTK4v-U7TPJxGyQzgN2-3S1EuqLRHU-vPfc85auo5FWHLVSTE0ov34ZI/s1600/IMG_7985.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1PKIDHE1laGSKPM5F2uZL46R13bUzXR4cMrFzhSwoQ4jzqySubMtEs-EOrspoPRMy16Ls9cr39ZbUj28xKBsXTK4v-U7TPJxGyQzgN2-3S1EuqLRHU-vPfc85auo5FWHLVSTE0ov34ZI/s640/IMG_7985.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Untitled by Alex Katz, painted in 1946</td></tr>
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<span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz: People and Places,</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> which complements the Boca Raton Museum of Art’s </span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">Alex Katz: Small Paintings</span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> exhibition, runs</span><span style="background-color: transparent; color: #222222; font-style: italic; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> </span><span style="background-color: transparent; color: #222222; font-style: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;">through April 7, 2018. Learn more.</span></div>
<span id="docs-internal-guid-62a50f19-9655-aa82-2b7a-cc438da32744"><br /></span>Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-64058388574857203072018-04-05T07:52:00.001-07:002018-04-05T07:52:23.259-07:00Manolo Valdés at Rosenbaum Contemporary<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.rosenbaumcontemporary.com/" target="_blank"><img border="0" data-original-height="922" data-original-width="1600" height="368" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6AobSL9DuhHycAWAKxUe3Ra3cmEGXUDzZX6SjNJTvZN2rED_KK00_SQaRUrE_u4Rf0VfC3gRQVIjEAZd0zF-gZk3EynJB4TC7zMSuIUseX8YKbkDE3yjY1eWEZBg0tk8wn77eJoGtn2k/s640/Screen+Shot+2018-04-05+at+10.46.49+AM.png" width="640" /></a></div>
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<span style="font-family: Calibri; font-size: 20.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><br /></span></div>
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“</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; font-size: 20.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Pequeñas
Esculturas</span></i><span style="font-family: Calibri; font-size: 20.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">”<o:p></o:p></span></div>
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<span style="font-family: Calibri; font-size: 10.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">By Gabriel
Diego Delgado, <o:p></o:p></span></div>
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<span style="font-family: Calibri; font-size: 10.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Assistant
Director Rosenbaum Contemporary<o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Manolo Valdés:</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> “</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Pequeñas Esculturas</span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">” <i style="mso-bidi-font-style: normal;">(Small Sculptures)</i> exhibition
displays a curatorial selection of thirteen Manolo </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> sculptures available for acquisition through Rosenbaum
Contemporary. <o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Internationally known for a distinctive and
signature aesthetic that has captured worldwide acclaim, </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> has diligently crafted smaller studio sculptures alongside the
monumental public art projects that also encase all the art historical contexts
</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés holds dear.<span style="mso-spacerun: yes;">
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<a href="mailto:gabrield@rosenbaumcontemporary.com" target="_blank"><img border="0" data-original-height="997" data-original-width="665" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiafcOaN15bA2FPTkQ7kSWXDKdDaPHaB76D1mY9oD2yR3XLpGz9VJwV9dbUsyNMSZlY0nIzbPxG6d2TioN6nVWryi4pF4nXoOE-6h07HaiSeVmHdTdRcylFy4sm9Im3Vpe_icWjpUJYnOs/s640/Screen+Shot+2018-03-27+at+2.07.28+PM.png" width="425" /></a><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Born in 1942, in Valencia, Spain, Valdés enrolled at
the Fine Arts Academy of San Carlos, Valencia when he was fifteen years
old.<span style="mso-spacerun: yes;"> </span>Initially trained as a fine art
painter, Valdés chose to experiment with various art making techniques from
collage, printmaking, drawing, and sculpture.<span style="mso-spacerun: yes;">
</span>In 1964 at the age of 22, Valdés co-founded the </span><i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Equipo Crónica, </span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-style: italic; mso-hansi-theme-font: major-latin;">an artist collective joined by Rafael Solbes and Joan Toldeo; a venture
that would lead these three artists to effectively use the notions of Pop Art
to effectively project criticisms onto the government of Spanish dictator,
Francisco Franco. <span style="mso-spacerun: yes;"> </span>As documented, </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés
participated in over sixty solo exhibitions and an abundance of group
exhibitions under the guise of </span><i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Equipo
Crónica</span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> until 1981, which was dissolved upon death of
Rafael Solbes. <o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">After 1981, </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés began to
focus more on his solo artistic career reflecting a defining decision to look
to the past to understand the future.<span style="mso-spacerun: yes;">
</span>This was a self-guiding inquisition into an archived artistic lineage ,
a type of internalization and contextual assimilation of the fundamentals of art
history. The traditional masters like Goya, Rembrandt and Velázquez were seemingly
pristine inspirations for Valdés. Conceptions of reinventing the physical images
arose in his work as he strove to cement a new artistic vision.<span style="mso-spacerun: yes;"> </span>From Picasso to Brancusi, from Degas to El
Greco, Valdés took aim at achieving a constant experimentation of art making, culling
from traditional and conceptual. Timeless images appear in artworks as
manipulated assemblages, hand-torn paper collages, casted figures, and
resin-coated sculptures. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><span style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><a href="http://www.rosenbaumcontemporary.com/" target="_blank"><img alt="Installation image of Rosenbaum Contemporary with Roberto Matta and Bill Beckley" border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNSl64XwT04x0qVxNCjF4whvDB4P5ifgoVZTkD2NT0rxUfsE4oHNrg0Gt2geQraxJw180_zb8BL_LcSXLcBq87NSWXYy1X1MWicqo2C1GIVVAtQR6shnMMzmT1LJBbnSgNagPw3qZ3Km4/s400/FullSizeRender.jpg" title="Rosenbaum Contemporary" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.rosenbaumcontemporary.com/" target="_blank">Installation image of Manolo Valdes sculpture with Roberto Matta on the left and Bill Beckley on the right.</a></td></tr>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés walked a new line of artistic freedom, fusing
aspects of Pop Art with social and political commentary –an artistic state
where contemporary politics and community flourish.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“Cabez con Tocado de Mariposas”,</span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> a
casted aluminum sculpture by </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés, is the
smallest sculpture in the exhibition. At eighteen inches tall, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“Cabez con Tocado de Mariposas”, </span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">is an intimate and seemingly delicate woman’s head adorned full of
casted and affixed metal butterflies.<span style="mso-spacerun: yes;"> </span>Striking
in its simplicity, its presence demands attention. This Brancusi-esque portrait
is majestically elegant, constructed in </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés’s s</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">ignature reductive aesthetic.<span style="mso-spacerun: yes;">
</span></span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“<i style="mso-bidi-font-style: normal;">Dama a
Caballo</i>”, or “<i style="mso-bidi-font-style: normal;">Lady on Horse</i>”, is
the only non-head and bust sculpture in the exhibition. Grandiose in its white
knight appeal, the sculpture’s true integrity is secured to the white alabaster
stone material. A sense of purity resonates from the noble steed and its seated
rider–<i style="mso-bidi-font-style: normal;"> a Dama</i> equestrian, complete
with flowing skirt and elongated saddle blanket. Purposefully absent are the
rider’s hands and the horse’s feet…a minimalistic approach rendered by </span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Valdés
to create a relic derived from antiquity. Sweeping lines, angular definitions,
and diminutive details creates a dynamic flow across the sculpture’s
composition.<span style="mso-spacerun: yes;"> </span>The crest of the figure’s
head, a seemingly half circle, or an angelic halo, brings a sense of deipotent charisma<i style="mso-bidi-font-style: normal;"> </i>to the otherwise anonymous rider. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank"><img alt="Manolo Valdes Dama a Caballo" border="0" data-original-height="706" data-original-width="705" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvydJ_kFBjlECnvMziB3uqFhYqcI_tEio5rZ9m0r3LZkYaTzj1MplPRYNxc6CPM-9Its7P1O6Lj11g4efwniX894dkawWBG_TCvPzcdp0SeqCuPl38SS3MxOewCMZnisvww3BlGUAY_mo/s320/Screen+Shot+2018-03-27+at+2.43.57+PM.png" title="Dama a Caballo" width="319" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank"><i style="font-family: Calibri; text-align: start;">Dama a Caballo</i><span style="font-family: Calibri; font-size: small; text-align: start;">”</span></a></td></tr>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p><br /></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">“Juno
1”,</span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> by Valdés is a bronze casting and one of the only
sculptures on display that does not have butterflies or organic appendages
emanating from the crown of the subject. Historically, Juno was the Roman
goddess of marriage and maternity. In <i style="mso-bidi-font-style: normal;">“Juno
1”, </i>Valdés graces the model’s head with four ridged circular shapes,
affixed at right angles and cross-sectioned; a ornamental headpiece that speaks
volumes of sophistication. Like some turn of the century aristocrat, <i style="mso-bidi-font-style: normal;">“Juno 1”</i> is an image of female
empowerment. In an age of social and political correctness with the hash-tag
movements of reform and rage, social justice, victimization, gender
power-struggles, and community conformity, Valdés remains stoic as well as historically
relevant with this sculpture. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank"><img alt="Manolo Valdes Juno 1" border="0" data-original-height="970" data-original-width="802" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMWHDc5e-fUURjcujceNCxJB7xJdtRybtnJK3qYrCVrMwMoxXZOkbN4sF34WrJZCcB8mdq0GsediR3g90hc7eEC5GynOt84Qmhq1jfAnBfyxlOslXqVkPdK0uzUGmNL5N5NJkaMLW4G2w/s320/Screen+Shot+2018-03-29+at+3.22.04+PM.png" title="Juno 1" width="264" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="text-align: start;"><span style="font-family: Calibri;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank">Juno 1</a></span></i></td></tr>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p><br /></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">“<i style="mso-bidi-font-style: normal;">Helechos</i>”,
or “Ferns”, is a three-part bronze sculpture by Valdés that includes a
utilitarian pedestal, a miniature head and casted fern leaves that encase the
figure. A nod to the environment with the preserved and casted foliage, Valdés
captures a seemingly pagan essence.<span style="mso-spacerun: yes;"> </span>Gaia,
in Greek Mythology was the goddess of the earth and its personification. She
was also the primal mother goddess. “<i style="mso-bidi-font-style: normal;">Helechos”</i>
could indeed be a comment on the inspirational contexts of women in art and
history, as well as the historic significances of the ideals of <i style="mso-bidi-font-style: normal;">woman</i> as Mother Earth.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank"><img alt="Manolo Valdes Helechos" border="0" data-original-height="512" data-original-width="484" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju-5sqHjkBw6F6pY1CZ0Ip-2D2-KX2KQtkI3HwHcTEDkL1yK2M8vsHWWPyg77zc2Aj_tHKrsXDFT7PCPlTGD_lYbGWiCXlSgFo1cuh_xMLwkWZbnah0TUfNa9bmqGyxWgTTLGnon9NQMA/s320/Screen+Shot+2018-03-29+at+4.40.24+PM.png" title="Helechos" width="302" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i style="font-family: Calibri; text-align: start;"><a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank">Helechos</a></i></td></tr>
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<br /></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Overall, the variety of aesthetics found in the
figurative sculptures by Manolo Valdés at Rosenbaum Contemporary run a gamut of
art historical influences. Each piece dominates its own physical space but maintains
a sense of inviting allurement that relinquishes them to be more ephemeral and
delicate than a casted permanency. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p><br /></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Manolo Valdés:</span><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> “</span><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Pequeñas Esculturas</span></i><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">” will run through May 7, 2018 at Rosenbaum Contemporary Gallery,
150 Yamato Rd Boca Raton, Florida 33431. More information can be found on the
gallery’s website at </span><a href="http://www.rosenbaumcontemporary.com/"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">www.rosenbaumcontemporary.com</span></a><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> or
by calling 561-994-9180 ext.127<o:p></o:p></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">For more information on the artwork of </span><span style="font-family: Calibri;">Manolo Valdés, email Rosenbaum Contemporary Assistant Director, Gabriel Diego Delgado at <a href="mailto:gabrield@rosenbaumcontemporary.com">gabrield@rosenbaumcontemporary.com</a></span></div>
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<span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><br /></span></div>
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<a href="https://www.rosenbaumcontemporary.com/artists/75-manolo-valds/works/" target="_blank"><img border="0" data-original-height="1206" data-original-width="918" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAtvJ071zU4Atxpb23K4Xja-1Qywl87LswmWJG-k9Vs_8lYXU0K6QQLFulPIqut56HpzbPcb6ov4H2LGNL7Y7VWOQsBk7DbA48sDRyH4Ax6BWzSM10K5fU2qQYxoLWCIPqTtw4t8Asc60/s640/Screen+Shot+2018-04-05+at+10.47.05+AM.png" width="486" /></a></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0Boca Raton, FL, USA26.3683064 -80.12893209999998626.2544979 -80.290293599999984 26.482114900000003 -79.967570599999988tag:blogger.com,1999:blog-2465395202982747697.post-91142438768824963782018-04-05T07:14:00.000-07:002018-04-05T07:16:07.095-07:00HA HA by Mel Bochner<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_O8i7p4n7OVAmEqtjpNOHo5zfuycwrlFeAaGmbu9am1NyIfO5qsAlvwQ3DtFnjlrYTt23xA2e5Q6xUUej0imMsT8z4Pk_qvjfu4CM9OmYkxquCVdrb-C-OawgklBzCdCGC4vstb9yjg/s1600/Screen+Shot+2018-03-23+at+2.37.59+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="952" data-original-width="1001" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs_O8i7p4n7OVAmEqtjpNOHo5zfuycwrlFeAaGmbu9am1NyIfO5qsAlvwQ3DtFnjlrYTt23xA2e5Q6xUUej0imMsT8z4Pk_qvjfu4CM9OmYkxquCVdrb-C-OawgklBzCdCGC4vstb9yjg/s400/Screen+Shot+2018-03-23+at+2.37.59+PM.png" width="400" /></a></div>
<br />
<br />
<h2>
<i><span style="font-size: large;">HA HA</span></i></h2>
<br />
<span style="font-size: x-small;">Essay by Gabriel Diego Delgado</span><br />
<span style="font-size: x-small;">Assistant Director, Rosenbaum Contemporary</span><br />
<br />
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Mel Bochner’s linguistically masterful monoprints are bold
and obtrusive. They slam into the art-world like an exploding grenade of
letters.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Shrapnel and fragments visually pierce the
viewers’ psyche with their curved edges.<span style="mso-spacerun: yes;">
</span>In “Ha Ha”, 2017, Bochner’s six-pack of ‘HA’ reads left to right in a
repetitious pattern of laughing litany.<span style="mso-spacerun: yes;">
</span>Bochner smears, smoothers, and smudges oil paint into deeply carved
Plexiglas plates. These plates act as reverse stencils; the equivalent to
filling a trough with water. The paint sits in the recessed holding area, while
paper is laid down and covers the colors in the Plexiglass molds.<span style="mso-spacerun: yes;"> </span>The paper and Plexiglas are positioned on a
metal print bed and run through a hydraulic printing press process that applies
750 tons of pressure to the ground and medium; thus transferring the paint to
the paper.<span style="mso-spacerun: yes;"> </span>The handmade paper is pushed
deep into the recessed letter molds, resulting in a print plate mark.<span style="mso-spacerun: yes;"> </span>The letters appear raised on the paper with a
letter embossment. <o:p></o:p></div>
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The color palette of “<i>Ha Ha</i>” consists of dark Phthalo Blues that
mixes with Yellow Ochre, while the cantaloupe colors are complimented by the Periwinkle
and Sea-foam Greens.<span style="mso-spacerun: yes;"> </span>Aesthetically,
these color combination seem to rise above the amoebic-shaped background. Texturally,
these letters have a sculptural quality in their impasto-esque nature.<span style="mso-spacerun: yes;"> </span>The raised surface of the letters is created
when the suction of the paper to the plate is released. The oil paint sticks to
the paper and the color peel out of the Plexiglas letter molds. <o:p></o:p></div>
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Mel Bochner paintings available at Rosenbaum Contemporary Gallery, call for selections available.</div>
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www.rosenbaumcontemporary.com</div>
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<br /></div>
Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0Miami, FL, USA25.7616798 -80.19179020000001425.5329123 -80.514513700000009 25.9904473 -79.869066700000019tag:blogger.com,1999:blog-2465395202982747697.post-12136379205310549752018-03-08T06:33:00.000-08:002018-03-08T06:33:53.740-08:00Gabriel Delgado named new Assistant Director at Rosenbaum Contemporary<div class="separator" style="clear: both; text-align: center;">
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<br />Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-92136171954086365652017-01-26T13:43:00.000-08:002017-01-26T13:43:08.413-08:00“Mundus Imaginalis” solo exhibition of Russell Stephenson at Art Legacy<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91hkW4bNd1phF8PuFnpsHWNPOhdHP2Yz3GS8I41NecB4luQHI_dlWXbZi_T-6geXEtzUgNWRBAtz1V_6DDR_sk92bJyVP2AYs85k-ow5PSpj0AwXELqWudqQ5tP8ocVzRAF7Gc10G59Y/s1600/Mundus+Imaginalis+AD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi91hkW4bNd1phF8PuFnpsHWNPOhdHP2Yz3GS8I41NecB4luQHI_dlWXbZi_T-6geXEtzUgNWRBAtz1V_6DDR_sk92bJyVP2AYs85k-ow5PSpj0AwXELqWudqQ5tP8ocVzRAF7Gc10G59Y/s400/Mundus+Imaginalis+AD.jpg" width="308" /></a></div>
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<b>Russell Stephenson </b></div>
<b>
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<b>Art Legacy</b></div>
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<b>
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<b>Feb 2, 2016 – March 3, 2017</b></div>
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<i>Exhibition Review Written by: Gabriel Diego Delgado </i></div>
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“<i style="mso-bidi-font-style: normal;">Mundus Imaginalis</i>”,
a solo exhibition of new artworks by San Antonio artist, Russell Stephenson at
the recently established Art Legacy Gallery, which opens on Feb. 2, 2017 –
March 3, 2017, showcases a world beyond our own, a metaphysical one – of
infinite depth and detail. Although there are approximately three distinct
groupings of artwork on display, all explore aspects of a certain visual
aesthetics.<span style="mso-spacerun: yes;"> </span>Familiar aspects of
recognizable realism are combined with unacquainted alien-scapes, and three
dimensional illusions of floating carved and gouged abstractions.</div>
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This Latin title loosely translates to: “Imaginary World” or
‘World of the Imaginary’, a signature term that was coined by and is derived
from theologian, philosopher and scholar, Henry Corbin (1903-1978). </div>
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The Hermetic Library states, <i style="mso-bidi-font-style: normal;">“Corbin’s life was devoted to the struggle to free the religious
imagination from fundamentalisms of every kind. His work marks a watershed in
our understanding of the religions of the West and makes a profound
contribution to the study of the place of the imagination in human life…
Imaginative Consciousness, Cognitive Imagination.” </i><span style="mso-spacerun: yes;"> </span></div>
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Corbin was heavily influenced by the writings of Suhrawardi,
the 12<sup>th</sup> century Persian mystic and philosopher and his views on
Zoroastrianism, one of the earliest religions that influenced Judaism,
Christianity and Islam. <span style="mso-spacerun: yes;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgofVijKtxgmWUcCbtnjBQbIg7IGF-Wb80DXDKpFODsxpKR-jYJ8cmZHaK2f7D-TrQngmKnOV5BE9B6x7GmUQufP11eoMHcSf1fisIZ6d7RM5Xf46iwL9vPBCU2WU5QYkCVS4az2Ge-I/s1600/Elementa+3___.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfgofVijKtxgmWUcCbtnjBQbIg7IGF-Wb80DXDKpFODsxpKR-jYJ8cmZHaK2f7D-TrQngmKnOV5BE9B6x7GmUQufP11eoMHcSf1fisIZ6d7RM5Xf46iwL9vPBCU2WU5QYkCVS4az2Ge-I/s320/Elementa+3___.jpg" width="320" /></a></div>
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This is where we must begin folks…in this coded language of
abstract thought that goes beyond our current understandings of religion,
meditative practice and spirituality. </div>
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Stephenson transports us to the ‘conceptual’ mindscapes that
linger somewhere in the 5<sup>th, </sup>6<sup>th</sup> or 7<sup>th</sup> dimension.
In the abyss, these ephemeral and heavenly bodies, decreed by elements of
abstract realism images exist… somewhere… out there… beyond the limits of day
to day mundanity, toward a new understanding of spiritual healing and a
definitive releasement of mental anguish. </div>
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Similar in color palette and technique, the new paintings
are progressions from his previous bodies of artwork from 2014 / 2015, where he
drew inspirations from actual geographic locations within the Southern United
States. However, <i style="mso-bidi-font-style: normal;">“Mundus Imaginalis”</i>
delivers a certain calmness which can only be found in the theoretical practice
of meditation. </div>
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Stop!!!</div>
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And now …Silence…</div>
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SHHHHH…</div>
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Here is where I must rest for a moment, collect my composure
and assert my endearing journey into the unknown. </div>
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I look toward the familiar art refence jargon I often use, I
must anchor my thoughts somewhere to continue the discussion of these
paintings.<span style="mso-spacerun: yes;"> </span>I feel I must move beyond the
rhetoric of academic explanations. </div>
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Yes, I can say that I see reflections, mountains and
craters…. elements my brain tries to recognize for me to understand what I am
looking at.<span style="mso-spacerun: yes;"> </span>But for a moment, give your
subconscious freedom to digest what it can comprehend beyond the realisms of
this artistic practice. We must step deep into Pre-Christianity and Pre-Islam
contemplations, ready to circumnavigate the monotheistic approaches of
contemporary religion.</div>
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There, beyond the comprehension of taught religious
academia, and of historically preached divination lies the origins of something
else. Stephenson gives visual birth to these ancient origins.<span style="mso-spacerun: yes;"> </span>Floating in the ‘imaginary mind’, the
‘cognitive imagination’ unrestricted by the ‘Holy Trinity’, Muhammed, ALLAH, Abraham
and others we are delivered to a virgin-scape of the unschooled approach.</div>
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Are we seeing what is in ourselves as we become aware of the
navigatory senses of the imagination, the ‘land’ that goes beyond conception. </div>
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What if these images are not intended to be interpreted by
what we see and understand but are visual meditative evidences to where the
mind’s eye needs to go; a place judged not by the allocates of daily living at
the holy gates or the rejected principles for clean living, but to an undefined
‘nirvana-like bliss’; or as Henry Corbin describes as the<i style="mso-bidi-font-style: normal;"> “Land of no-where.”</i></div>
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In <i style="mso-bidi-font-style: normal;">“Mundus Imaginalis”</i>,
Stephenson starts us at his depictions of the ‘cosmic mountain’, but quickly
elevates us to the ‘<em><span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">psychocosmic</span></em>
mountain’. The paintings act as a sort of visual guide, starting us out at the
physical cosmos and an illuminated path that transcends us to a new level in
the spiritual universe.</div>
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<i style="mso-bidi-font-style: normal;">“The paintings act as
this manifestation of pure thought…transformation of the mediums into something
precious, or valuable, into the physical representations of the ephemeral or
transient. The paintings act as mediums, or links, to this contemplative
meditational state in which the work is ultimately made. Both as a
transportational device, and as evidence-based reliquaries of that alternative
reality,”</i> says Stephenson. </div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBo1q4bJA2fwiVhR_Dz3ENyYFmlhpLMrkEq7wJHPN5EFmsAXKEbdSuWSZBkJtVUXo1NCL5crwAgFvJ-B1OEo6nqVd491gJvCaPeLStw1bK01wLmCtfaDvRp0De-gDveINlTSE1kxxdP-E/s1600/New+Dawn+Rising+small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="580" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBo1q4bJA2fwiVhR_Dz3ENyYFmlhpLMrkEq7wJHPN5EFmsAXKEbdSuWSZBkJtVUXo1NCL5crwAgFvJ-B1OEo6nqVd491gJvCaPeLStw1bK01wLmCtfaDvRp0De-gDveINlTSE1kxxdP-E/s640/New+Dawn+Rising+small.jpg" width="640" /></a></div>
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<i style="mso-bidi-font-style: normal;">“New Dawn Rising”,</i>
a 48” x 54”, mixed media on panel painting seems to set the standard high for
the rest of the selections in the exhibition. Again, my mind perceives the
painting as a mountain range reflected in a body of water, but alas, nothing in
this world is that easy. Closer analysis reveals so much more. Atmospheric
radiance is achieved through layers of paint, underpainting, and glazes gouged,
scrapped and pulled. Art History shows us this technique can be achieved
through alchemic processes using gold leaf, however, Stephenson uses none.<span style="mso-spacerun: yes;"> </span>That is what reflects his craft – his
ability to create these auras of illumination through meditative art process-painting. </div>
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<i style="mso-bidi-font-style: normal;">“Paintings like
'Ancient of Days', manifests both the Apocalyptic, and the Ascension of the
Almighty Creator as he transforms his state from the Spiritual, to the
physical, in the form of Christ. Avoiding 'graven-images', I focus more
on the transient, the light, the energy, and the minute spaces in-between that
science is starting to discover as the almost physical fabric that binds the
two worlds together and acts as a link between the two,”</i> Stephenson states. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vZEnAGUj3nStIB3EqPR9ZyKkFR8lWE-p1Mq3ZVV0QF3h8POGEJN9crnkNmke0qW9vEqsGMYUa4vKBhcjqsnahqV9j6rwC4QuzOXeUna2O7Heyycyv6xBUTz7Dqxlt1chkSxzqwIwvAw/s1600/ODYSSEUS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vZEnAGUj3nStIB3EqPR9ZyKkFR8lWE-p1Mq3ZVV0QF3h8POGEJN9crnkNmke0qW9vEqsGMYUa4vKBhcjqsnahqV9j6rwC4QuzOXeUna2O7Heyycyv6xBUTz7Dqxlt1chkSxzqwIwvAw/s640/ODYSSEUS.jpg" width="588" /></a></div>
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<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">“Odysius”,</i> an 18”
x 20” mixed media on panel painting shows us the abstract theory of the
wrathful god. An alternative spelling of the famous Greek Mythological leader
in the Trojan War, Stephenson executes a painting that captures emotion,
motion, conflict, dread, assertiveness and abstract sense of leadership. A
dominate central entity of cosmic force shows us the demanding demeanor of its
power. How does this abstract form does this? I do not know, but I step back as
if pushed away as it sizes me up. I see “it” has a protective side and a
vengeful side. The good and evil of the creation. </div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">“Odysseus is
commentary on the overall narrative of the explorer, and the exploration of this
journey…. the paintings for me become the very objects that fuel the
contemplation of these ideas, and the narrative of the creation of the work is
engrained throughout the process, to reveal the revelation</i>,” he adds. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgr3xzyMg5AsxTqqT0Uen9yhxgULUEdHzeKueUSugbt8YzRO5sAWfefUoo4MjOSnfx-nOodPxy7EgvS3wZ7AJbgiHi7ZtKkM361yaqK6fCGTO9GxkcpaHi_0_8rrR2PBZuKaAzJUMrSw/s1600/Chasm+++.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimgr3xzyMg5AsxTqqT0Uen9yhxgULUEdHzeKueUSugbt8YzRO5sAWfefUoo4MjOSnfx-nOodPxy7EgvS3wZ7AJbgiHi7ZtKkM361yaqK6fCGTO9GxkcpaHi_0_8rrR2PBZuKaAzJUMrSw/s200/Chasm+++.jpg" width="178" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyKYbXSbAFz2Qf96dbfvDLbsPqtrfT9QUVMRh9LJwAua8QDIrCIHbI09THYldwChGkQRqMnLBbEeKgIU0SN317xbMkjgYWCiRrAwf7yAti7gR3zfycIorAc7GnFHjzEausXXSkpKW9TS8/s1600/Elementa_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyKYbXSbAFz2Qf96dbfvDLbsPqtrfT9QUVMRh9LJwAua8QDIrCIHbI09THYldwChGkQRqMnLBbEeKgIU0SN317xbMkjgYWCiRrAwf7yAti7gR3zfycIorAc7GnFHjzEausXXSkpKW9TS8/s200/Elementa_1.jpg" width="200" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN1O30UZdeYGFlfy0LFe5CALfVHGr7sTjnR8Ek_wcG3vFtKZuMBv5jLrygZ7PTCt_mWj1FZxmU2u6OZm7HzW8IuehvUxw8tcdnyK9Ru5zrIpawFuQ8lIH2l1ht59hSjE2gtIKfKUIYWxQ/s1600/Elementa_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN1O30UZdeYGFlfy0LFe5CALfVHGr7sTjnR8Ek_wcG3vFtKZuMBv5jLrygZ7PTCt_mWj1FZxmU2u6OZm7HzW8IuehvUxw8tcdnyK9Ru5zrIpawFuQ8lIH2l1ht59hSjE2gtIKfKUIYWxQ/s200/Elementa_2.jpg" width="200" /></a></div>
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<br /></div>
<div class="MsoNormal">
Although the painting is small in physical space, this
manifestation of raw energy is beyond the limits of the composition. YES!! Lead
us to the eternal afterworld of interplanetary voids, we will follow you
Odysius! There must be something beyond the madness of today’s political
landscape. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As we experience regression and stalled passage back to
reality, Stephenson really does capture a visual element of Zoroastrianism: <i style="mso-bidi-font-style: normal;">"be among those who renew the
world...to make the world progress towards perfection.”<span style="mso-spacerun: yes;"> </span></i>Stephenson might not be renewing the
world in which we live, but he is doing so much more in this new body of
artwork, he is making the ‘imaginary world’ of our collective cognitive
consciousness a perfect place to meditate on spiritual level void of the
theistic limitations of religion; to arrive at these celestial divinations of
alternate realities. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will go there any time to rest and rejuvenate.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
See you there!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For more information, call (210) 444-2289, or go to : <a href="http://www.artlegacytx.com/" target="_blank">www.artlegacytx.com/</a></div>
<div class="MsoNormal">
Art Legacy Showroom is located at 1175 W. Bitters Rd.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-26686690334629361162017-01-21T08:17:00.000-08:002017-01-21T08:17:52.379-08:00"MYSTICA", Steven DaLuz @ Anarte Gallery<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4A3IAtFo-rj-jV21tBqvp2X7EdbROwpHqU7X_5Z0yg1ae5C5R4OE5LO6AU4eEkDfC6sWfpGQOXD4QRlOJ6UjCbAjdmakAYziUEBkrZ6SPqn9xjHImdNojtihMd5RxHRKa6hOihMYM73A/s1600/plumage+tex+jan+2017+12-22-2016+final_Page_39.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4A3IAtFo-rj-jV21tBqvp2X7EdbROwpHqU7X_5Z0yg1ae5C5R4OE5LO6AU4eEkDfC6sWfpGQOXD4QRlOJ6UjCbAjdmakAYziUEBkrZ6SPqn9xjHImdNojtihMd5RxHRKa6hOihMYM73A/s640/plumage+tex+jan+2017+12-22-2016+final_Page_39.jpg" width="468" /></a></div>
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<br />
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<span style="font-size: large;"><b><span style="line-height: 115%;">Steven DaLuz</span></b></span><span style="font-size: large;"><b><span style="line-height: 115%;"> @ Anarte Gallery</span></b></span></div>
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<br /></div>
<span style="font-size: large;">
</span><br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: x-large;"><b><span style="line-height: 115%;">"MYSTICA"</span></b></span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-size: 10.0pt; line-height: 115%;">Written By:<span style="mso-spacerun: yes;"> </span>Gabriel Diego Delgado</span></i></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">“Mystica”,</i> San
Antonio artist, Steven DaLuz’s solo exhibition at Anate Gallery is on view from
</div>
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December 8, 2016 – January 17, 2017.<span style="mso-spacerun: yes;"> </span>Consisting of fifteen encaustic paintings,
both large scale and intimately precious, these new works delve into the
metaphysical realm of spirituality and transcendental journeys. Radiating auras
of chakra-esque light illuminates impressionistic figures that seem to be levitating
in atmospheric anomalies. Nebular layers of beeswax, pigment, gold leaf, and
varnish congeal and coagulate displaying painterly versions of artistic
aureoles and microcosms of unparalleled agglomerations. <span style="mso-spacerun: yes;"> </span>Hung between the smaller works are four life-size
figurative paintings that gaze upon us like some sort of hallucinatory
apparitions, giving promise to the afterlife, and manifesting ethereal
qualities of unexplainable repose for otherworldly dimensions.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">“There is an idea of a
loss and a connection with those loved ones that have passed on”, </i>he says when
discussing the new series<i style="mso-bidi-font-style: normal;">. “There is a
mysterious aspect of life beyond the physical…”</i></div>
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What is unique in <i style="mso-bidi-font-style: normal;">“Mystica”</i>
is the juxtaposition of scale in the new work. DaLuz, known more for his
life-size angelic beings and seductively spiritual landscapes explores the
limiting aspects of his painterly surface, restricting his composition to
navigate the parameters of twelve to 18 inches, instead of four to six feet. </div>
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<br /></div>
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<i style="mso-bidi-font-style: normal;">“I think the smaller
works have a broader appeal”,</i> says DaLuz. <i style="mso-bidi-font-style: normal;">“Sometimes collectors get outpriced or outsized… these </i>[the smaller
paintings in the exhibition] <i style="mso-bidi-font-style: normal;">are more
approachable.”<span style="mso-spacerun: yes;"> </span>“They </i>[the paintings]<i style="mso-bidi-font-style: normal;"> call you to come closer”, </i>he
explains.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“The collectors can relate to them”,</i> says Gallery Director, Ana
Montoya.<span style="mso-spacerun: yes;"> </span>And, DaLuz is right, the
gallery patronage responded favorably to the exhibition, with a near sell-out
on opening night. </div>
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<br /></div>
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This notion of spirituality and transcendence has interested
DaLuz for many years, but took a turn last year. <i style="mso-bidi-font-style: normal;">“It has become amplified in my own life”,</i> he says.<span style="mso-spacerun: yes;"> </span>With his recent heart attack, DaLuz came
face- to-face with his own mortality.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“The temporary things began to matter less
to me.”</i></div>
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<i style="mso-bidi-font-style: normal;">“What I am attempting
is to provide a vision of space between the other world and here”, </i>he
explains while gesturing to <i style="mso-bidi-font-style: normal;">“Crossover”,</i><span style="mso-spacerun: yes;"> </span>the life-size image of a shadowy Dia de los
Muertos maiden poised in a crimson dress and adorned with a veil.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>“She
is manifesting herself to the ofrendas and the marigolds at the alter”, </i>he
explains.<i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></div>
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When discussing his more impressionistic qualities vs. the
minute detail of his previous portraits, DaLuz understands the complexity of
imagery and non-imagery.<i style="mso-bidi-font-style: normal;"> “The full
aspects of inner beings are difficult to show.<span style="mso-spacerun: yes;">
</span>I have to restrain myself from putting in too much detail and exercise
discipline by saying more with what is left unsaid. The audience can connect to
the work, it doesn’t need detail. It has challenged me to convey emotions on
such a small scale.”</i></div>
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<i style="mso-bidi-font-style: normal;">“Portal”,</i> a 12” x
12” square encaustic painting, hung close to the gallery door is a prime
example of DaLuz’s visual cues of transition. <span style="mso-spacerun: yes;"> </span>In this painting, there is a central figure of
a woman, ascending or descending a grey staircase.<span style="mso-spacerun: yes;"> </span>Atop of the steps appears a door, full of
effulgent light. It beacons the audience and the figure alike. There is an
argent quality to the glow; inviting yet mysterious. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“Doors and doorways are tremendous metaphysical element…they are a
portal to another plane, but can also be physical, like a promotion; say in a
career…the portal doesn’t need to mean like the afterlife, but can mean the
next chapter in life…the unanxious, the mundane”, </i>DaLuz conveys. <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">“Harbinger”,</i> a 24”
x 18” is an encaustic painting that captures all the textural elements of
DaLuz’s new painting series.<span style="mso-spacerun: yes;"> </span>A
centralized figure is seen levitating in a lambent light; energy projected
outward from within.<span style="mso-spacerun: yes;"> </span>It gazes out at us
from the depths of some ghostly abyss.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“There are aspects of physicality to the
form, but all at once an ephemeral loss of form…a translucency of form”,</i>
says DaLuz. <i style="mso-bidi-font-style: normal;">“There is an opalescence of
color; the encaustic allows the pigment to become jewels.”</i></div>
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When asked about the similarities between some of the work,
Daluz talked about smaller studies for larger depictions and continuations of
thought and understanding. <i style="mso-bidi-font-style: normal;">“Chrysalis”
was painted after “Harbinger”.<span style="mso-spacerun: yes;"> </span>I carried
on further with the nature of humanity to the inner being. We are a spirit full
of energy and life. We are part of the substance of the tapestry of the
universe."</i></div>
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Other paintings in the exhibition portray the sense of
out-of-body experiences, a transcendental exiting of the soul from the physical
vessel. Some forms act as guides or reflections of ancient times when man
straddled the spirit realm with his own meager existence.<span style="mso-spacerun: yes;"> </span>Still others project apparitions that want us
to see them, glowing in the foggy haze of mist with warning or understanding. </div>
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However, Daluz’s paintings do evoke a strong sense of
personal emotion.<span style="mso-spacerun: yes;"> </span>With that said, I
believe the showcase- spotlight painting of the <i style="mso-bidi-font-style: normal;">“Mystica”</i> exhibition is <i style="mso-bidi-font-style: normal;">“Reunion”.</i><span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“Reunion”</i>
captures the parent/ child relationship in the afterlife; a reunion of souls,
the guardian and the dependent. </div>
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<i style="mso-bidi-font-style: normal;">“There is a nebulous
quality of what is beyond them…the future”, </i>say DaLuz.<span style="mso-spacerun: yes;"> </span></div>
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So much meaning can be projected onto an image like<i style="mso-bidi-font-style: normal;"> “Reunion</i>”. Each viewer can and will
seek individualized meaning in the forms. We decipher the painterly
implications by using our own baggage, our own losses, our own sympathies, and
our tragedies.<span style="mso-spacerun: yes;"> </span>But, what the painting
conveys above all this…all the multitudes of individualized meanings and
selfish wants and needs of our own desires…is HOPE!<span style="mso-spacerun: yes;"> </span>The hope that yes ‘they’ are there waiting
for us, in some heavenly atmospheric realm where pain is void and love is
everlasting. We want to believe and we need to believe. <span style="mso-spacerun: yes;"> </span>I sincerely believe that <i style="mso-bidi-font-style: normal;">“Reunion”</i> exemplifies the notion that we can cling to ‘hope’ in
order to one day reunite with loved ones who continue to care about us and we
them; awaiting our arrival to the ethereal plane of divine existence. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfGchfdy5UM7-eVPQXSOvpIW19HGSX2mtp1WjpbLdEq4ECKsK3szDENJc1Adv_IdLA40bHL596PITzsu8_ltOQlV0ETCA6tS8FYFhWPhxpj6mhfR0eCOCaBb1xsL82FvyXd7Op_ebQDE8/s1600/plumage+tex+jan+2017+12-22-2016+final_Page_45.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfGchfdy5UM7-eVPQXSOvpIW19HGSX2mtp1WjpbLdEq4ECKsK3szDENJc1Adv_IdLA40bHL596PITzsu8_ltOQlV0ETCA6tS8FYFhWPhxpj6mhfR0eCOCaBb1xsL82FvyXd7Op_ebQDE8/s640/plumage+tex+jan+2017+12-22-2016+final_Page_45.jpg" width="494" /></a></div>
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<i style="mso-bidi-font-style: normal;">“Mystica”</i> is a
powerful exhibition built from smaller paintings that act as building blocks;
elements and structures that combine to give support to the age old questions
of “What is out there?, Where are we from? , Where are we going? Steven DaLuz
shows us answers.<span style="mso-spacerun: yes;"> </span>These answers bring
more questions, but for now, we can meditate on the universe and understand our
role in the cycle of life and death, and begin to apprehend the mystical
aspects of the other worlds and planes…space and time…living and the
dead…hauntings, spirits, and reminders of our own mortality. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDis2DIwZp7t4muCOXzSkfnw_OmxFG_k4CQBBnzsSwuL0QtA4iodZFjdCB78sjuOy1rOw7Tci_vi2lXhdSJvef817bWF2sX0mhyLuUDd2ht2n4jtS6xW6jiRuTe-3DP1h_agB-_ScBSg/s1600/plumage+tex+jan+2017+12-22-2016+final_Page_42.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDis2DIwZp7t4muCOXzSkfnw_OmxFG_k4CQBBnzsSwuL0QtA4iodZFjdCB78sjuOy1rOw7Tci_vi2lXhdSJvef817bWF2sX0mhyLuUDd2ht2n4jtS6xW6jiRuTe-3DP1h_agB-_ScBSg/s320/plumage+tex+jan+2017+12-22-2016+final_Page_42.jpg" width="247" /></a></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-85403711447404932282017-01-06T13:43:00.001-08:002017-01-06T13:50:03.910-08:00All About Art<br />
<span style="font-size: x-large;">The newest Jan. 2017 edition of Boerne Business Monthly Magazine is out....and....in this great publication is the newest monthly advice, news, and educational column titled <b>"All About Art"</b>, penned by Gabriel Diego Delgado.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwt-848BZorYBbE9vIkK2NBG9sN9Y_9ULzKJqXupVIGTHDbzu-lIT5Ay_jbj2fbtEzJf2NfYMIz4mC3AGqZt2bKF9Ip7fAhllNA3y84-8S3eexRuOHVmaWTeTlbwljwkDuShlIp-OF6Ag/s1600/cover+of+Jan+2017+BBM+with+Sarah+Stewart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwt-848BZorYBbE9vIkK2NBG9sN9Y_9ULzKJqXupVIGTHDbzu-lIT5Ay_jbj2fbtEzJf2NfYMIz4mC3AGqZt2bKF9Ip7fAhllNA3y84-8S3eexRuOHVmaWTeTlbwljwkDuShlIp-OF6Ag/s200/cover+of+Jan+2017+BBM+with+Sarah+Stewart.jpg" width="153" /> </a></div>
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<span style="font-size: x-large;"><u><b>ALL ABOUT GAME</b></u></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnpQgUiBohWtQh7Te6stBZoeDrG3GuVewPgMghsVxZE5NGPatZK4TItSW9_13lqHh8tU_7rvN6fGsJCfQIhR-gU1tNa5kPMqwj2yiO3T2omqiz0APbJZbvm_1OSKF__mZhvGfiXaqNPM/s1600/all+about+art+vol+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnpQgUiBohWtQh7Te6stBZoeDrG3GuVewPgMghsVxZE5NGPatZK4TItSW9_13lqHh8tU_7rvN6fGsJCfQIhR-gU1tNa5kPMqwj2yiO3T2omqiz0APbJZbvm_1OSKF__mZhvGfiXaqNPM/s400/all+about+art+vol+1.jpg" width="308" /> </a></div>
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<span style="font-size: large;">Read this month's Boerne Business Monthly at:</span></div>
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<span style="font-size: large;"><a href="https://issuu.com/boernemag/docs/jan_2017_boerne_business_monthly_on?reader3=1" target="_blank">https://issuu.com/boernemag/docs/jan_2017_boerne_business_monthly_on?reader3=1 </a></span></div>
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<u><i><b><span style="font-size: large;"><br />New Beginnings </span></b></i></u></div>
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<span style="font-size: x-small;"> by: Gabriel Diego Delgado</span></div>
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The 2017 art market is looking like it will be reflective of a strong economic forecast, nationally at least. The stock markets along with the art markets have not crashed with the announcement of the new president-elect. They are poised to stay steady or surge with the nations’ population looking confident coming out of a hostile election campaign. After all, now we all know what to expect, and the spending is due to increase with buyers confidence returning. The same has been said for the art market. The November 17, 2016 edition of Christie’s auction house news on their website declares more record-breaking art sale results going into the 2017 year for a Monet grain stack painting. <br />
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“…The world auction record for Claude Monet was eclipsed after an epic 14-minute bidding battle in the Impressionist & Modern Art Evening Sale in New York. The saleroom burst into applause when <a href="http://www.christies.com/lotfinder/paintings/claude-monet-meule-6037815-details.aspx?from=salesummery&intobjectid=6037815&sid=cb728512-13c0-4d08-92ea-5abe708f91b9">Meule</a>, one of the last of the artist’s great Grainstack series left in private hands, finally sold for $81,447,500 / £65,210,168 — just over $1 million more than the previous record, which was set at Christie’s London in 2008….This was the highest result for an Impressionist & Modern Art sale at Christie’s since May 2014.” <br />
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However, locally not is all good news, with the closure of another gallery in Boerne, the art market takes another punch, with a host of local artists loosing representation. However, Peggy’s on the Green within the Ye Kendall Inn now has an affiliation with Texas Treasures Fine Art Gallery and is exposing the Boerne Square market-goers with delightful outdoor sculptures and offering a variety of small 2-D artworks within the buildings. <br />
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Writer Vikki Elmer hit the nail on the head in her article titled, “Is the Art Market a Bubble Ready to Pop”, published a few months ago. In it she describes the air very clear, “…In many ways….More people have invested in art in hopes that it will appreciate in value. Galleries, artists and collectors, following the lead of many businesses, have become more diverse and global, creating a host of opportunities and issues. Digital art and online galleries are growing rapidly, while small independent galleries and shops that have not adapted to the changes are dying.” <br />
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With that said, Art Professional Gabriel Diego Delgado is proud to announce the launch of his own arts focused firm, Delgado Consulting and Appraising. Delgado says, “As the art market evolves into the new digital era, storefront galleries have been an archaic model, a dying breed of institutional history. The time of digital marketing, retail and online purchases have ushered in a new demand for art market driven best practices. I see a void in the regional art consultation field as many collectors, patrons, and appreciators view selections online before seeing in-person and need help navigating the sometimes complex art world. This new model of awareness drives business evolution.” <br />
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Delgado takes fine art from the studios to the homes, surpassing the need for a store based gallery. <br />
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With Delgado Consultation & Appraising, he has juxtaposed a two tier concept business model where clients and artists are nurtured. With artist colleagues from Houston to Harlingen, Delgado has a broad array of artists to turn to for clients’ needs and demands. Using these connections and relationships he has helped cultivate regional collections for a variety of collectors in the Texas Hill Country area. <br />
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Through a variety of social media platforms and email marketing, Delgado offers a client the avenue to solicit art for desired interior needs from the artists, while spotlighting and promoting new bodies of work by a host of fine artists in Texas. Through online communications and aspects of the B2C business model, he navigates clients through the world of fine art and helps them gain an understanding and awareness of the current art market of South Texas. <br />
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Delgado Consulting and Appraising can also appraise fine art and conduct fine art appraisal reports that are prepared in conformity with and are subjected to the 2016-17 version of the International Society of Appraisers Appraisal Report Writing Standards and Code of Ethics and will be reported in conformity with the current version of The Appraisal Foundation’s Uniform Standards of Professional Appraisal Practice (USPAP) 2016-2017 standards. <br />
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<br />Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-61868623648539676362017-01-03T07:58:00.003-08:002017-01-03T07:58:47.653-08:00NEO GEOMETRIC REALM<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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<div class="MsoNormal">
<span style="font-size: x-large;"><span style="line-height: 115%;">Neo Geometric
Realm</span></span></div>
<div class="MsoNormal">
<span style="font-size: x-large;"><span style="line-height: 115%;"><span style="font-size: x-small;">Essay by Gabriel Diego Delgado </span></span></span></div>
<div class="MsoNormal">
<span style="font-size: x-large;"><span style="line-height: 115%;"><i><span style="font-size: small;">*** Excerpted text of article follows images****</span></i></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: x-large;"><span style="line-height: 115%;"><i><span style="font-size: small;">Read full article in the jan. 2017 edition of Plumage-TX Magazine at:</span></i></span></span></div>
<div class="MsoNormal">
<a href="https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin"><span style="font-size: x-large;"><span style="line-height: 115%;"><i><span style="font-size: small;">https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin</span></i></span></span></a></div>
<div class="MsoNormal">
<span style="font-size: x-large;"><span style="line-height: 115%;"><i><span style="font-size: small;"> </span></i></span></span></div>
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<br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In viewing the new works by
San Antonio artists Louis Vega Trevino, Jorge Purón, and Marc Wiegand at
Mercury Project, in the titled exhibition, <i style="mso-bidi-font-style: normal;">Neo
Geometric Realm</i> –what needs to be understood is the conceptual
underpinnings of the art, the chosen title, and the conceptual
connotations.<span style="mso-spacerun: yes;"> </span>Without accounting for
these intellectual peripherals, the audience might not truly appreciate all
aspects of this contemporary exhibition. Although smaller in scale than most group
exhibitions, 13 plus paintings by these three artists are exhibited around the
gallery and main lobby giving an alternating visual of varied takes on
post-minimal geometric abstractions. Visually vacillating from Louis to Jorge
to Marc, there is a great democratic approach to the layout of the exhibition
which shows common respect and admiration for each other, with no one artist
stealing the spotlight. With showing artwork similar in application, aesthetic
and revered historical contexts, that is often hard to do. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Now let’s jump into the
thick of it. Yes these are pretty paintings to look at, yes they are minimal,
yes they are colorful, and yes they are arrangements of simple geometric shapes
that make up a comprised composition of the artists’ liking, but there is more,
yes more, but you have to spend the time to allow these thoughts to mature. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: minor-latin;">The
Tate Gallery in London, states that <i style="mso-bidi-font-style: normal;">“Neo-Geo
is short for neo-geometric conceptualism…artwork that is influenced by the
style of earlier developments in the twentieth century art – such as
minimalism, pop art, and op art.”</i></span><br />
<br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">New York Times writer, Grace
Glueck wrote in 1987 on Neo-Geo, is that <i style="mso-bidi-font-style: normal;">“</i></span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">part of the problem
is that in true post-Modernist spirit, much of the art does not really
constitute a movement, but a raid on movements of the past.”</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></i><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Yes indeed, there has to be permission
to draw from the past to move forward, and these three artists are doing just
that. With a strong sense of placement and unique artistic choices, each artist
arrives at this particular place in time, this era of art history, armed with
knowledge and understanding of what came before him, but the courage to move
beyond it – a fearlessness to explore unexplored avenues in their own work.
This is one of the non-visual underlying conceptual perimetric points that I have
uncovered. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: minor-latin;">On
Op-Art, the Tate states, <i style="mso-bidi-font-style: normal;">“The effects
created by op art ranged from the subtle, to the disturbing
and disorienting. Op painting used a framework of purely geometric forms
as the basis for its effects and also drew on color theory and the physiology
and psychology of perception.” </i>Good now we are getting somewhere...Bullseye
Jorge Purón!</span><br />
<br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Jorge Purón, an artist
mostly known for over two decades of Abstract Expressionism, delivers hard
–edged “halo-ized” paintings that seem to almost vibrate; concocted out of a
mixer of overt color theory decisions using bold complimentary colors that seem
to head-butt each other to more subtle almost submissive, passive aggressive qualities
of restrained and refined line quality that would make Barnett Newman proud. To
reinforce a point, sometimes these almost invisible lines book-end and border
some larger shapes, giving these flat shapes the appearances of having shadows
and/ or glowing geometric halos; a small package with major impact. <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">So, change is inevitable,
this we all know. <i style="mso-bidi-font-style: normal;">Shape-Shifter Blue Red,</i>
a foursquare of blue diamonds with compromised red accents by Purón was one of
his first multi-paneled color based paintings. <i style="mso-bidi-font-style: normal;">“This ‘shift’ came about out of a necessity”,</i> he said. <i style="mso-bidi-font-style: normal;">“I had limited space in my new studio. I
became interested in how color and space could be disturbed by a single line.</i></span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"> Five years ago I
made a shift in my life. I had a sort of epiphany. I wanted a cleaner look…I
wanted to get rid of excessive brushstrokes, I wanted more open space.<span style="mso-spacerun: yes;"> </span>This affected my personal life too. I purged…I
saw I had excessive amounts of clothes and shoes…I started to get rid of
things. Then, I looked for different ways to do my art.”</span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In his series called <i style="mso-bidi-font-style: normal;">Plurilinea</i>, he is investigating
intersecting points. <i style="mso-bidi-font-style: normal;">“This series started
when I bought my new house”</i>, Purón says. <i style="mso-bidi-font-style: normal;">“It is right by some overhead train tracks on the east side [of San
Antonio]…my house shakes when a train goes by.” </i><span style="mso-spacerun: yes;"> </span>Visually, the artwork is inheritably tied to
these formal structures – intersecting grids of urban development, industrial
movement and delineation of accessibility through mathematical engineering.
But, Purón goes beyond this, <i style="mso-bidi-font-style: normal;">“there is a
philosophical aspect of the paintings”,</i> he says. <i style="mso-bidi-font-style: normal;">“The ideas of where will the roads take you, where can you go…the
choices for the paths…which road will you go down?”</i></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">This artist’s fundamental understanding
of his own art adequately reflects another point. As quoted by Glueck, Neo-Geo
artist, Peter Halley wrote, <i style="mso-bidi-font-style: normal;">‘‘Simulation,
is the fact of technical mediation replacing the natural thing…i.e. air
conditioning is a simulation of air; movies are a simulation of life; life is
simulated by bio-mechanical manipulations.''</i> <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Here, </span><span style="font-size: 12.0pt;">Purón starts at the simulation of the technical, <i style="mso-bidi-font-style: normal;">the overhead train tracks</i>, sees these structures daily, <i style="mso-bidi-font-style: normal;">an unconscious meditation</i> due to
repetition, but purposefully morphs these concepts into a ‘visual language of
modern life.’ A prime example of all this can be seen in the red and blue
triangle shaped painting, <i style="mso-bidi-font-style: normal;">Plurilinea #8.</i>
<span style="mso-spacerun: yes;"> </span>The intersecting lines, the refined
aesthetic, and the minimal composition.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">“The geometry of the shaped canvas is an
influence of Louis Vega Trevino”, </i>he proudly admits. <i style="mso-bidi-font-style: normal;">“He is the master of shaped canvases. We often visit each other’s
studios and talk about ideas and critique each other’s work.”</i> By affirming
the obvious, Purón gives credit to his fellow peer, and displays a regard of
mutual recognition for a like-minded artist in the same field of defined
minimalism. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">There is a dichotomy that Purón
explains<i style="mso-bidi-font-style: normal;">. “It is restraint vs. the older
abstraction. The older work satisfied an emotional side. The new work satisfies
an intellectual side.”</i></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">“Do you wonder what road you
can take and where it will lead Mr. Purón?”<span style="mso-spacerun: yes;">
</span>You have already taken the metaphysical road, my friend. But, you unwittingly
took the audience with you - starting at the subliminal, going past the
conceptual and arriving at the physical. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: minor-latin;">Minimalism</span>
– <span style="font-family: "Calibri",sans-serif; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: minor-latin;">the
movement in art to strip down emotion, and symbology; nix the biography of the
artist and metaphors. Minimalists concentrated on form, properties of the
material and achieved a nihilistic approach to abstraction with a refined and
often mechanical preciseness to the artwork. L.T.V. you got this. </span><br />
<br />
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Louis Vega Trevino, a
prolific artist who calls San Antonio home illustrates his passion to keep
evolving, to keep changing, and to give the world his best foot forward in all
his artistic endeavors. This can be seen in his new artwork for <i style="mso-bidi-font-style: normal;">Neo Geometric Realm</i> with his ‘re-shaped’
canvases. Usually Trevino has a singular or a set of segmented geometric-shaped
canvases arranged on a wall to make new obtuse or acute forms. Now, Trevino has
switched up his game; launching a fundamental break through. No longer is he dependent
on the compositional arrangements he can make with his painterly sections, but
the seemingly arbitrary shapes themselves are now made out of a single piece of
constructed and stretch canvas; retooling his belt in Fort Worth at the Modern
Art Museum. Here, he saw the retrospective of Modernist painter, Frank Stella. <i style="mso-bidi-font-style: normal;">“I saw how he [Frank Stella] cut open the
canvas, like a butterfly, to cover those angles and edges [of the shaped
canvases]. This gave me sense of a new direction”, </i>says Trevino.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt;">“First I would make the shapes, and not color them.
Then, the paintings are put into the segment shapes of what I usually make. So
now there are areas of white left blank…of white enamel…there are shapes within
shapes…I think what I have done takes Cojones</span>. </i><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt;">To leave this much white on the canvas
takes confidence”, he says. </span></i></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In the new work, Trevino is
relying as much on the negative space in the composition as he is the segmented
and inserted stripe painting areas. A visual paradox of origami-esque
configurations, the painted segments seem to fold and flip over and under the
negative space. There is more than just a symbiotic relationship between the
shapes in the canvas. They rely, play, bend, bounce, cover and intersect one
another. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In <i style="mso-bidi-font-style: normal;">Poster</i> Trevino gives us an angled bowtie shape impregnated with a
centralized green serape-like form that seems to be overtaking a small red
triangle on the upper right of the composition. Although the green form
dominates in size, the small triangle mimics the three white negative spaces;
giving it more clout. It’s like there is power in numbers, the red triangle
kicks ass by association in this small pictorial of a geometric battle royal.
All pigments in “Poster” are painted in the signature Louis Vega Trevino feathered
and blended lines of color rhythms. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In a two piece configuration
titled <i style="mso-bidi-font-style: normal;">Direct,</i> Trevino marries the
two worlds; the old with the new to show how they can intermingle in some sort
of artist cross-species, Dr. Moreau experiment. In my feeble attempt to
understand the complexity of <i style="mso-bidi-font-style: normal;">Direct</i>,
I struggle to place it into a categorical realm where I can analyze it. It is
as if an Oriental fan is placed above a half torn piece of the elementary
school magic box game where I would give my favorite color, and the word
“black’ is spelled out- b.l.a.c.k …and I flip up the side of the open puzzle to
reveal who has a crush on me. But instead, the flips are angled paintings
within shapes, born of one another, made out of the left over spaces. Angles,
edges, and corners are matched and mirrored to give birth to new shapes, new
edges and new compositions. The hovering aspect of the top shape is almost like
a comforting mother, looming over her offspring. Protecting it, nurturing it
and guiding it. There is not a menacing feeling between the two but more of a
protector of innocence.<span style="mso-spacerun: yes;"> </span>I feel this is
only the beginning of a new journey for Trevino as he progresses past the
pieces of a whole to give rise to new patterns. He has anxiously arrived at a
new commencement of conceptual application. Watch for Trevino to continue
exploding forward with his unique minimalist structure with new support,
interest, and collectors in Dallas and Houston.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Neo Geo as a mislabeled
movement and quasi-contemporary genre, is a<i style="mso-bidi-font-style: normal;">
“language concerned with the ‘geometricisation’ of modern life”, says </i>the
Tate. So, here’s looking at you Marc Wiegand!</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Wiegand, a San Antonio Attorney
at Law, is an analytical-type professional turned artist. An avid supporter of
the Texas art community, Wiegand is drawing on his methodical approaches to
understanding his environment to arrive at an art-making process and constructed
visual conclusion; a change from appreciator to producer. Unlit light boxes of
various sizes are interspersed between Trevino and Purón’s line paintings. These
light boxes consist of various sizes of cut and colored Plexiglas. The
arrangements of the plastic glass within the frame allude to metropolitan
environments, miniature cityscapes that are enclosed; hidden behind a
protective barrier. Segments of frosted acrylic obscure parts of the
composition, while others act as windows to these Peter Halley-ish constructs.
In other arrangements within the exhibition, Wiegand has various adornments of
the traditional tic-tac-toe board inlaid with rolling dice; sculptural 3-D
‘paintings’ that cluster like some strewn kids game across the wall. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">In <i style="mso-bidi-font-style: normal;">El Incontable Ua Vez (The Uncountable Once),</i> an acrylic and
fluorescent panel measuring 7.5” x 40” x 3.5”, we almost see an architectural
rendition of the contemporary office space. As if the artist took a side
profile of an office, sliced off the internal wall and showed the dissected
side of urban America. Heavy borders of grey acrylic give the arrangement a
movie film feel, with us viewing the passing of the images. The blurred effect
of the outside Plexiglas gives a notion of movement. The glowing edges of the
acrylic in the framed composition give off an eerie halo of office
fluorescence.<span style="mso-spacerun: yes;"> </span>Neo-Pop furniture, desks, tables,
rooms, and more show the current conditions of uber-contemporary office life;
morphing into a Post-Pop hyper-color reality of urban revitalization. </span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-size: 12.0pt;">Yes, <i style="mso-bidi-font-style: normal;">Neo Geometric Realm</i> takes you on a journey through decades of
intellectual art history discourse, showing you individual takes on minimalist
principles and how precisions, dedication and formal compositional decisions
can bring about change and evolution. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-78291863710260335002016-12-30T17:26:00.001-08:002016-12-30T17:27:59.589-08:00Plumage-TX Jan. 2017 edition<h2 style="text-align: center;">
<span style="font-size: x-large;">Plumage-TX Magazine </span></h2>
<h3 style="text-align: center;">
<span style="font-weight: normal;"><i><span style="font-size: x-large;">Jan. 2017 edition</span></i></span></h3>
<h3 style="text-align: center;">
<span style="font-weight: normal;"><i><span style="font-size: x-large;"> </span></i></span></h3>
<div style="text-align: center;">
<u><span style="font-size: large;"><span style="font-weight: normal;"><i>**San Antonio Area's Only Fine Art Magazine**</i></span></span></u></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-weight: normal;">Be sure to read the newest edition of Plumage-TX Magazine .</span></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-weight: normal;">The Jan. 2017 edition features articles on Louis Vega Trevino, Jorge Puron, Marc Weigand; Steven DaLuz; Albert Gonzales; and Jose Vives-Atsara.</span></span><br />
<span style="font-size: large;"><span style="font-weight: normal;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin" target="_blank"><img alt="https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiooBo6znh1TQAIrUzNi3PcY2s2SArE9R7ftoHazhZUxNXXKSHe6WyzvGeM7oNfP1Fot6LcIztPGURftyMqmUvBssxFIU5CKZMA4tJMpU6a_Rjm3b6xJinzgaPsUnr-9LiHWv89NqDd7GE/s640/plumage+tex+jan+2017+12-22-2016+final_Page_01.jpg" width="494" /></a></div>
<span style="font-size: large;"><span style="font-weight: normal;"><br /></span></span>
<span style="font-size: large;"><span style="font-weight: normal;">Read it here:</span></span><br />
<span style="font-size: large;"><span style="font-weight: normal;"><a href="https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin">https://issuu.com/gdelgado2010/docs/plumage_tex_jan_2017_12-22-2016_fin</a></span></span><br />
<br />
<br />
<span style="font-size: large;"><span style="font-weight: normal;"><br /></span></span></div>
Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-35506401298708762012015-07-11T09:03:00.000-07:002015-07-11T09:03:33.395-07:00Rise and Fall of the Titans<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Rise and
Fall of the Titans <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">by: Gabriel Diego Delgado</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">In recent
times, the rise of the international art fairs has dominated the art markets.
The pull for collectors and buyers to one location that in some cases houses
over 200 art galleries is too much of a temptation. Why wouldn’t it make sense
to go to these events, see the “cream of the crème” and meet the high caliber
artists who are making guest appearances like some kind of art rock starts at
the art booths that showcase their artwork? </span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Nationally, it used to be just the signature fairs in New York and
California, with the who’s who of the art work present, but over the last 10 to
15 years the numbers have increased steadfast with some estimates tallying over
250 annual art fairs internationally. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Now let’s
take in to account the people trekking to all these events trying to purchase
the artists riding waves of trending prices and buzzworthy notations. Major
collectors have woe stories of always on the go, planning that next art fair,
scheduling vacations around art fairs dates etc. etc. However, the exhausted accounts are reflective
of an ever increasing jet lagged patron, crisscrossing the globe to see and be
seen at these at these events. Flying and buying, more crowds and higher prices
are making some collectors second guess these decisions to attend these kind of
happenings. Galleries see this push back
and are talking to their clients to get a bigger picture on ever increasing unsatisfactory
experiences. Resurrect the role of the galleries, with buyers
again choosing to stay close to home.</span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"> A reinforcement of a cyclical trend we
see as the gallerist play a role in sales decisions as consultants. Major
collectors are beginning to feel burned out in the quest to buy the latest and
greatest artist at these art fairs and are relying on the gallery dealer to
make recommendations and acquire the pieces to be viewed in the gallery, not
some international location where overhead is high and patients are waning. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Art Dealers
and Gallerists used to be considered a middle man, to be kept at arm’s length
with a sales driven mentality with sustainability always in the lurches as rent
and bills had to be paid. However, that concept has begun to change as the
rules of the game have begun to change. Yes, as in any retail business,
products do need to be sold, and money made, but with the rise of so many galleries
going out of business, only the strong ones stay to sell art another day. For
the consumer, this means that those people who are running those galleries are
the educated, scholarly and pedigree art dealers who have somehow weathered the
turbulent financial art financial-scape of unpredictability. They are the ones to be trusted, balancing a
sincere interest in careers of artists they represent, accurately reporting and
accounting for after-market sustainability and investment and hoping for
subsequent generations of art collectors to continue in the art community
patronage. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Believe in
your local art gallery dealer, and forge a relationship with their staff and
owners. In almost every case, they are passion drive individuals who care a lot
about their craft and have a heavily vested interest in the arts. Trust their
judgement, recommendations, and vision, and continue to buy art whether from an
art fair or a gallery. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal" style="background: white;">
<b><u><span style="font-size: 8pt;">Selected Upcoming Art
Fairs</span></u></b><u><span style="font-size: 8pt;"><br />
<o:p></o:p></span></u></div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.arthamptons.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">ArtHamptons</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Bridgehampton,
NY)<br />
July 2 - 5, 2015<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.artsantafe.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Santa Fe</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Santa
Fe, NM)<br />
July 9 - 12, 2015<br />
<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://seattleartfair.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Seattle Art Fair</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Seattle,
WA)<br />
July 30 - August 2, 2015<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://artmarketsf.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Market San Francisco</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (San
Francisco, CA)<br />
May 1 - 3, 2015<br />
<o:p></o:p></span></li>
</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://friezenewyork.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Frieze Art Fair</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
May 14 - 17, 2015<br />
<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.artmiaminewyork.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Miami New York</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
May 14 - 17, 2015<a href="https://www.blogger.com/null" name="june_2015_art_fairs"></a><br />
<o:p></o:p></span></li>
</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://voltashow.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">VOLTA Basel</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Basel,
Switzerland)<br />
June 15 - 20, 2015<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://scope-art.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Scope Basel</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Basel,
Switzerland)<br />
June 16 - 21, 2015<br />
<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.artbasel.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Basel</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Basel, Switzerland)<br />
June 18 - 21, 2015<br />
<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.liverpoolcontemporary.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Liverpool Contemporary</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Liverpool,
England)<br />
June 26 - 28, 2015<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.art-aspen.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Aspen</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Aspen, CO)<br />
August 13 - 16, 2015<br />
<o:p></o:p></span></li>
</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.houstonfineartfair.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Houston Fine Art Fair</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Houston,
TX)<br />
September 17 - 20, 2015<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://txcontemporary.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Texas Contemporary</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Houston,
TX)<br />
October 1 - 4, 2015<br />
<o:p></o:p></span></li>
</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://friezelondon.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Frieze London</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (London,
England)<br />
October 14 - 17, 2015<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://friezemasters.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Frieze Masters</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (London,
England)<br />
October 14 - 17, 2015<br />
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</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.art-miami.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Miami</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Miami, FL)<br />
December 1 - 6, 2015<o:p></o:p></span></li>
</ul>
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<br /></div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.artbasel.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Basel Miami Beach</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Miami
Beach, FL)<br />
December 3 - 6, 2015<br />
<o:p></o:p></span></li>
</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://artdealers.org/artshow.html" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">The Art Show</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
March 2016<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.thearmoryshow.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">The Armory Show</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
March 3 - 6, 2016<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.pulse-art.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Pulse New York</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
March 2016<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://scope-art.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Scope New York 2015</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
March 2016<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://artbasel.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Basel Hong Kong</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Hong
Kong, China)<br />
March 24 - 26, 2016<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://artdubai.ae/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Dubai</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"><br />
March 2016<br />
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</ul>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://dallasartfair.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Dallas Fair</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Dallas,
TX)<br />
April 2016<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://artexponewyork.com/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">ArtExpo New York</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (New
York, NY)<br />
April 2016<br />
<br />
<o:p></o:p></span></li>
<li class="MsoNormal" style="background: white;"><span style="color: windowtext;"><a href="http://www.artbrussels.be/" target="_blank"><span style="color: blue; font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; text-decoration: none; text-underline: none;">Art Brussels</span></a></span><span style="font-size: 8.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman";"> (Brussels,
Belgium)<br />
April 2016</span><span style="font-family: "Arial","sans-serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";"><br />
<o:p></o:p></span></li>
</ul>
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<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">By: Gabriel
Diego Delgado<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Gallery
Director, J.R. Mooney Galleries-Boerne<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="font-size: 12pt; line-height: 115%;">as seen in the </span><span style="line-height: 18.3999996185303px;">July</span><span style="font-size: 12pt; line-height: 115%;"> edition of the Boerne Business Monthly July 2015</span></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-26695596717266797222015-07-09T08:49:00.001-07:002015-07-09T08:49:42.806-07:00Boerne Artisan Weldon Lister Wows the History Channel<h1 class="article-title" itemprop="headline" style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: Helvetica, Arial, sans-serif; font-size: 36px; font-stretch: inherit; font-weight: normal; line-height: 40px; margin: 0px; padding: 0px 0px 10px; text-align: center; vertical-align: baseline;">
Boerne, Texas artist partners with History Channel</h1>
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<em style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">Weldon Lister</span></em></div>
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<em style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;"><b><u>“The Texas Renaissance Man of Engraving”</u></b></span></em></div>
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<i>By: Gabriel Diego Delgado</i></div>
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Third generation engraver and small town artist using a century old carving technique just gained a new level of artistic credibility. Weldon E. Lister Jr. of Boerne, Texas, an internationally recognized ultra-baroque engraver of firearms, knives and jewelry and accomplished intaglio printmaker, is making friends in high places.</div>
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About half a year ago, his timeless and intriguing decorative aesthetic captured the attention of Hollywood. The History Channel contacted the Texas artist and commissioned him to create a series of embellished, engraved and artistic Texas emblems reminiscent of the Texas Rangers Badge for the "Texas Rising" event at the Alamo in San Antonio on Monday, May 18, 2015. </div>
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“Texas Rising” is a 10 hour television mini-series on the History Channel that premiered on May 25, 2015. “Texas Rising” begins at the Battle of the Alamo and chronicles the birth of the Texas Rangers. As a celebration of this miniseries, the History Channel wanted to do something special for all the people who were part of the concept, production, directorship, and corporate sponsorship of this television series. Lister saw it as an opportunity to thank those people who were instrumental in helping bring attention to Texas through this historic television series.</div>
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These unique awards were completely handmade by the artist. Each one started off as a 1/8" thick and 4" in diameter round solid sterling blank disc, intricately fabricated, cut, carved and engraved; complete with a grooved coin edge.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“The only power equipment I used was a drill press to make pilot holes for the jewelers saw. It was a lot of work especially considering there were one dozen of them,”</em> says Lister.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“The engraving style I chose was based on what you'd see on vintage weapons from the mid 1800's….something that goes along with the theme of the Award.”</em></div>
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Look for more of Lister’s artwork on his website at www.weldonlister.com</div>
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<a href="http://issuu.com/gdelgado2010/docs/summer_2015_edition_of_plumage_tx_m" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #96999c; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><img alt="" class="center" data-loading-tracked="true" height="582" src="https://media.licdn.com/mpr/mpr/shrinknp_800_800/AAEAAQAAAAAAAAJuAAAAJDc5MzNlNGVhLTlhZWMtNGI2NC05MjdjLWY2OTRkNWU4YWRkYQ.jpg" style="border: 0px; box-sizing: border-box; display: block; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px auto 15px; max-width: 100%; padding: 0px; text-align: center; vertical-align: baseline;" width="450" /></a></div>
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<a href="http://issuu.com/gdelgado2010/docs/summer_2015_edition_of_plumage_tx_m" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #96999c; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank"><img alt="" class="center" data-loading-tracked="true" height="380" src="https://media.licdn.com/mpr/mpr/shrinknp_800_800/AAEAAQAAAAAAAAI-AAAAJDU5YjhjYjIwLWYzYWYtNGMwNi1hYTZkLWU2YTBhNTBhYTMwYw.jpg" style="border: 0px; box-sizing: border-box; display: block; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px auto 15px; max-width: 100%; padding: 0px; text-align: center; vertical-align: baseline;" width="588" /><img alt="" class="center" data-loading-tracked="true" height="380" src="https://media.licdn.com/mpr/mpr/shrinknp_800_800/AAEAAQAAAAAAAAJNAAAAJGE1ZjE2YWZiLTUxZWQtNDhmYi1hMzM3LTBjZmVlYTcyZWNhMA.jpg" style="border: 0px; box-sizing: border-box; display: block; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px auto 15px; max-width: 100%; padding: 0px; text-align: center; vertical-align: baseline;" width="588" /><img alt="" class="center" data-loading-tracked="true" height="380" src="https://media.licdn.com/mpr/mpr/shrinknp_800_800/AAEAAQAAAAAAAAJEAAAAJDZiODViM2Q4LTc3MzgtNDMzNC1iMDQwLTAwN2IxYzBhNDA0Mg.jpg" style="border: 0px; box-sizing: border-box; display: block; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; height: auto; line-height: inherit; margin: 0px auto 15px; max-width: 100%; padding: 0px; text-align: center; vertical-align: baseline;" width="588" /></a>Read the full article online at:</div>
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<a href="http://issuu.com/gdelgado2010/docs/summer_2015_edition_of_plumage_tx_m" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #96999c; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://issuu.com/gdelgado2010/docs/summer_2015_edition_of_plumage_tx_m</a></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-53978955412316122402015-07-09T08:45:00.001-07:002015-07-09T08:45:40.142-07:00James Saldivar at Melinda Martinez Studio and Gallery review<h2 class="center" style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: Helvetica, Arial, sans-serif; font-size: 28px; font-stretch: inherit; font-weight: normal; line-height: 34px; margin: 0px 0px 30px; padding: 0px; text-align: center; vertical-align: baseline;">
James Saldivar</h2>
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The New, The Old Work & the Artist</h3>
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">"A Need for a Reinvestigation of the Past"</strong></div>
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<strong style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: x-small;">by: Gabriel Diego Delgado</span></strong></div>
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San Antonio artist, James Saldivar recently opened a new exhibition, “Echoes”, at Melinda Martinez, which consists of a potpourri of old, new, and experimental paintings. On display is a collection of paintings that gives off an artistic reverberation of previously explored aesthetics. 20 plus paintings comprise all avenues of painterly/ sculptural exploration – from his abstract pouring techniques to the 3-D string paintings and his signature stripe paintings.</div>
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However, one collection of new abstractions is the highlight of the exhibition. Measuring no larger than 12 inches square each, five abstracted pours and autonomous manipulations pack a big ‘cosmic’ punch in a small package. These <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Organics</em>, as he calls them, are actually reinvestigations and reevaluations of his previous abstract artwork from circa 2008 when he was beginning to explore metaphysical properties of subconscious creation; nonfigurative manifestations that were initially inspired by NASA captured images of the mysterious Universe.</div>
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Saldivar explains this regression as a need to revisit where he left off.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“</em><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">This series is a compilation of the past few years where I've lost my way trying to fill the space in between, usually filled with irrelevances. Something I'm searching for and realized I've gone off of my own path and where I'm at now, my sense of being, my sense of enlightenment, my freedom, not in a political sense but how nothing has control over my happiness, my career, or my education.</em></div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">These painting were created in my new gallery/ studio, obtained by the need to change my energy. …Energy from a metaphysical standpoint, the action of setting my chakras back in balance and creating a new space, my temple to create again and to deny the mental block handed down by negativity.”</em></div>
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Not everything is on a smaller scale. “<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Laniakea</em>” is a 36” x 36” oil and enamel on panel that illustrates a calming sensibility with a neutral and subdued palette of badious earth tones. Milky cascades of icteritious lava flow into the foreground, meeting the viewer with an off-the-edge composition, bringing the experience into our physical proximity.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“There’s something that happens in the process, where my subconscious speaks to me and lets me know what's happening. I try not to control my work. I have control over placement but once that's done, I don't, and it becomes its own entity,” he says.</em></div>
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Mostly self-taught, Saldivar has explored various avenues of contemporary work, trying to find a unique voice to call his own. From Jackson Pollock inspired drip paintings, to Morris Louis striped pouring, to cosmic abstractions to his newly discovered 3-D string “paintings”, it is good to see Saldivar reconnect with his past and continue to explore his older work with new eyes. His more mature outlook, his scholarly studies and personal life experiences are bringing new life to his artistic vision. No longer is he being influenced by his peers, a trap we all fall into, but he is allowing room for personal growth and unedited exploration.</div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“Floating 1, 2, 3, and 4”</em> are four paintings which show evidence of this rounding the bend. These 12” x 12” paintings are miniature abstractions. Using the viscosity of the thinners, paint, and mediums, Saldivar shows movement across the canvas with the paint fraternizing in pools of coagulation. Frozen in time, these paintings become more and more serine as you begin to categorize them as meditative samplings; a kind of artistic granule hour glass, paint funneled, moving to the other side by way of unseen force. </div>
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<em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“Abstract work to me must be free; the universe must still be able to exist in the work. I do have more control than I want. I don't mean to, want to, or even know I do…..I've been controlling the work spiritually, with the universe. I am just another medium,”</em> he concludes.</div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-52697397233231252362015-07-09T08:42:00.000-07:002015-07-09T08:42:03.043-07:00"Mindscapes" of Russel Stephenson<h3 class="post-title entry-title" itemprop="name" style="background-color: white; color: #222222; font-family: Cambria; font-size: 42px; font-stretch: normal; font-weight: normal; margin: 0.75em 0px 0px; position: relative;">
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Curatorial Review by Gabriel Diego Delgado of Russell Stephenson's "Mindscapes" exhibition at J.R. Mooney Galleries- Boerne in New Plumage-TX Magazine</h3>
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<span style="color: orange; font-size: large;">J.R. Mooney Galleries-Boerne Gallery Director, Gabriel Diego Delgado shares his thoughts with Plumage-TX Magazine on the curatorial basis behind the <i>"Mindscapes"</i> exhibition. You can read the full article at:</span></div>
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<span style="font-size: large;"><i><b>“Mindscapes”</b></i><o:p></o:p></span></div>
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<span style="font-size: large;">Russell Stephenson<o:p></o:p></span></div>
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<span style="font-size: large;">J.R. Mooney Galleries-Boerne<o:p></o:p></span></div>
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<span style="font-size: xx-small;">By: Gabriel Diego Delgado,<o:p></o:p></span></div>
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<span style="font-size: xx-small;">Gallery Director - Boerne</span><o:p></o:p></div>
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<i>“Mindscapes,” a </i>solo exhibition of new work by San Antonio artist, Russell Stephenson, is a curated spotlight of art that engulfs the viewer into a metaphysical journey through sci-fi-<i>esque</i> renditions of Texas topography, juxtaposed and coupled with the artist’s own exploration of mind<i> </i>and world shaped by personal afflictions.<o:p></o:p></div>
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From violent thunderclouds masquerading as<i> </i>crowns for celestial auroras of heavenly atmospheric amalgamations (halos) in <i>Corona, </i>to canyons and mountains portrayed as conceptual struggles in identity, an artist’s simplified battle of good vs. evil, in <i>The Majestic, </i>we feel an undercurrent of cosmic exploration with a signature medium by way of a quest for self-discovery. Current events like the recent flooding in South Texas, the massive supercells over the Texas Panhandle and the artist’s own drive to experiment all play a role in Stephenson’s influences for “<i>Mindscapes</i>”. Examples of emotion abutted by landscape explorations can be found in the calmness of mind of <i>“Silent Solitude,” </i>but contrasted in <i>“Castleaine”</i> with its compositional angles; assumptive tectonic plates that jut upward, forced from the subterranean by violent burst of the grinding fault lines. <o:p></o:p></div>
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With the inclusion of two artworks from the “<i>Cave Painting</i>” series, <i>“Cave Painting III & V”,</i> the audience delves into the past with visual investigations of the primordial gestures of primitive man: a rock art aesthetic that references the cave paintings of Lascaux, Texas’s own Pecos region and Palo Duro Canyon. Stephenson strives to capture the intuitive application of creative need in his own color palette aesthetic while retaining his mastered craft for his push and pull of textures – i.e. the divots, cracks, creases, and pockets of layered grooves that capture our wild imaginations. The scraped and gouged paint give rise to his pursuit of reconnection to art history by way of contemporary applications.<o:p></o:p></div>
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When I recently met with Russell Stephenson at his Alamo Heights studio we had already been discussing “<i>Mindscapes</i>” on the phone, in text and via email for about four months. To see the artwork in person prompted a crisscross of casual conversations mixed with a professional inquiry. I saw a change in his mood, a kind of creative uncertainty mixed with a newly acquired cynicism of contemporary art market vitality. I heard of his new gallery prospects in Santa Fe, New Mexico, of disappointments with the regional affairs and ways in which he felt his artwork was going to mature. This insightful off-the-cuff conversation led me to further investigate the ways in which to formulate his exhibition. <o:p></o:p></div>
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As our conversation continued in the studio, it led to Stephenson’s other Texas galleries and the bodies of work he needed to execute for them; each one exhibiting a different series ranging from strict grid patchwork designs to formal abstractions. Over the course of the last few years he has deliberated how to blend these styles into one pure signature aesthetic. His techniques and medium manipulations in any of his series reflect a signature Russell Stephenson touch, but each gallery wanted visuals that appealed to certain demographics and art markets.<o:p></o:p></div>
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I began to understand he was starting to figure out a way to deviate from gallery dictated ventures to creating something new, a compilation of sorts for all of his contractual obligations he was fully invested in. This thoughtful approach was refreshing to hear, as he was beginning to understand how to dig out from his muddled aspects of five separate directions to one strong maturity.<o:p></o:p></div>
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In 2013/2014, J.R. Mooney Galleries had previously shown only Stephenson’s <i>Texas Panoramic</i> series, a kind of middle ground aesthetic that melded with the gallery’s fundamental branding that has always included traditional impressionistic aesthetic mixed with portrait, landscapes and Tuscan paintings. Stephenson’s abstracted Texas landscapes gives us horizon lines that grounded us in traditional landscapes of geographical locations we could digest; a kind of concrete middle ground that fit in between the abstract and traditional genres.<o:p></o:p></div>
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The new artwork for <i>“Mindscapes”</i> was much more than that topographically driven formulation. In over a year, I saw a maturity in style, a mastery of technique and a willingness to explore tools that included sticks, rocks, spatulas and palette knives, and which brought about a new sense of control, of student vs. teacher, and Stephenson playing the subordinate to the art. He learned along the way, and in the course of being schooled by his creations, he found philosophical substance. Conjectural aspects of personal inner struggle, an inward reflection of self that transcribes physical boundaries to be projected out and manifested as conceptual regurgitations, as he bears down and expels proof of everything around him that affects his mindset - whether political, social or environmental.</div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-41322809523048002412015-05-26T08:20:00.000-07:002015-05-26T08:20:04.376-07:00Michael Wayne "Brushed by Jesus Christ" at AnArte Gallery exhibition review <table border="0" cellpadding="0" cellspacing="0" id="templateContainer" style="background-color: black; border-collapse: collapse; border: 0px; color: black; width: 600px;"><tbody>
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<br /><br /><span style="font-size: 48px;">Exhibition Review of<br /><br />Michael Wayne's<br /><br /><em>"Brushed by Jesus Christ"</em><br /><br />at AnArte Gallery by<br /><br />Gabriel Diego Delgado</span><br /><br /> </div>
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<b><u><span style="font-size: 26.0pt; line-height: 115%;">Michael Wayne<o:p></o:p></span></u></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: 20.0pt; line-height: 115%;">AnArte Gallery<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-size: 26.0pt; line-height: 115%;">“Brushed by Jesus
Christ”<o:p></o:p></span></b></div>
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<span style="font-size: 10.0pt;">May 13, 2015 – June 6, 2015<o:p></o:p></span></div>
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<span style="font-size: 10.0pt;">AnArte Gallery and Studio<o:p></o:p></span></div>
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<span style="font-size: 10.0pt;">7959 Broadway, No. 404<o:p></o:p></span></div>
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<span style="font-size: 10.0pt;">San Antonio, Texas 78209<o:p></o:p></span></div>
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Michael Wayne’s exhibition, “Brushed by Jesus Christ” is a
series of paintings that range from several highly charged underpaintings to
overly stimulated and muddy abstractions.
Wayne has a few hits in this series that walk the line of the best of
both worlds. With the introduction of
stencil letters and numbers in his signature dense textures, Wayne gives a
context to his dyslexic disorder; while owning his condition with an “I don’t
care” attitude, explaining that the viewer will still be able to read the text
on the paintings although the letters are flipped, reversed or upside-down. Although
“Brushed by Jesus Christ” has the typical Christian overtones associated with
Wayne’s deep religious affiliations, but the visual attributes and devout
presence in his work are minimal. The titles of these paintings elude more to the
biblical passages coupled with Wayne’s own understanding and hinted interpretations
of the Word of God. <o:p></o:p></div>
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“Brushed by Jesus Christ” as a title of his exhibition is
also a play on words. Is it the artist who has been brushed by Jesus, in passing
where two shoulders rub? Or, has Wayne
has been touched by God and is now the divine artistic vehicle by which his
audience is exposed to the teachings of Christ? It could be Wayne who has
accepted Jesus as his savior channels the divinity, allowing Christ to enter
his body and paint the artwork, God and Wayne have become one; allowing God to
paint through Wayne’s brush. Metaphorically, is it us, the audience who is now
being brushed by Jesus Christ by pure affiliations with Michael Wayne and
seeing his paintings. Only Michael Wayne knows. <o:p></o:p></div>
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Yes, there are still subdued crosses, abstract birds, nests,
heavenly auras and poetic passages, but overall the exhibition can stand on its
own as technical executions of Abstract Expressionism. <o:p></o:p></div>
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Overall, there seems to be three major visual aesthetics in
“Brushed by Jesus Christ.” First are the under-paintings that reveal process and
are considered finished because of pure pictorial integrity, the bearing of
naked self. Next are the few spotlight
paintings that have everything going for them from wispy lines and contours,
silhouettes, lettering and composition; to the overworked painting that were
taken to the edge of painterly perfection and lost due to too many colors
processes and over-mixing. We see the
gouged lines, the sweeping brush stroke, the intuitive gestures, and overall
compositions; components and foundational elements of any abstract work. <o:p></o:p></div>
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Wayne’s preference to
create the artwork from the back of the silk canvas first and push the paint
through the weave to the front is in itself <i>explosive</i>;
a mashing of materials with brunt force, smashing bristles through the fabric;
forcing a penetration of color to the other side. Wayne will then proceed to
flip the canvas and paint on the front to highlight areas by pushing and pulling
the parts he prefers - working in color on top of color, creating windows to
the various layers below. However, in
three of the paintings, the underpainting is the final product. Wayne refers to
it as showing himself without his makeup, without the wigs and jewelry. His artistic moniker for swirling lines and
water drop silhouettes are evident in a majority of the exhibition, and there
are a few spotlight paintings that have these areas fully worked out. Compositionally,
the Wayne “swirls” ground the eye, giving us a path to explore the crevices,
the textures and lettering. This overall compositional and visual aesthetic
balance and visual grounding is something that the overworked ones lack. <o:p></o:p></div>
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The largest painting in the show<i>, “The King Will Come With The Sound Of A Blast But It Won’t Last But
Just A Second” </i>demands attention but lacks content to hold our
attention. Wayne throws all he has into
this painting with thick impasto stencil lettering, multi-layered composition
and pockets of activity, but there is too much to take in and one has to step
closer to digest the details, enveloped by the swirling white lines, one
struggles for a place to rest the eye. While
“All Things Are Possible Through Jesus Christ” is a blatant disclosure of
Wayne’s spiritual preferences, with words that spell out just what the title
says. We do not have to interpret his abstractions to understand his position,
allowing nothing to chance. Green for earth and the watery blue highlights for
the world mixed with the gold letters for divinity. <o:p></o:p></div>
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Two paintings stand out as showcase pieces for the
exhibition. Poetically, <i>“This Has
Happened All Before One After One Even If It’s A Garden Your Salad Or Your Soul
It Builds Up In Time</i>”, has the most lyrical passage of all the paintings
with a great composition and subliminal religious efforts. The background text is a poem that Wayne chose
to honor for more of an inside joke than Christian reference. At the Absolute
Art Gallery in Brugge, Belgium, Wayne reminisced about walking right into the
exiting glass doors, smashing his nose. From his personal testimony, blood
spewed everywhere and he joked he looked like a Picasso painting. The poem was
on the wall of the gallery as a panoramic text across the whole interior space.
He wanted to pay tribute to that moment.
Aside for the poem, three crosses of the trinity are made up repeating
letters going down the right column of the painting. The color combination is
spot on with hits of foreground and background with strong compositional
elements that bring the painting together in wonderfully artistic gestalt. <o:p></o:p></div>
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The other surprise spotlight for the exhibition is a
painting titled,<i> “At This Pow-Wow You
Don’t Get Burned You Don’t Have To Pay Just Sit Back Because It’s All Free.” </i>Measuring
in at<i> </i>48” x 68”, this larger fine art
beauty eludes to what Michael Wayne describes as the ascension to Heaven with
the congregation meeting to accept the path of godly divination, while the
burning fires of Hell will scorn you for eternity if you do not accept the free
forgiveness of sins afforded to all of us with the accepting of blind
faith. <i>Now, let’s artistically decode this hellfire scare</i>. “At This Pow-Wow….” , the red fire and
burning embers are located at the lower left of this painting, while the center is a calm white glow of purity; a cross radiating from the center is
suggested by a vertical sweeping angle of green undertones and intersected by
almost black and white horizontal compositional elements. Absent of the
bordered compartments Wayne likes to create.
<o:p></o:p></div>
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“Pow-Wow…” is a successful abstract painting bringing a rare
glimpse of technique to process without the sought after bells and whistles of his
signature aesthetic; making for a refreshing pause in a very stimulating
exhibition. <o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-43112855088641021382015-03-31T14:18:00.000-07:002015-03-31T14:18:08.409-07:00Plumage-TX Magazine April 2015 edition<table border="0" cellpadding="0" cellspacing="0" id="templateContainer" style="background-color: black; border-collapse: collapse; border: 0px; color: black; width: 600px;"><tbody>
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<tr><td class="mcnTextContent" style="color: #606060; font-family: Helvetica; font-size: 11px; line-height: 13.75px; padding: 9px 18px;" valign="top">April 2015 of Plumage-TX Magazine<br />Read Online at: <a href="http://issuu.com/gdelgado2010/docs/april_2015_edition_of_plumage_tx_ma" style="color: #606060; word-wrap: break-word;" target="_blank">w</a><a href="http://issuu.com/gdelgado2010/docs/april_2015_edition_of_plumage_tx_ma" style="color: #606060; word-wrap: break-word;" target="_blank">ww.plumagetx.com</a></td></tr>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-23635080096354233132015-03-31T13:25:00.001-07:002015-03-31T13:25:52.485-07:00Jorge Rodríguez-Gerada Nyssa- The Portrait to Represent Us <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhLs3W566MPunUqA-fwLaII3yYtBOuq-7hqW14dL67F8Ucd5h9XZNfN_oSy4v0Oxt_NZ7ZxP3FXxp69sE8W0ki6OlGhyFPmu1n8gdbaJCoDBPApm62V0C9fdQrFE0qJUaf3k1K-zMBIM/s1600/examiner+pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXhLs3W566MPunUqA-fwLaII3yYtBOuq-7hqW14dL67F8Ucd5h9XZNfN_oSy4v0Oxt_NZ7ZxP3FXxp69sE8W0ki6OlGhyFPmu1n8gdbaJCoDBPApm62V0C9fdQrFE0qJUaf3k1K-zMBIM/s1600/examiner+pic.jpg" height="225" width="400" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-size: xx-small;">Image courtesy of: Arsenio De Lara</span></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 36.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Jorge
Rodríguez-Gerada</span></strong><span class="apple-converted-space"><b><span style="font-size: 36.0pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";"><o:p></o:p></span></b></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span class="apple-converted-space"><b><i><span style="font-size: 20.0pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">Nyssa-
The Portrait to Represent Us All<o:p></o:p></span></i></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 115%;">Huddling in
the front seat of a loaded down pickup truck filled with miscellaneous art
supplies, tools and papers, </span><strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Jorge Rodríguez-Gerada and I sit,
staring off onto his plotted out parking lot pattern to talk about his larger
than life, “Terrestrial Series” portrait he completed in San Antonio for
Contemporary Art Month (CAM). Painted
directly onto the back parking lot of the Christopher Columbus Italian Society,
located at 201 Piazza Italia, Rodríguez-Gerada explains the premise and inspirations
behind his larger than life horizontal portraits. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">As a personal guest of former VIA and Museo Alameda
Chairman, Owner of Muñoz and Company and political advocate Mr. Henry Muñoz,
Rodríguez-Gerada explained his journey to San Antonio and beyond. “I first met
Henry at the Smithsonian Gallery National Mall where I was doing a male
portrait titled, ‘Out of Many, One’, which was composed on six acres of land
next to the Reflecting Pool and by the National World War II Memorial. Henry
saw the work, liked what I was doing and we were familiar with each other from
other meetings at the annual Miami Basel art exhibition, so he invited me down
to San Antonio to commission me to do some artwork inspired by the people of
San Antonio and their own unique diversity. Henry is so passionate for his city
and its people, that it was a project I knew I wanted to be a part of,” he
says.<o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Jorge Rodríguez-Gerada’s signature portraits are
often acres long and wide, visually seen in whole only by satellite imagery,
drone photography or multi-storied building views. A sort of “contemporary
portraiture” that pushes the limitations of traditional portraits,
Rodríguez-Gerada’s wants the audience to experience his artwork on many levels;
from being able to walk into the artwork, become part of the experience, or see
it from above through photography via online; on our computer and cell phone
screens. He feels this is all part of his artwork, the physical presence of the
piece in the surround environments, how people interact with it and how they
perceive it through image. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Born in Santa Clara, Cuba Rodríguez-Gerada and his
parents fled the Castro regime and ended up in North Plainfield, New Jersey. At
19 he moved to Manhattan and emerged as a post-graffiti art commentator and
social artist. Rodríguez-Gerada dropped out of Jersey State College to pursue a
career in fine arts. He never feared he
would need a degree to achieve his dreams of being a successful artist. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">“If you shoot for the stars you will at least reach
the moon”, he says. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Rodríguez-Gerada had many hardships along the way, including
fathering a child with a severe neurological disorder. Financial strains of
this medical condition affected his family.
“Dealing with his condition was a financial whirlwind. Our son was on a
cocktail of seizure medicines which put him in a vegetative state. In
Barcelona, Spain I found alternative treatments for my son, so I moved my
family there.”<o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Once in Barcelona, he took an almost 6 year “hiatus”
from art to deal with his family. In 2006 he started to work on some original
ideas, pushing the envelope of his previous post-graffiti, ‘culture-jamming’
social artwork. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">“I wanted to push the limits of contemporary
portraits,” he says. “These kind of monumental images are a powerful way to
talk about the moments…the moments in time.
Every one of my art pieces are based on a place, and I go to places to
tell a story.”<o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">With the “Terrestrial portrait” of a little girl
named Nyssa Gomez, Rodríguez-Gerada addresses the diverse populations of San
Antonio. He explains that there has been
a spike in the births of girls in San Antonio which will have numerical effects
for the future of the city. He is also intrigued by parts of San Antonio that
are not delineated by racial divides; something he sees throughout the world in
his travel –Belfast and the Middle East. <o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">He points to a newly poured concrete patch on the
parking lot, left of the truck cab.
“There is where archeologists think the first San Antonio settlement was,”
he said. “When you look back in history
everything is interlaced, interlocked with interchanges of cultures”, he
explains. “I want to celebrate who we are today… I want to give homage to
that.”<o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">“Nyssa was picked at random, a sort of artist
lottery,” he says. Rodríguez-Gerada saw Nyssa and thought her profile reflected
an accurate depiction of the “New San Antonio.”<o:p></o:p></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
<div class="MsoNormal">
<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">“I want you to take away that this portrait can be
any little girl, anyone from San Antonio; enjoy her content gaze, it’s intent…
you can feel she is from a nurtured family, her parents are engaged with her
personal development. I am painting her portrait here at the beginning of San Antonio
- <i>the original settlement.</i>” Her face
will be visible from the highway interchanges to the left of the parking lot
downtown and will face the new San Pedro Creek development project (<i>development headed by Muñoz and Company</i>).
<o:p></o:p></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">“This is the future of San Antonio, facing the past,”
he explains. “There is so much growth in San Antonio, so much diversity and it
keeps getting bigger with more and more innovation.”<o:p></o:p></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">As an artist I have a duty to embrace cultures,
there is a need to reflect, no one gets to choose where they are born… if we
look deeply, deep down, we are all the same.”<o:p></o:p></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">Jorge Rodríguez-Gerada completed his San Antonio
portrait in three days and wrapped up his sojourn in San Antonio with an artist
discussion at the Alameda Theater, hosted by Muñoz and Company on Sunday, March
29, 2015. <o:p></o:p></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;">For more information on Jorge Rodríguez-Gerada and
his large scale “terrestrial” portraits, visit </span></strong><a href="http://www.jorgerodriguezgerada.com/"><span style="background: white; color: windowtext; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">www.<b>jorgerodriguezgerada</b>.com</span></a><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">.<o:p></o:p></span></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Arial;">© <b>Gabriel Diego Delgado</b><o:p></o:p></span></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Arial;">Gallery Director<o:p></o:p></span></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Arial;">J.R. Mooney Galleries- Boerne</span><strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><o:p></o:p></span></strong></div>
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<strong><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; font-weight: normal; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Lucida Sans Unicode"; mso-bidi-font-weight: bold; mso-hansi-theme-font: minor-latin;"><br /></span></strong></div>
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<span style="font-family: Calibri, sans-serif;"><span style="line-height: 18.3999996185303px;"><a href="http://issuu.com/gdelgado2010/docs/april_2015_edition_of_plumage_tx_ma">http://issuu.com/gdelgado2010/docs/april_2015_edition_of_plumage_tx_ma</a></span></span></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-25496176424302912692015-03-06T07:23:00.000-08:002015-03-06T07:23:04.511-08:00McNay 60th Anniversary article in the new edition of Plumage-TX magazine<table border="0" cellpadding="0" cellspacing="0" id="templateContainer" style="background-color: black; border-collapse: collapse; border: 0px; color: black; width: 600px;"><tbody>
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<br /><span style="font-size: 64px;">The 60th<br /><br />Anniversary<br /><br />at the McNay<br /><br />Museum</span></div>
<br /><br /><br /><span style="font-size: 40px;">2</span>014 marked the 60th anniversary of the McNay Museum in San Antonio; giving praise and recognition to founder’s artistic vision. The McNay is one of the more unique and distinguished museums in Texas and the U.S. Billed as the first museum in Texas to be dedicated to modern and contemporary art, the museum’s six decades of collections, public programming and continued acquisitions set the bar for such art world accolades.<br /><br /><em> “We have been celebrating our 60<sup>th</sup> Anniversary since the beginning of 2014, reflective of the official opening of the museum in 1954</em>”, says Dr. William J. Chiego, the museum’s Executive Director.<br /><br />The McNay chose to kick off their celebrations with 3 major exhibitions<em>: Beyond Love</em>–<strong>Robert Indiana</strong>, <strong>Beauty Reigns</strong>: <em>A Baroque Sensibility in Recent Paintings</em>, and<strong><em>Intimate Impressionism</em></strong>. These three exhibitions highlighting the anniversary grasp to encapsulate the full scope of resources afforded to the museum; highlights from the existing collections, public programming, as well as the eccentric visual language, legacy and lineage of Mrs. McNay.<br /><br />More than just the “Love” icon and his Pop Art influences, The McNay was able to feature over 100 artworks by Indiana, rounding out the experience with a 256 page catalog of the exhibition. <em>“It is significant to point out that Robert Indiana has become one of the most important artists in the 1960’s -1970’s decade”,</em> said Chiego.<br /><br /><em> “<strong>Beauty Reigns</strong> was co-curated by The McNay Museum’s Chief Curator, Rene Paul Barilleaux and highlighted 13 artists who were working in similar bold, colorful and exotic ways”,</em> Chiego says<em>. </em><br /><br /><strong><em>Beauty Reigns</em></strong><em>: A Baroque Sensibility in Recent Painting</em> at the McNay Museum captures a post-graffiti sensibility mixing visual elements of design, illustration, graphics, and artistic liberties; drawing the viewer into a world of sensory overload. With a stylized artistic appeal, Barilleaux sought to have the audience leave the museum walls and journey into a new realm, met by stimulus that engages us; reflective of acquainted and non-familiar imagery -- worldly as well as mysterious. He accomplishes this task and gives voice to a new generation of mixed eclecticism that breeds cohesive thought—visually and conceptually.<br /><br /><strong><em>Intimate Impressionism</em></strong> was organized by the National Gallery of Art in Washington and featured over 70 Impressionist and Post-Impressionistic paintings,. Dr. Chiego highlights the fact that the <strong><em>Intimate Impressionism</em></strong> exhibition gave context to their existing collection and Mrs. McNay’s taste in French Impressionism. He boosts that with the success of just this one exhibition added 1,600 new members alone.<br /><br />A recent spotlight of the museum’s celebrations includes a temporary exhibition of local artists, hand-picked to help in the yearlong festivities. “<em>The museum's finale celebration included an electrifying McNay After Dark party, inspired by Mrs. McNay's legacy of supporting artists in her community aand geared towards the next generation of museum supporters included a two day pop-up exhibition featuring six Texas-based artists: Sylvia Benitez, Elizabeth Carrington, David Anthony Garcia, Allison Gregory, Rex Hausmann, and Leigh Anne Lester”, </em>says Communications Director, Daniela Oliver de Portillo. The Pop-Up exhibition opened on Friday, January 23 and remained on exhibit over the weekend - Saturday, January 24, through Sunday, January 25, 2015.<br /><br />With the 60<sup>th</sup> Anniversary in full swing, 2015 also has some surprises in regards to the celebrations, public programming and outreach. From Family Art Play, Free Family Days, Family Gallery Kits, Guided Cellphone Tours, and museum sponsored Art Strolls, the McNay has a variety of family friendly options for those who want to expose their families, babies, toddlers, children and young adults to modern and contemporary art.<br /><br /><em>“You will see a continued push in a lot of public programs, workshops, and family days. We are constantly engaging our audiences within all age groups”, </em>Chiego says.<em>“Everything is ongoing; we want to push our attendance of our public programming…</em>we are currently developing areas we have not engaged before; the collection is a living thing and is growing in different ways”.<br /><br />Future 60<sup>th</sup> Anniversary festivities include an exhibition of recent gifts and acquisitions exhibition titled<strong>: Rodin to Warhol</strong>: <em>60th Anniversary Gifts and Recent Acquisitions</em>, February 18, 2015 to May 17, 2015.<br /><br /><em>“We have been holding back roughly two years of recent acquisitions from the public, and now is the time to show them”,</em> says Dr. Chiego. This collection of artworks is curated by museum staff: René Paul Barilleaux, William Chiego, Lyle Williams, and Jody Blake.<br /><br />Summer events will include a collage and assemblage exhibition titled: <strong><em>Recycled, Repurposed, Reborn</em></strong>, June 3, 2015 to August 10, 2015; and the fall will feature a touring exhibition of Joan Miró, among other special exhibitions. Extended future calendar exhibitions range from German Contemporary Art to <strong>Coney Island</strong>: <em>Visions of an American Dreamland</em> .<br />Although the 60<sup>th</sup> Anniversary is a major stepping stone for The McNay Museum, but they have multiple long range plans and strategic long term projects that will guide and lead them into the next 60 years. A twenty year master-plan includes the continued structural and building additions as well as modifications to the museum grounds with an exciting contractual pairing with famed architect, Michael Van Valkenburgh and a high profile Boston based architecture firm.<br /><br />By: Gabriel Diego Delgado<br /><br />Full article can be read online at:<br /><a href="http://issuu.com/gdelgado2010/docs/plumagetx_draft_2" style="color: #6dc6dd; word-wrap: break-word;" target="_blank">http://issuu.com/gdelgado2010/docs/plumagetx_draft_2</a><br /><br /> </td></tr>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-61387488499785128632015-02-06T13:22:00.000-08:002015-02-06T13:22:17.588-08:00Cheap Gas and the Arts<div class="separator" style="clear: both; text-align: center;">
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New edition of the Boerne Business Monthly and a monthly column titled: "Mooney Makes Sense"</div>
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In this edition, I address the oil and gas prices and its affect on the art market. </div>
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BBM can be read online at: <a href="http://issuu.com/boernemag/docs/february_2015_bbmonline">http://issuu.com/boernemag/docs/february_2015_bbmonline</a></div>
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<b><span style="font-size: 30.0pt; line-height: 115%;">Cheap Gas</span></b><span style="font-size: 20.0pt; line-height: 115%;"> <o:p></o:p></span></div>
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<span style="font-size: 20.0pt; line-height: 115%;">-Good prices for consumers,<o:p></o:p></span></div>
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<span style="font-size: 20.0pt; line-height: 115%;">but bad news for oil field workers and
the arts.<o:p></o:p></span></div>
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As of January 20, 2015, Baker Hughes has announced the
lay-offs of about 7,000 employees, falling in line with Schlumberger who is
cutting 9,000 jobs, and Apache who has already cut hundreds of employees. Energy giant, Halliburton has commented, “…<i>we will make adjustments to the cost of
structure of our business as needed</i>.” All casualties of the continued fall
of oil prices The fact is the price of oil has dropped more than 50% in a year and
this has not only affected the workers in the oil field but the trickle down
economy; leisure spending included, and specifically the South Texas Art
market. <o:p></o:p></div>
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The continued decline in oil barrel prices over the last six
months has produced a shift of spending habits in the regional art market. Many of the top art collector, aficionados
and purchasers who are heavily vested in the oil and gas industry have cut back
on spending, meaning fewer sales in the galleries and art studios. The January 2015 Kiwanis Western Art and
Heritage Exhibition’s attendance and sales can be attributed to this factor,
among others. We look to the March madness of the Briscoe Western Art Museum’s
“Night of the Artist” exhibition to see if the trend continues. With
multi-million dollars in sales anticipated for the signature one night event,
only time will tell how well our regional economic health will deter financial
outcomes for this museum. <o:p></o:p></div>
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However, locally there are several complex financial factors
mixing the muddy waters. On the gallery
level many pendulums are swinging in full force. With anticipation of needing
cash or assets to offset the decrease in royalties and direct income, some
collectors are looking to sell or consign choice items from their collections,
giving in to cash and looking to wait out the oil price fluctuations. This in
turn releases unique art troves into the aftermarket that would not ordinarily
be available, allowing others to possibly own an investment item. These sellers anticipate they will need the
money, so by liquidating some lower to mid-level art pieces, they can cash in
on the stable art market and be more confident with their financial security.<o:p></o:p></div>
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On the other hand, those who want to diversify their portfolios
are collecting their money out of the banks, out of the stock market and other
volatile investments and capitalizing on the affordability of physical assets.
The art market is perfect for this. The
purchaser can see the stability in the art market as a positive. The resale
market is alive and well, giving credit to a sound financial investment.<o:p></o:p></div>
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The forecasts for the oil industry range from the doomsday
sayers to the optimistic purists. We see
estimates for the next six months to the next six years. Nothing is set in stone and the foreign oil
markets will continue impact the global drive supply and demand. <o:p></o:p></div>
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My advice, do not let this hamper your art experience.
Purchase what you like, what you love and be comfortable in those
acquisitions. In6 to 12 months, we will
be writing a new national financial story, but the art value will still be
there; whether it is metaphysically imposed by the purchaser or dictated by
current art market appreciations. <o:p></o:p></div>
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Don’t be scared, enjoy the art around you, support your
local artists, your local galleries and become patrons of the museums, cultural
centers, and institutions. As for Oil
prices, …”This too shall pass.” <o:p></o:p></div>
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© Gabriel Diego Delgado<o:p></o:p></div>
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Gallery Director, J.R. Mooney Galleries – Boerne.<o:p></o:p></div>
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<br />Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-24193108602634181912015-02-05T12:13:00.000-08:002015-02-05T12:13:12.098-08:00Contemporary Glass Accents of Robert Dix<div class="MsoNormal">
When an artist creates artwork for an interior space or is
filling a custom-ordered architectural enhancement and contemplates the complex
constraints of spatial limitations, they leave the realm of fine art to explore
an aspect of interior design. This is
something not all artists deal with, and those that do often deal with such
custom designed artwork that a stylized and unique aesthetic of their art
progresses as they tackle such variances. <o:p></o:p></div>
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<span style="font-size: xx-small;">Image courtesy of Jason Roberts and NHOME Magazine</span></div>
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That is exactly what San Antonio artist, Robert Dix has done
with his signature contemporary glass relief accents. Not paintings, not
stained glass and not fine art sculptures, Dix’s artwork is all his own. His blend of aesthetically pleasing, calm and
fluid organic shapes using traditional stained glass soldering on window glass places
his artwork in a category all by itself.
<o:p></o:p></div>
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Having studied stained glass for over 25 years, Dix has
experimented with various aspect of this medium from cut and arranged glass
layers to organic shapes of glass mounted on the wall to stand alone pieces
that become high end home décor. He now
specializes in a newly discovered technique of soldered designs on ordinary
window glass, tile, granite, and other interior surfaces that show off his
mastered application of soldered renditions of trees, leaves and other nature
based themes. <o:p></o:p></div>
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It wasn’t until his recent showing at the spring 2014 Parade
of Homes at the Dominion did Dix premier his new series of works. “I just
called one of the builders who were showcasing a few of the houses this year
and asked if I could put some of my work in the homes for the parade”, he
says. “Everyone liked it”, he continues.
Dix exhibited about half a dozen glass artworks in the spotlighted homes on the
tour. “Ever since then, Dix explains,”
it has been nonstop. I decided to quit my job at the University Hospital and
University Health System and to take the leap and investigate my art full
time”, he continues. <o:p></o:p></div>
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Dix’s new career happened by chance. At the beginning of
2014 over 1,200 pieces of art filled the University Health System. Dix was
asked by his fellow manager to show the curator his artwork. As a former employee of the University Health
System, Dix was not officially invited into the curated art program of the new
facility, something which ultimately launched his career. Curatorial visits to the studio lead to his
inclusion of art into this monumental showcase. However, not all was smooth
sailing. Mark Webb, Senior Vice President of Facilities Administration of
University Health System had to send an official memo to George B. Hernandez,
Jr., President and CEO of University Health System to ask for a Policy waiver
request on Dix’s behalf. As an employee, Dix was not eligible to participate in
the program. With permissions granted, Dix’s inclusion enhanced his visibility,
his reputation and untimely showcased his unique style of art. The policy
waiver allowed the University Health System to purchase Dix’s artwork and
catapult him into unexplored architectural commissions of his signature
aesthetic. <o:p></o:p></div>
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Dix’s collaborations with the hospital are ever
expanding. His next endeavor is a the
creation of a 9 foot tree of life sculpture, this tree will be associated with
the organ transplant division, and patients who have received transplants
through the hospital will have their names stamped into leaves and be added to
the tree of life, as an ever changing sculptural element within the hospital
with a personal touch of patient interaction and involvement. <o:p></o:p></div>
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In the interiors of houses, Dix’s work takes on accentual
roles; working within art nooks, mantels, carve outs and other structural
elements within the home. Lighted from
below, above and behind, the imagery extends beyond the glass, casting shadows
on the walls, illuminating the space and bringing a multidimensional component
to home décor and fine art. <o:p></o:p></div>
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Robert Dix’s unique application of stained glass techniques
and calming imagery can be found throughout several interior design stores and
high end home accent businesses’ including Copenhagen, Armoires and Accents and
others. <o:p></o:p></div>
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For more information on Robert Dix’s custom glass art and
accents, please visit his website at www.visionsofglass.com<o:p></o:p></div>
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Written by Gabriel Diego Delgado</div>
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View the full article in the Jan/ Feb 2015 edition of NHOME Magazine </div>
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<a href="http://issuu.com/nhometx/docs/nhome_janfeb2015_digital">http://issuu.com/nhometx/docs/nhome_janfeb2015_digital</a></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-5533708435482488882015-02-05T12:07:00.000-08:002015-02-05T12:07:05.422-08:00Art World Predictions from the Whose Who of the San Antonio Art Community<div class="MsoNormal">
<span style="font-family: Georgia, Times New Roman, serif; font-size: x-large;">A</span><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">s we welcome in 2015, the New
Year is always abuzz with the obligatory New Year’s Resolutions, predictions
and forecasts. With the eclectic mix of art professionals in San Antonio, many of
these artists and art professionals have various perspectives on what the New
Year is going to bring to the local, regional, and international art
communities and market. <o:p></o:p></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="font-size: large;">The quotes below are from a range
of Fine Art Professionals in the San Antonio metro. The <i>movers and shakers</i> that gave us their perspective include a
Curator, a Professional Artist, Project Space and Gallery Owner, and Executive
Director. Each person provided a unique perspective on the New Year based on
their role in the art world; from high level executive to exhibiting professional.</span><o:p></o:p></span></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;"><i>The conversations with these individuals
focused on a variety of topics and issues pertaining to the following
questions:<o:p></o:p></i></span></b></div>
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<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Georgia, Times New Roman, serif;"><i>·<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->What is your art world perspective for 2015?<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span style="font-family: Georgia, Times New Roman, serif;"><i>·<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->What art trends do you hope would continue
into 2015?<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span style="font-family: Georgia, Times New Roman, serif;"><i>·<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Is the economic climate in Texas driving a
pessimistic or optimistic perspective outlook?<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span style="font-family: Georgia, Times New Roman, serif;"><i>·<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->How do you see the San Antonio and Texas art
community / economy growing or shrinking? <o:p></o:p></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><br /></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><i><b>Quotes are pulled from Arturo
Infante Almeida, the Curator of the Curator for the UTSA Art Collection; Raul
Gonzalez, Professional Artist, MFA recipient; Antonia Richardson, Professional
Artist and Founder/ Owner of Mercury Projects; Mary Heathcott, Executive
Director, Blue Star Contemporary Art Museum.</b></i><o:p></o:p></span></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Arturo Infante Almeida<o:p></o:p></span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Art Specialist/Curator for the UTSA Art
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<i><span style="font-family: Georgia, Times New Roman, serif;">“I predict that the local art scene will
continue to thrive and grow, that local and regional artists will continue to
make their mark nationally and internationally and that the world will continue
to discover and marvel at San Antonio as an Art destination.”<o:p></o:p></span></i></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Raul Gonzalez</span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Professional Artist<o:p></o:p></span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">MFA<o:p></o:p></span></b></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">“I think artists are in a good position,
better than they realize.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
More organizations are starting to offer opportunities to improve professional
skills amongst artists. Guadalupe Arts Center is finishing up their Incubator
program. Fresh Arts in Houston continues to teach artists the ins/outs of
professional development. The non-profit organization W.A.G.E. is working and
changing how artists are compensated for performances, exhibiting, curating,
and much more.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
I, myself, am working as an independent consultant, teaching artists how to
better improve their professional skills.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
San Antonio seems like it’s finally on the verge of becoming a spotlight city.
Luminaria's growth and the revitalization of Blue Star are both key in shaping
the city's future.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
There are so many opportunities across the country, residencies, grants, and
development programs offered to artists of all stages of their careers.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
I think that as long as artists stay ambitious, we can see a new era of where
communicating through the visual arts becomes truly integrated into mainstream.
Some people think of that as a bad thing, but I think it's allowing the Arts to
be taken more serious.<o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
Artists have the ability to engage socially with galleries, curators, and other
artists across the world. Instagram, Facebook, and Twitter are really
connecting people. Not everyone can and will show in a gallery. Not everyone
needs to. There are so many more options in creating a successful career. <o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;"><br />
We can change how are artists are perceived by the public. It's all at our
grasp right now. We are in a time of transition. We just need to take advantage
of our situation. That means more collaboration and networking.”<o:p></o:p></span></i></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Antonia Richardson</span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Professional Artist<o:p></o:p></span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Founder/ Owner of Mercury Projects<o:p></o:p></span></b></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">“For me, I am excited about 2015 and the
future for the arts in San Antonio. I am an artist and have a studio, Mercury
Project in Southtown San Antonio. <o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">I, along with several other artists, have an
open to the public studio setting where guests can visit with the artists as
well as view all the contemporary art available. <o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">I really see exciting new developments here
that are very encouraging for the future of the arts. For one, there are many
new housing developments surrounding our warehouse. The front space of the
warehouse accommodates a small gallery as well as a real estate company and a
property developer specializing in the area. Simply by our location we will
have new eyes on our work. This means many new people will be coming through
that might not ever have come to our studios. In the gallery, we will be
featuring different artists throughout the year. <o:p></o:p></span></i></div>
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<i><span style="font-family: Georgia, Times New Roman, serif;">We love showcasing up and coming as well as
established local artists. The past few years have been a bit lean for artists.
I really hope these new developments will bring art loving people looking to
fill their new walls with original contemporary art.”<o:p></o:p></span></i></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Mary Heathcott<o:p></o:p></span></b></div>
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<b><span style="font-family: Georgia, Times New Roman, serif;">Executive Director<o:p></o:p></span></b></div>
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<i><br /><br /><span style="font-family: Georgia, Times New Roman, serif;">“I can reflect on several positive signals that usher us into the New Year at Blue Star.<br /><br /> People are still recovering from the recent economic recession, but there are indications people are ready to support artists and add artwork to their collections.<br /><br /> From an economic sustainability perspective, Blue Star was recently awarded an increase in our City of San Antonio operational funding. This is a competitive allotment granted to arts and culture institutions in San Antonio, and the fact that the city increased the amount awarded from last year to this year shows a commitment from the city to our programming and a well-received economic initiative to help us further our mission and continue to cultivate more outreach, more partnerships, and more community involvement.<br /><br /> Plus, our May 2014 Red Dot exhibition and fundraiser was the most successful to date, with the highest recorded income from art sales. There is a real energy for reinvesting in the rich art community of San Antonio and Texas. This recognizable trend of increased sales is again a promising signal of growth. We hope to continue building our supporter base and top art sales at our upcoming 25th Annual Red Dot on May 15, 2015. The Red Dot sale helps new and longtime art collectors make new discoveries, and we are excited to be able to support our local artist community through this endeavor. <br /><br /> There is also excitement for the upcoming programming at Blue Star in 2015. We want to continue building our partnerships with institutions locally, nationally and internationally. We have several initiatives in the works with partners like The Drawing Center in New York and our continued participation as the exclusive U.S. partner of the Künstlerhaus Bethanien artist residency program in Berlin, Germany.<br /><br /> Locally, our Art in the Garden collaboration with the San Antonio Botanical Garden will coincide with Contemporary Art Month this year, as will our Family Day on March 28, 2015. This will create a dynamic series of events hosted by Blue Star that will help promote and increase awareness of Contemporary Art Month.<br /><br /> These and other measurable, positive growth indicators show 2015 will be a wonderful year for Blue Star Contemporary Art Museum, factors that will help us continue our commitment to the local art community.”</span></i><div class="MsoNormal">
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<span style="font-family: Calibri, sans-serif;"><i><a href="http://issuu.com/nhometx/docs/nhome_janfeb2015_digital">http://issuu.com/nhometx/docs/nhome_janfeb2015_digital</a></i></span></div>
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<i><a href="http://issuu.com/nhometx/docs/nhome_janfeb2015_digital" target="_blank"><img alt=" http://issuu.com/nhometx/docs/nhome_janfeb2015_digital" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUyF_loOO5ZYXoY14zNEBwfOF5POB0J1SjzHS7vFMWET1tVZwDJtUIEWftR_jlnlkbIjrG7P2yMz29lUkXas-sUV9UFXb_NK0EbEC5vlOrWJAWTfEPu-g0GKyovwj3ewj2bRWFLwNdNa4/s1600/nhome+predictions+article+jan+feb+2015.jpg" height="400" width="640" /></a></i></div>
Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-27172697292629472332015-01-03T06:51:00.000-08:002015-01-03T06:51:19.772-08:00The High End of Tradition article in The Dominion Magazine by Gabriel Diego Delgado<br />
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<tr><td class="mcnTextContent" style="color: #606060; font-family: Helvetica; font-size: 11px; line-height: 13.75px; padding: 9px 18px;" valign="top"><span style="color: lightgrey;"><span style="font-size: 18px;"><span style="font-size: 46px;">H</span>ere is an excerpt from the January 2015 edition of the Dominion Magazine.<br /><br /><em>"The High End of Tradition" </em>spotlights Boerne Western artist, Jay Hester; firearms engraver and printer, Weldon Lister; San Antonio Artist of the Year, Seth Camm and internationally acclaimed impressionistic painter, X. Song Jiang.<br /><br />The article features their artwork and gives reference to the art market in Boerne and the higher end of traditional fine art available by artists and their gallery representatives in the Hill Country. It confirms examples that Boerne's art market is alive and well; supporting the price ranges of these genres of art. </span></span><br />
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<em>Feel free to email J.R. Mooney Galleries at gabrield@jrmooneygalleries.com for further questions regarding this content or artists.<br /><br />Disclosure: Gabriel Diego Delgado, is the Gallery Director for J.R. Mooney Galleries, Boerne; Jay Hester is represented by Texas Fine Art Treasures in Boerne; Seth Camm is represented by Ana Montoya Galleries in San Antonio and J.R. Mooney Galleries, Boerne; X. Song Jiang is represented by J.R. Mooney Galleries Boerne and San Antonio; Weldon Lister is a private dealer. </em><br />
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<br /><br />*** As seen in the Jan. 2015 edition of The Dominion Magazine<div>
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<u><span style="font-size: 36.0pt; line-height: 115%;">The High End of Tradition<o:p></o:p></span></u></div>
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<b><i><span style="font-size: 20.0pt; line-height: 115%;">Academic Art demands large prices in a small town.<o:p></o:p></span></i></b></div>
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By: Gabriel Diego Delgado<o:p></o:p></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Although San
Antonio’s art community is incongruously non-comparable to the worldly attracts
of the Austin, Houston, and Dallas art markets, there still is a competitive
level of skill, expertise, and know-how exhibited in and around the surrounding
San Antonio / Hill Country galleries. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Sure, the
McNay Museum, the San Antonio Museum of Art and the Witte are known to show
priceless artistic treasures, but now is the time to recognize some of the acclaimed
artists who can be seen in our local galleries. And yes, the various guilds,
clubs, art associations, memberships, schools, and the like have and are
producing a nice eloquent and eclectic array of artistic talent for this
region, but it is necessary to draw a spotlight on several artists who stand
out from the crowd. Believe it or not,
there are living artists who have passed through the gates of the surrounding
San Antonio metros; including Boerne who have extraordinary success stories making
their art sought after and sometimes pricing their work into the hundreds of
thousands. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Five artists
whose artwork have been consistently collected; laying claim to coveted national
and international art market recognitions are: Atlanta based and national
Photo-Realist painter, Thomas Arvid; Chinese born Canadian artist, Xiao Song
Jiang; local Boerne Western artist, Jay Hester; San Antonio 2014 Artist of the
Year, Seth Camm; and Boerne resident, Internationally recognized Master
Engraver and Printmaker, Weldon E. Lister Jr.
All their artworks resonate a dedicated craftsmanship that reflects in
their individual genres, and can be found and purchased locally.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Each artist
revels in a very traditional genre that is grounded in form, technique, and
historical importance; illustrating that the double blinder buzz of the
Contemporary art market is only unidirectional. The skewed and record breaking art auctions sales of
contemporary work is a bubble ready to burst, directing us to appreciate the
non-inflated sustainability of traditional artwork of living artists who can be
seen locally and demand escalated monetary affections. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Atlanta
based and internationally recognized artist, Thomas Arvid paints in a
photo-realist aesthetic. Larger than life wine bottles, corks, and other bar accoutrements
can be seen i</span><span style="font-size: 12pt; line-height: 115%;">n his signature downward still-life perspectives.</span><span style="font-size: 12pt; line-height: 115%;"> </span><span style="font-size: 12pt; line-height: 115%;">Self-taught, Arvid has mastered the classic
prose of realistic still life approaches, giving the audience a grander view of
his bottles, labels and corks via an artistic Sommelier. Now designing
signature wine labels with his own images, and working with vineyards in Sonoma
and Napa valleys, Arvid has found a way to incorporate two distinct worlds into
one. Confirmed are rumors that there is a four to five year waiting list on
original oil commissions. Prices on originals range can reach $120,000 to $150,000.
Limited edition giclee prints of his work can be seen at Fleming’s Prime
Steakhouse and Wine Bar, in addition to Boerne Wine Company and J.R. Mooney
Galleries.</span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Boerne’s own
Jay Hester closed his own gallery, Highland House in 2013, leaving behind the
administrative duties of day to day business and giving him the freedom to
continue to explore creative outlets for his own work. Considered one of the “Godfathers” of the
Boerne art community, Hester has helped usher in many arts organizations that
make up the backbone of the sleepy town’s artistic flair. A Western painter of
traditional imagery ranging from lawmen, horses, cattle, Native American, and
other attributes of Cowboy nostalgia, Hester revives the stoic personalities of
a time long ago. The mystic ways of the Native shaman; the rolling thunderstorm
of the Texas plains; the dusty, dirty and dog eat dog world of western
gun-slinging can all be seen in his work.
With an exhibition history that documents a wide variety of national art
conventions and fairs from Santa Fe to San Antonio; Hester’s legacy can also be
seen in his resume as represented by Texas Treasures Fine Art Gallery and
Sculpture Garden. The gallery’s website proudly states that, “Jay has produced
commissioned paintings for Texas Tech University and Methodist Hospital in
Lubbock, the Zaragosa Theater at Six Flags Fiesta Texas, USAA as well as many
other public collections. His monumental bronze sculptures grace The Woodlands,
near Houston, Driscoll Children’s Hospital in Corpus Christi, and Boerne’s
Veteran’s Park. ‘Lasting Friendship’, in Fredericksburg’s Marktplatz, is
represented by three heroic size figures depicting the treaty signing between
the Comanche Indians and the German settlers and was unveiled on the 150th
anniversary of the city.” These regional accomplishments mixed with national
inclusion have amassed to raise his stature, giving reason for price points
higher than most artists residing in Boerne, Texas. Hester’s paintings have
reached in the $20,000 to $25,000 price range. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Canadian
based but Chinese born, Xiao Song Jiang paints miniature masterpieces of
impressionistic expressiveness. He
specializes in imagery ranging from the urban cityscapes of many European
metropolitans to water and boats to impressionistic landscapes. As winner of the 2013 Oil Painters of America
Gold Ribbon award for his seascape titled “Tide”, Jiang saw a sudden increase
in international artistic academic circles as well as the U.S. Art Market. Jiang’s started his formal education with a
Bachelors of Fine Art from the Chinese Academy of Art, (formerly the Zhejiang
Art Academy). He also lectured at the
Wuhan Construction College, and then continued in his own academics at the
provincial Hubei Art Academy. Jiang has
received numerous awards with artworks displayed at international art
exhibitions in the United States, Japan, Hong Kong, Turkey, and Singapore. He also had the honor of having artworks
acquisitioned into the National Art Museum of China (NAMOC) and three artworks
at the Jiangsu Provincial Art Museum. Other
recognitions include articles about his work in <i>Southwest Art Magazine, Fine Art Connoisseur</i>, <i>Art of the West Magazine</i>, and others. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">With
inclusion in such esteemed collections and decorated with numerous artistic
accolades, Jiang’s small scale paintings demand attention, investigation, and
appreciation; and are priced upwards of $3,000 to $4,000 for his miniatures
under 8” x 10”, and his market for his small 18” x 24” can still reach into
the $15,000 price range. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Seth Camm,
winner of the coveted San Antonio Artist of the Year Award for 2014 draws from
the traditional masters like Caravaggio and Rembrandt. Trained at the Pennsylvania Academy (PAFA)
and mentored by international sensation Odd Nerdrum in Norway, Camm paints impressionistic
portraits of society’s downtrodden and melancholy still lifes; mixing in edible
assortments in an otherwise curiously mundane gestalt. Having had gallery representation for several
years in San Antonio, Camm has pushed the limits of portraiture by including
the personal stories of his subjects; bring to light the social taboos of
depression, drug addiction, homelessness, domestic violence and other
unflattering social faux pas. He is a painter that evokes the artistic
attributes of artists and artisans from long ago to help him forge his way
through contemporary issues using century’s old techniques. With chiaroscuro, <i>(Italian for the play of light and dark)
Seth </i>works through illusionistic shading; defining the illusion of volume. </span><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">His soft shadows, deep contrasts, and vibrant hues add a signature
timeless aesthetic in the world of contemporary art. Seth’s artistic genre,
craft, technique and dedication elevates him to a status reserved for master
painters. Often seen as a resident artist at the Bijou Theater in San Antonio
and the Haven for Hope Homeless Center,
Camm’s perseverance to tell a story is anchored by due diligence; getting to
know his subjects, hearing their stories, and is unashamed and unhesitant to <i>walk a mile in their shoes</i>. </span></div>
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<span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Also a portrait
painter of houses, Camm strives to capture the personality of the homeowner by
painting an impressionistic architectural landscape of custom homes. In a
Monet-esque fashion Camm delves into atmospheric light and relies on
traditional impressionistic aesthetics to create modern masterpieces with
contemporary concerns. The Noyes Museum of Art in Oceanville, New Jersey has exhibited
a large collection of the homeless series. Seth Camm’s awards </span><span style="font-size: 12.0pt; line-height: 115%;">include: The Jimmy C. Lueders Painting Prize, The
Pennsylvania Academy of the Fine Arts Fellowship Best of Show Award,
Thomas Eakins Memorial Prize, The Robert Carlen Memorial Endowment Prize, Louis
and Estelle Pearson Memorial Prize, The J. Henry Schiedt Memorial Travel
Scholarship, and many others. With the
recent San Antonio Art League recognition and museum exhibitions, Camm’s
artwork is currently holding a strong market value, with house commissions
ranging into the $10,000 to $20,000 range. </span><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Internationally
renowned artisan Weldon E. Lister Jr. of Boerne, Texas straddles two
distinctively different genres of art; the time honed art of firearm/ knife and
jewelry engraving and the fine art realm of printmaking. Lister is recognized as one of the top 44
living engravers by C. Roger Bleile in <u>American Engravers – The 21<sup>st</sup>
Century</u>. A third generation
engraver, Weldon has been spotlighted in publications ranging from <i>Texas Monthly</i> to <i>Gun Digest</i>. His engravings on timeless firearms have gained him an
expected notoriety. Using techniques
ranging from hand and chisel to Lost Wax castings, Lister’s signature aesthetic
borders on ultra-baroque; mixing in concise art deco embellishments. Lister is a member of the Firearms Engravers
Guild of America and the American Pistolsmiths Guild. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Esteemed
notables include a beginning apprenticeship at the age of 17, having studied in
the Grand Masters engraving program in Kansas, having been awarded the prestigious
Howard Dove Award, and designed work for President George W. Bush. Archived catalog auction results reveal some
of Lister’s guns have auctioned around $35,000.
Select engraved bracelets and jewelry available through the artist’s
studio in Boerne are valued at $4,500. However, now Lister is creating limited
edition intaglio prints of metal engraved printer’s plates. Images of hand
engraved firearms are available in sets of 50. Each plate showcases the talent
that would be reserved for real firearms, but as the artist expands his horizons,
client bases and techniques, new mediums are explored to reach a new visual
aesthetic. The intaglio plates are
engraved with the same precision as the guns, knives, and jewelry but have the
ability to be cherished by several collectors- not just one. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">In essence,
with the talent pool of local and regional artists and artisans there are underappreciated
and hidden gems in the Boerne area. Although this survey is only five artists
whose artwork garners higher prices, many more artists are out there for the
aficionado to discover. Sometimes that is half the fun – learning about artists
that have international and national acclaim and acquiring their work for your
own collection; a treasure that will be valued for years to come. However, keep in mind other San Antonio/
Boerne, Texas living artists whose artwork falls within the double and triple
digit pricing <i>and who can also be seen in
and around the Boerne area at market include</i>: Tim Cox, Bill Zaner, G.
Harvey; Steven DaLuz and others. <o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-4837789294805233882014-12-17T09:44:00.000-08:002014-12-17T09:44:01.736-08:00Fernando Andrade @ Blue Star Contemporary Museum art review<div class="separator" style="clear: both; text-align: center;">
<a href="http://artsandculturetx.com/playful-provocations-of-land-and-liberty/" target="_blank"><img alt=" http://artsandculturetx.com/playful-provocations-of-land-and-liberty/" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9dxcWLnhesoU-a3DOQAfHfWAImQqw7tOKoF0Ij8XEdbzJpzUplG-BXMw7bVL7t1_mljtk-uXUxNDA88QUPQv8JHjynsX8w2G2xDRzvGJUybmQD1JjTqoqGqsh3pZzHiYEP5OwspaAr4/s1600/ac+texas+land+and+liberty.jpg" /></a></div>
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<span style="font-size: large;">...In<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> Tierra Y Libertad</em></strong>, Andrade’s illustrations give us a juxtaposition of drug violence coupled with pictorial illustrations of innocent children’s games. <br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" />Metaphorical allegories ranging from the <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">“Fast and Furious”</em> gun trading catastrophe in Mexico, to lynching and beatings, acid baths, executions, dismemberments and kidnappings are all played out by children with their own spirited ploys of piñata hitting, social courting, start gazing, and make believe.....<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" />Read the full article at:<br style="box-sizing: border-box;" /><br style="box-sizing: border-box;" /><a href="http://artsandculturetx.com/playful-provocations-of-land-and-liberty/" rel="nofollow" style="border: 0px; box-sizing: border-box; color: #7b539d; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank">http://artsandculturetx.com/playful-provocations-of-land-and-liberty/</a></span></div>
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<br />Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-76367853476787812972014-12-02T10:28:00.000-08:002014-12-02T10:28:35.787-08:00Ed Wilson at Fl!ght Gallery Exhibition Review<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-size: 26.0pt; line-height: 115%;">Ed Wilson<o:p></o:p></span></b></div>
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<b><span style="font-size: 26.0pt; line-height: 115%;">One-Offs<o:p></o:p></span></b></div>
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<b><i><span style="font-size: 16.0pt; line-height: 115%;">Fl!ght Gallery<o:p></o:p></span></i></b></div>
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<b><i><span style="font-size: 16.0pt; line-height: 115%;">134 Blue Star San Antonio, Texas 78204<o:p></o:p></span></i></b></div>
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<b><i><span style="font-size: 16.0pt; line-height: 115%;">*** As Seen in the Nov./ Dec. Edition of NHOME Magazine</span></i></b></div>
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<b><i><span style="font-size: 16.0pt; line-height: 115%;">read the full edition of NHOME here at:</span></i></b></div>
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<span style="font-size: 21px; line-height: 24.5333347320557px;"><b><i><a href="http://issuu.com/nhometx/docs/nhome_novdec2014_digital">http://issuu.com/nhometx/docs/nhome_novdec2014_digital</a></i></b></span></div>
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October 2014<o:p></o:p></div>
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<span style="font-size: large;"> “One-Offs”, a solo
exhibition by Houston artist, Ed Wilson at Fl!ght Gallery is an eclectic mix of
casted metal and metal fabrications spanning almost over 20 years. Owners, Justin Parr and Ed Saavedra grant
opportunity to give voice to Ed’s political views but, sprinkle the exhibition and
offset our experience with very formal and personal testimonials to a lifetime dedicated
to craft, technique and artisan integrity. </span><o:p></o:p></div>
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I first met Ed Wilson in the spring of 2001. I, and Tex Kerschen, former curators at the
ArtCar Museum in Houston were curating a collection of artwork about
clandestine wars, armies, and operations throughout the world; focusing on CIA
operatives, third world conflicts and national governmental inappropriateness. This
exhibition titled “Secret Wars” brought international attention to the museum
and to the artworks of Ed Wilson and many others via an unannounced FBI field investigation
into underlying “Un-American activities”. Wilson’s work at that time touched on
the political aspects of Middle East conflicts, deforestation, and general
anti-war sentimentality. So, naturally when I heard Fl!ght Gallery in San
Antonio was going to host a solo exhibition of Ed’s work in October 2014, I
knew I had to catch up with the artist and see how he has progressed in the
past 13 years.<o:p></o:p></div>
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Upon entry into the gallery, one is met by a free standing
metal casted shop broom on one side and a pair of metal casted artist work
boots on the other. Immediately, these very personal attributes usher in a
sentiment of ‘welcome to my house’ and the layman cynicism of ‘walk a mile in
my shoes’. These juxtapose of material to object – (the weight of the metal vs.
the airiness of a broom bristle) is repeated several times as Ed investigates
various properties of his chosen medium and his visual representation of choice
subject matter.<o:p></o:p></div>
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Several large sculptures draw focus into the epicenter of the gallery;
quasi-monumental constructions that suck you in like “Twister”, an almost 7 ft.
vortex of 256 ft. of winded metal stripping acting as a whirling tornado,
spinning the viewer around and around into the gun metal grey world of Ed
Wilson. <o:p></o:p></div>
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Left of center sits an 8 ft. Native American arrowhead
titled, “The stone age did not end from lack of stone”. Stitched together with rectangular metal
constructs, mimicking the leather adornments or tee pee skin sheathings used by
a culture long exterminated, Ed relishes in a dichotomy that demands
exploration across various connotations and conceptual deceive-ments. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpi3U1vz3HYN1SIgBrC2ggjt5v4JgYQdfcuoSsGNBFFchvw-XMX6XpVQoZ91vgfK2n_UgVSb-SuC4u_rsNgQCQFdt6hQnvVFEdEqyEuwv7edhV1yyYhdlKMWMn1Y2wnHqKrP56sAFeZC0/s1600/domestic+round+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpi3U1vz3HYN1SIgBrC2ggjt5v4JgYQdfcuoSsGNBFFchvw-XMX6XpVQoZ91vgfK2n_UgVSb-SuC4u_rsNgQCQFdt6hQnvVFEdEqyEuwv7edhV1yyYhdlKMWMn1Y2wnHqKrP56sAFeZC0/s1600/domestic+round+(3).jpg" height="308" width="400" /></a></div>
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After passing the initial pieces, we are greeted by a large
manipulated photograph, mounted to the gallery wall showcasing a portion of
tools, artisan needs, and fabrication/ production utensils found in his studio.
The utilitarian layout illustrates his passion with evidence of worn grips,
weathered handles, and various other indications of routine use; solidifying artist
paid dues in decades of craft.<o:p></o:p></div>
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The key to the success of this exhibition lies in the story
told by visual cues; personal or political. “The Price of Oil”, a larger- than-life
wall mounted metal gas pump dispenses blood drops not gasoline, a leftist view
of blood for oil and a personal artist distaste for the U.S. involvement in
Iraq, Afghanistan, Syria, and Egypt. However, although overtly political one
can step outside of the taboo realm of this piece and appreciate the care and
craftsmanship put into it as a final product. On the opposite wall, a formal
architectural rendition of a typical house made of metal and inlaid with
various mixed media prints showcases his love for materials while toying with
metaphors of a person’s life cycle. <o:p></o:p></div>
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Moveable and playful, yet anchored only by their metal
weight are two smaller castings that give a thought to innocence versus
destruction, war, and ‘carnage’. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhklFQNdZ23eL3dR5A0BpddZ74eXRJfBFzkLWwJjvYDiuqjVR_bLcbsrfWH23865lwe-AVyoN86CY7olD0RMVz8EdqqZve78n2rxJ-wB938voHJRvHkHfd9-NwswWv-EgfQLiC6Czc2D-0/s1600/th+price+of+oil+(3).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhklFQNdZ23eL3dR5A0BpddZ74eXRJfBFzkLWwJjvYDiuqjVR_bLcbsrfWH23865lwe-AVyoN86CY7olD0RMVz8EdqqZve78n2rxJ-wB938voHJRvHkHfd9-NwswWv-EgfQLiC6Czc2D-0/s1600/th+price+of+oil+(3).jpg" height="308" width="400" /></a></div>
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“Child’s Play” a casted metal children’s tricycle is
outfitted with a modified WWII Japanese infantry rifle as a gun turret. “I had
two nephews that were involved in gun deaths”, said Wilson, giving context to
an already disturbing contraption. “There is a juxtaposition of innocent vs.
consequential violence”, he adds.
Conceptually, he alludes to the history of the gun, the possibility of
its own history of death, war, and role in World War II. Minus the cherry red paint, the tricycle is
ride-able and brings up a childhood nostalgia that weaves in furies of child on
child crime; inner city shootings to African children armies. <o:p></o:p></div>
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A casted turtle shell mounted on small tank treads creates a
rolling catastrophe of epic proportions, masked in a tiny package. Protection
of wildlife, pro animal rights, fighting against animal extinctions and man’s
roll in the destruction of the natural world all swirl into a sculpture that is
visually as mixed up as its intended meaning; a one off combine that was
happened by chance. <o:p></o:p></div>
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Small wall hanging metal relief architectural sculptures
that look like a basic house structure are a simple role reversal with
intermittent material/media examinations. Instead of addressing the role of log cabin
logs for the exterior supports of a cabin, Wilson puts them inside the house.
Stucco, brick and wood are hung together in a 3 piece children’s story; a
seemingly easy reference to a contemporary flair on the “Three Little Pigs” or
Handy Andy meets Ed Wilson. <o:p></o:p></div>
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The signature sculpture for the exhibition is a piece that
is purposefully alone, on a wall in the side hallway. A metal casted UZI
titled, “Carnage” is complete with serial numbers and an air of general
authentication shoots a single bullet; its tracer scribing the word ‘carnage’
in cursive across the space adjacent to the gun. The unabashed bullet is heading toward any
oblivious gallery attendant, as they walk through the exhibition. A summary of random violence, gun crimes, and
the destruction, killing and slaughter associated with war.<o:p></o:p></div>
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As a distinguished artist and acclaimed craftsman, Wilson
makes objects that demand attention, respect and investigation; a sheer
reflection of the artist and his aged demeanor.
Highly collected, Wilson’s art, although confrontational in some
aspects, can be a great asset to any collection. He gives unique voice to a wide variety of
cause while maintaining a strict professional aesthetic reflective of his
foundry techniques, relentless craftsmanship and a utilitarian dexterity. <o:p></o:p></div>
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© Gabriel Diego Delgado<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-84992071525437330832014-12-02T10:16:00.000-08:002014-12-02T10:16:30.578-08:00Seth Camm Spotlight article in Nov. / Dec. edition of NHOME Magazine<h1 class="article-title" style="background-color: white; border: 0px; box-sizing: border-box; color: #333333; font-family: Helvetica, Arial, sans-serif; font-size: 36px; font-stretch: inherit; font-weight: normal; line-height: 40px; margin: 0px; outline: 0px; padding: 0px 0px 10px; text-align: center; vertical-align: baseline;">
Seth Camm Spotlight article in NHOME Magazine</h1>
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<h2 class="center" style="border: 0px; box-sizing: border-box; color: #333333; font-family: inherit; font-size: 28px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: normal; line-height: 34px; margin: 0px 0px 30px; outline: 0px; padding: 0px; text-align: center; vertical-align: baseline;">
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<strong style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">San Antonio Artist of the Year</em></strong></h2>
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Each year the San Antonio Art League Museum sponsors a solo exhibition for the 2014 Artist of the Year, having held this event every year since 1945. The artist is honored with a retrospective exhibition and accompanying catalog. It provides an opportunity for artists within a sixty mile radius of San Antonio to participate in the competition and possibly be selected for the exhibit in the museum located in the King Williams District of San Antonio.</h3>
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This year, the coveted and highly prestigious award went to Seth Camm, a San Antonio based artist.</div>
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The San Antonio Art League Museum’s website states, “The annual San Antonio Artist’s Exhibition grew out of the fabled Edgar B. Davis Competitions of the late 1920s. It provides an opportunity for artists of all media, young or old, experienced or beginners, to be judged by a juror of repute for acceptance in the exhibition and to compete for awards and purchase prizes.”</div>
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Seth Camm, a contemporary painter evokes the artistic attributes of artists and artisans from long ago to help him forge his way through contemporary issues using century’s old techniques. With chiaroscuro, <em style="border: 0px; box-sizing: border-box; font-family: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">(Italian for the play of light and dark) Seth </em>works through illusionistic shading; defining the illusion of volume. His soft shadows, deep contrasts, and vibrant hues add a signature timeless aesthetic in the world of contemporary art. From impressionistic people, house portraits, landscapes, still-life and even nightmarish narratives, Seth artistic genre elevates him to a status reserved for master painters.</div>
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As 2014 Artist of the Year, Seth was chosen by a closed jury panel, his artistic gift dominated the submission selections. Mentored by the great Odd Nerdrum, a contemporary Neo- Baroque artist from Sweden, Seth was guided then delved into the classical techniques of Rembrandt, Michelangelo, and da Vinci.</div>
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With a dark and melancholy overtone, Seth’s portrait paintings take on spiritual affirmations; giving important to the discarded- the homeless, the forgotten, the dismissed; giving voice to the silent and granting eternal purity in the classic renditions for spiritual affirmations and relinquish of penance; washed away by an artistic shaman.</div>
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“The Artist of the Year” exhibition is also accompanied by a 36-page color catalog of Camm's work.</div>
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By: Gabriel Diego Delgado</div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0tag:blogger.com,1999:blog-2465395202982747697.post-4160423964382919912014-10-26T11:39:00.000-07:002014-10-26T11:39:19.050-07:00The San Antonio-centrism of Larry Portillo at Gallista Gallery, San Antonio<div align="center" class="MsoNormal" style="text-align: center;">
<b><i><span style="font-size: 28.0pt; line-height: 115%;">Larry Portillo<o:p></o:p></span></i></b></div>
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<span style="font-size: 22.0pt; line-height: 115%;">Gallista Gallery<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; line-height: 115%;">October 2014<o:p></o:p></span></div>
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<span style="font-size: 28.0pt; line-height: 115%;">The San Antonio-centrism of <o:p></o:p></span></div>
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<span style="font-size: 28.0pt; line-height: 115%;">Larry Portillo<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; line-height: 115%;">By: Gabriel
Diego Delgado<o:p></o:p></span></div>
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In October 2014 the San Antonio art community saw the reemergence
of absent painter named Larry Portillo.
After a long artistic AWOL, Portillo bursts out with new work, representing
all that is contemporary ‘Chicano Art’. Brilliant
blues, defined purples, glowing yellows, and self-referential imagery; mixed
with national, regional and local pride, Portillo makes a statement about who he
is and where he is from. <o:p></o:p></div>
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When I see the new work of Larry Portillo at Gallista
Gallery, one painting stands out as the one that summarizes the whole exhibition;
<i>the visual statement of Chicano pride</i>,
of San Antonio tradition, of South Texas nationalism. That painting titled, “ Blue Moon Bar”, an 24” x 24” acrylic
painting, depicts an older man up on a
hill overlooking the Lone Star Bar; up on that hill playing his accordion in
the lonely night, his only companion a dead tree- leafless but stoic
(reflective of the man’s posture). The man plays for the people below, the ones
in the bar- looking for love, for sympathy, for comfort, for friendship. He
plays because he knows he has too, a self-fulfilling gratitude of the world
below. Half a bottle of beer down by his
feet, he shares his melancholy music against a vast over-casted twilight sky. The moon glows under the violaceous haze of
the Texas skyline, an aura of xanthous miasma from the rural surroundings and
absent urban decay of the modern cityscapes. <o:p></o:p></div>
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I am immediately reminded of “The Fiddler on the Roof”, a
production referencing the precariously perched musician; a metaphor with
cultural significance. </div>
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In the movie, Tevye, the main patriarch says, <i>“A fiddler on the roof. Sounds crazy, no?
But here, in our little village of Anatevka, you might say every one of us is a
fiddler on the roof trying to scratch out a pleasant, simple tune without
breaking his neck. It isn't easy. You may ask 'Why do we stay up there if it's
so dangerous?' Well, we stay because Anatevka is our home. And how do we keep
our balance? That I can tell you in one word: tradition!” <o:p></o:p></i></div>
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I think<i> </i>of the
people who call San Antonio home, the die-hard Spurs fans, the West Side
priders, and the San Antonio egocentric mentalities. This accordion player up
on this hill is their fiddler on the roof, a metaphor , we hear the lonely
Tejano song, which plays deep into the heart of all of us who wear cowboy boots
with pride, who embrace all that is San Anto, and who feel why would anyone
want to live anywhere else. This accordion player signifies ‘tradition’, a way
of life, a nostalgic sensibility handed down from generation to generation as
we hold tight to South Texas identity and all the blended, multicultural influences
that have shaped our Latino identity; German, Irish and otherwise. <o:p></o:p></div>
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Portillo has captured all of this with an effective but simplistic
gestalt. <o:p></o:p></div>
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Other key paintings that also encompass this mindset include
two more paintings from the Gallista selections- “Flying Tacos” and “Cruising
South Alamo”.<o:p></o:p></div>
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<i>“Flying Tacos” </i>is<i> </i>a painting that depicts a green taco
truck backlit by the San Antonio city skyline; a Chicano-ized Thomas Kincaid complete
with inner glow -- but not from a quaint cottage of country time nostalgia, but
an authentic radiance from the portable Mexican restaurant. Los Flying Tacos is parked downtown at night,
feeding the people exiting the bars, the ones leaving the Spurs games, the local
celebrities including Joe Lopez, the owner of Gallista Gallery. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcUhEG7iGOyAvSVlbD28z3xV52_KB0mgd7_9YZD16hTLlP4-HDswPAtKbiPj6c9DrxBxhIwciXB-tM2sY_bC0S0qZa0iGPcf_pL4y6RpwWvq91uzqvvC9JVH8zA4_q_QGhSn-yZlgizc/s1600/larry+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbcUhEG7iGOyAvSVlbD28z3xV52_KB0mgd7_9YZD16hTLlP4-HDswPAtKbiPj6c9DrxBxhIwciXB-tM2sY_bC0S0qZa0iGPcf_pL4y6RpwWvq91uzqvvC9JVH8zA4_q_QGhSn-yZlgizc/s1600/larry+2.jpg" height="346" width="400" /></a></div>
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<i>“Cruising South Alamo”</i>
is a motorcycle melodrama between a man and his woman all mixed up in the familiar
streets of urban identity. <i>“Cruising
South Alamo”</i> is energized by the hue-riffic sensibilities of Portillo’s
aesthetic. We gain a greater respect and
pride for the characters portrayed in the painting. We start to identity with the burly Chicano
riders. Maybe it’s the Gypsies or the
Bandidos, but we don’t judge, they are part of our community, patrons of our
shops, bars and establishments. We know the neighborhoods, we know the owners
of that classic car. It’s our street, our people, and our life; complete with
Dia de Los Muertos insignia. <o:p></o:p></div>
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For more information about the artwork of Larry Portillo
check out Gallista Gallery at 1913 South Flores, San Antonio, Texas 78204, (210)
212-8606.<o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/03255404156120554101noreply@blogger.com0