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| Kara's Cupcakes |
April 29, 2011
Yum!
April 28, 2011
Featured Warehouse Sale Artist: Jessica Dunne
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| Jessica Dunne, Shack, 2009, spit-bite, 6 x 6 inches: photo credit; Chuck Thurston |
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| Jessica Dunne, Bicycle DE III, 2006, spit-bite, 6 x 8 inches: photo credit; Chuck Thurston |
Jessica Dunne has consigned a number of prints for the sale.
What Jessica Dunne says about her printmaking process:
I call myself a painter but I make monotypes and aquatints too. For the monotypes, I develop an image by dabbing etching ink onto a Mylar plate with my fingertips, subtracting the lights with cotton swabs. I then print from the Mylar onto a sheet of paper, and repeat the process over 50 times to create an image. The monotypes are really printed paintings: I make a single copy. The technique enables me to achieve a depth and subtlety of color that I have not found possible in any other medium.
The black and white “spit-bite” aquatints are yet another process. “Spit-bite” means biting the image with a combination of acid and saliva directly into a rosin-coated copper plate. The copper becomes the matrix for several identical prints--an edition. I find the fluid and painterly results worth the unsavory process. Monotype and spit-bite aquatint combine the freedom of painting with the mysterious quality of printmaking, where ink is pressed into the paper as opposed to resting on the surface.
In both techniques the final image is reversed from how I painted it, and contains unexpected marks and nuances. That unpredictability is what draws me to printmaking and, inevitably, sends me fleeing back to the relative comfort of painting.
Featured Warehouse Sale Artist: Daniel Phill
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| Daniel Phill, Anthesis, 2010, acrylic on canvas, 30 x 48 inches: photo credit; artist |
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| Daniel Phill, Bessaya, 2010, acrylic on canvas, 36 x 48 inches: photo credit; artist |
What Daniel Phill says about his paintings:
My current paintings explore improvised botanical imagery using abstract painterly processes. The works are a result of exploration and discovery. I believe the most complex emotions can be evoked from the simplest of forms, merging and emerging, interlocking and dividing. My vocabulary of color, shape, and texture are given form through movement.
The gestures, marks and scribbles found throughout my paintings are remnants of a process and journey, rather than simply compositional elements on a two-dimensional surface. My paintings evolve over the course of many layers, obliterating and revealing past histories of thought and action.
These abstract paintings are interpretations of vegetation and flowers that often tend to suggest landscapes. My interest in depicting imagery through the lens of abstraction informs my process. The ambiguity created by composing and dissolving of form creates a tension between abstraction, figuration, and the illusion of space.
Through pouring, dripping, scraping and smearing various viscosities of paint, I work to achieve images that are organic, spontaneous, and evolving. Raised levels of paint play an active role in defining form and establishing biomorphic shapes. Extended drips of and gestural paint - loaded brushstrokes help the paintings play between the boundaries of abstraction and representation.
April 27, 2011
The ABCs of Art Collecting
Ask questions. It’s worthwhile to begin by asking yourself: What emotions have I reacted to recently? What inspired them? What appeals to me - color, texture? What location would I like to see this work of art? Armed with these answers, you can then get to know the artist, the gallery. Don’t be hesitant to ask questions about the collecting process, and the artist as an individual.
Browse. As simple as it sounds, sometimes art collecting is merely about the hunt. If you establish your parameters—whether financial or aesthetic—the next step would be to simply look, look, look.
Commit. Just buy the piece. Malcolm Gladwell’s book Blink is about how we think without thinking, about choices that seem to be made in an instant - in the blink of an eye - that actually aren't as simple as they seem. Those instant choices can call upon our entire body of experience and lead to that "I don't know why I love it but I do" reaction.
Browse. As simple as it sounds, sometimes art collecting is merely about the hunt. If you establish your parameters—whether financial or aesthetic—the next step would be to simply look, look, look.
Commit. Just buy the piece. Malcolm Gladwell’s book Blink is about how we think without thinking, about choices that seem to be made in an instant - in the blink of an eye - that actually aren't as simple as they seem. Those instant choices can call upon our entire body of experience and lead to that "I don't know why I love it but I do" reaction.
5 Tips on Buying at the Artists Warehouse Sale
1. Before attending the event visit Facebook to preview more than 100 works. The preview is just that; it captures less than 10% of the art that will be for sale. We will have more than 1500 works available.
2. Arrive early, in comfortable shoes and with shopping buddies that will shore you up not slow you down. The best selection can be found when the Gallery first opens each day. At that time the work has been organized and staff can often locate pieces easily. Looking through the vast selection requires a lot of time on your feet – comfortable shoes are a must. And, remember, there’s nothing harder than trying to make a good decision on a major purchase with someone in tow that is either hungry or bored. Hiring a babysitter for the afternoon means you can have some uninterrupted time to look and buy.
3. If you are looking to fill a specific space or want to add art as a design element to your rooms, come prepared with exact measurements. Colors can be hard to remember. Bring a paint chip or swatch if you want to coordinate with an existing color scheme.
4. Know What You Want, but Keep an Open Mind. Everyone has a personal style that can often be expressed in terms like– sleek, modern, traditional, eclectic, etc. And most people know their favorite colors. Staff can make suggestions, but half the fun of buying art is the process of discovering what moves you. Be open to finding something you love!
5. The sale is 5 days only and the great deals end with the sale. Attend multiple days to allow yourself enough time to look through the selection. Set a budget, but be realistic. $50 will buy you a small sketch not a wall-sized canvas.
April 25, 2011
Dark and Bright
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| Maxine Solomon Element 1 Oil on canvas 40 x 40 inches $4800, 2006 |
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| Sofa from Propeller, Yellow garden stool from Gumps, chair from Propeller, chandlier form dominadesign |
April 21, 2011
Images of Works for the Warehouse Sale
Just about 100 images have been posted on this blog (Warehouse Sale 2011 page to the right) and on Facebook. New images are being posted daily but remember this is only a sampling of the work being brought in.
The first chance to purchase art by the more than 300 artists at incredible savings will be at the Preview Sale on Wednesday, May 4 from 6-9 p.m. The Preview Sale features two venues with over 7,000 square feet filled with art. Preview sale tickets are sold at the door for $10. SFMOMA members are admitted free.
Looking for images of your favorite artists' art? Use the blog search tool on the right, type in their last name, press enter and find the links to their artwork at the top of the page.
The first chance to purchase art by the more than 300 artists at incredible savings will be at the Preview Sale on Wednesday, May 4 from 6-9 p.m. The Preview Sale features two venues with over 7,000 square feet filled with art. Preview sale tickets are sold at the door for $10. SFMOMA members are admitted free.
Looking for images of your favorite artists' art? Use the blog search tool on the right, type in their last name, press enter and find the links to their artwork at the top of the page.
GUEST BLOGGER: Niki of Salt & Pepper
Niki, of Salt & Pepper joins us again. Inspired this time by our invitation and poster for the 18th Annual Warehouse Sale that starts in just 2 weeks from today, she has sent along a recipe for her own treat - Victorian Cupcakes!
From Niki:
These are unbelievably simple to make... you mix everything together and you're done! One bowl, no folding... easy!
Victorian Cupcakes
6 oz cake flour
6 oz butter (room temperature)
6 oz sugar
1.5 teaspoon baking powder
3 eggs
1.5 teaspoon vanilla extract
icing
6 oz butter (room temperature)
6 oz powdered sugar
warm water
for assembling:
powdered sugar
strawberry or raspberry jam
Sift together flour & baking powder in a mixing bowl, then add all of the other ingredients and mix over medium speed until smooth. Line a cupcake tin with 12 cupcake liners, and evenly fill the liners with batter. Bake for 30 minutes, or until a toothpick inserted into a cupcake comes out clean. Remove from oven and let cool on a wire rack.
For the icing, cream together butter and sugar until light and fluffy. Add a couple of drops of warm water if the icing seems too thick.
To assemble, slice each cupcake in half and spread jam on the bottom half and buttercream icing on the inside of the top half. Place the top half on top of the bottom half and press gently so the filling oozes over the edges. Finish by dusting the top with sifted powdered sugar.
Check out Niki's complete posting. Yum! Thanks again, Niki.
From Niki:
These are unbelievably simple to make... you mix everything together and you're done! One bowl, no folding... easy!
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6 oz cake flour
6 oz butter (room temperature)
6 oz sugar
1.5 teaspoon baking powder
3 eggs
1.5 teaspoon vanilla extract
icing
6 oz butter (room temperature)
6 oz powdered sugar
warm water
for assembling:
powdered sugar
strawberry or raspberry jam
Sift together flour & baking powder in a mixing bowl, then add all of the other ingredients and mix over medium speed until smooth. Line a cupcake tin with 12 cupcake liners, and evenly fill the liners with batter. Bake for 30 minutes, or until a toothpick inserted into a cupcake comes out clean. Remove from oven and let cool on a wire rack.
For the icing, cream together butter and sugar until light and fluffy. Add a couple of drops of warm water if the icing seems too thick.
To assemble, slice each cupcake in half and spread jam on the bottom half and buttercream icing on the inside of the top half. Place the top half on top of the bottom half and press gently so the filling oozes over the edges. Finish by dusting the top with sifted powdered sugar.
Check out Niki's complete posting. Yum! Thanks again, Niki.
April 20, 2011
Portait Landscape by Claire Pasquier Project Inspires
After Claire hosted an event at the SFMOMA Artists Gallery at Fort Mason last week, one of her subjects Cam "decided if Claire could create meaningful connections through art maybe" he could too. Check out what he is up to at simpleart.co.
And continue to watch Claire's facebook page to see new portraits and to contact her if you would like to participate at Portrait Landscape by Claire Pasquier.
Warehouse Sale Featured Artist: Suzy Barnard
Suzy Barnard will be brings these two paintings to the sale.
What Suzy says about her ship paintings:
For the last seven years I have been mesmerized by the ships I see from my studio window at Pier 70 in San Francisco. The particular light and weather conditions of the San Francisco Bay create an ever-changing scene, shrouding and illuminating the ships and water in ways that continue to fascinate me. Sometimes ghostly and glimmering, sometimes glowing in the full glory of sunlight, the ships are like large still lives on a liquid surface, sublime, mysterious, and full of longing.
Industrial yet romantic, large cargo ships seen from far away are imbued with poetry. While the shipping industry carries ominous associations surrounding environmental disaster, pollution, and the global economy, the ships themselves are symbols of freedom and new horizons. To me, they are formidable, proud and beautiful, and they keep appearing and disappearing in new ways that stretch my way of seeing, challenging me to capture the moment, before they glide away.
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| Suzy Barnard, Blossom, 2010; oil on wood, 26 x 32inches |
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| Suzy Barnard, Aqua Velvet, 2010; oil on wood; 32 x 38 inches |
For the last seven years I have been mesmerized by the ships I see from my studio window at Pier 70 in San Francisco. The particular light and weather conditions of the San Francisco Bay create an ever-changing scene, shrouding and illuminating the ships and water in ways that continue to fascinate me. Sometimes ghostly and glimmering, sometimes glowing in the full glory of sunlight, the ships are like large still lives on a liquid surface, sublime, mysterious, and full of longing.
Industrial yet romantic, large cargo ships seen from far away are imbued with poetry. While the shipping industry carries ominous associations surrounding environmental disaster, pollution, and the global economy, the ships themselves are symbols of freedom and new horizons. To me, they are formidable, proud and beautiful, and they keep appearing and disappearing in new ways that stretch my way of seeing, challenging me to capture the moment, before they glide away.
April 19, 2011
Featured Warehouse Sale Artist: Jennifer Bain
Jennifer Bain will be bringing in paintings for the 2011 Warehouse Sale - two of them are shown here.
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Jennifer Bain, Poppies, 2007; acrylic on canvas, 40 x 46 in.; photo: Philip Cohen |
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| Jennifer Bain, Mid Air, 2008; acrylic on canvas, 44 x 30 in.; photo: Philip Cohen |
What, Why, and How by Jennifer Bain
In elementary and part of high school I attended a school situated across the street from The Metropolitan Museum of Art in New York City. There were no admittance fees then, and very few attendees. I spent almost everyday after school walking the museum halls before I caught my bus across town to home. I loved no other place on earth more, except the woods in the country.
As an art student I came to learn that working in the realm of floral representation didn’t hold a strong rating beyond “decorative.” Many years of painting abstractly became confident, yet safe and gossamer. As this became the status quo my enthusiasm seemed to pallor.
The fact that our earth is loosing species hourly, daily, and terminally added fire to my desires to work from botanical and aviary sources which had ignited a spark in me so long ago.
Dangerous as it seemed, I let go my warnings from the past, to journey to the realm of the forbidden with what I hope is intelligence and postmodern sensibilities.
This work, therefore, is my overdue investigation of nature’s beauty, in hopes of eliciting awareness by seduction. I am exploring and describing using various incarnations of acrylic paint as my medium. I strive to overcome any enigmatic bias there might be in subject matter, alluring color, and the desire to make something “beautiful” by engaging myself with my materials and being fully aware of my process. I ask the viewer to re-evaluate and consider the awe of our natural world, and to re-examine the realm of the resplendent.
Experience Space
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| Laura Dufort Floating Buddha Field (silver)2005, Acrylic on linen 48x48 inches $8000 |
Laura Dufort's paintings are the embodiment of a quiet rigor. Her silvery white paintings are the result of movement and palette distilled into quiet clarity and gestural simplicity. They have a radiance. Made up of circles floating over a metallic surface, Dufort places emphasis on emptiness and the experience of space.
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| Floating Buddha Field installed as styled by Anthony Albertus |
April 18, 2011
Natural Distortions
Carol Inez Charney approaches photography with the sensibility of an abstract painter: she works in large formats, focusing on color, composition, and light. In her newest series of work, she paints with vibrant digital color over a grid of architectural photograhy. The filters of moving water that she builds into the surface are her way of bringing gesture, movement, fluidity, and chance (qualities often associated with abtract painting) into her work – but in a distinctly photographic language.
Interior Landscape is a photographic series that uses the natural distortions present in our every day world–moisture on windows–to evoke a painterly quality that recontextualizes our way of seeing the everyday architectural landscape, while still retaining a connection to the realism inherent in photography. While focusing on the most minute details of these natural distortions, we generate a space for quiet contemplation–breaking old, rigid view patterns and allowing for a new external and internal vision to occur.
Carol Inez Charney
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| Carol Inez Charney MKT 12009, Photograph 42x42 inches Edition 1/10, $3200 |
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| Carol Inez Charney POT 12007, Photography 32 x 32 inches Edition 4/15 $2500 |
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| Carol Inez Charney CB 62009, Photography 32 x 32 inches Edition 1/15 $2200 |
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| Carol Inez Charney EOMI2009, Digital chromogenic print 41 x 41 inches Edition 1/10 $3200 |
Interior Landscape is a photographic series that uses the natural distortions present in our every day world–moisture on windows–to evoke a painterly quality that recontextualizes our way of seeing the everyday architectural landscape, while still retaining a connection to the realism inherent in photography. While focusing on the most minute details of these natural distortions, we generate a space for quiet contemplation–breaking old, rigid view patterns and allowing for a new external and internal vision to occur.
Carol Inez Charney
April 14, 2011
Raspberry Cheesecake
Yum!
Each year the Artists Gallery selects an artist to create an original work for the annual Warehouse Sale poster and invitation. Pat Doherty’s painting, Raspberry Cheesecake (2010), was selected for this year’s eighteenth-annual fund-raising event.
Have you seen our poster around town? Let us know where in the comments!
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Have you seen our poster around town? Let us know where in the comments!
April 13, 2011
Nomadic Life
These new collages by Edith Hillinger are very dramatic when hung as a series or individually.
What Edith says about her inspiration:
These collages are infused with the idea of the nomadic life. This was the pattern of my early life starting out in Germany, growing up in Turkey and then coming to the United States. The work brings together all I have gathered from these very different cultures. Added to that is my long time interest in archetypal patterns, such as the zigzag pattern, that can be found on Hittite gold vessels, Indian baskets or as tattoos on the faces of Maori chiefs. These patterns seem to be biologically embedded in the human mind. Another influence are the meandering patterns, one pattern flowing into another, found in the work of some Aborigine and African Art.
I use a variety of Japanese papers and walnut and sumi ink to create the patterns that make up these collages.
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| Edith Hillinger Conversation 1, 2010 Collage on paper $2500 |
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| Edith Hillinger Landscape 1, 2010 Collage on paper 30 x 40 inches $2500 |
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| Edith Hillinger Personage, 2010 Collage on paper 40 x 30 inches $2500 |
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| Edith Hillinger Still Life 1, 2010 Collage on paper 30 x 40 inches $2500 |
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| Edith Hillinger Trio, 2010 Mixed Media 36 x 30 inches $2500 |
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| Edith Hillinger Untitled, 2010 Collage on paper 40 x 30 inches $2500 |
What Edith says about her inspiration:
These collages are infused with the idea of the nomadic life. This was the pattern of my early life starting out in Germany, growing up in Turkey and then coming to the United States. The work brings together all I have gathered from these very different cultures. Added to that is my long time interest in archetypal patterns, such as the zigzag pattern, that can be found on Hittite gold vessels, Indian baskets or as tattoos on the faces of Maori chiefs. These patterns seem to be biologically embedded in the human mind. Another influence are the meandering patterns, one pattern flowing into another, found in the work of some Aborigine and African Art.
I use a variety of Japanese papers and walnut and sumi ink to create the patterns that make up these collages.
April 12, 2011
Through luck, hard work or some combination of the two...
Willard Dixon just consigned new work to the gallery.
As he enters his fifth decade of painting this is what he says about his work:
With the perspective afforded as my practice of painting moves into its fifth decade, I have occasion to reflect on the common spirit that might be running through the work, underlying the different approaches and subject matter that have emerged over the years.
What I perceive most clearly in the work that is most successful, is a sense of presence or aliveness, and a "rightness" of form, scale and color. Somehow through luck, hard work or some combination of the two, I've been able to find and draw these qualities out of the paint. In my landscapes, that can be achieved through a certain evocation of space and light. In the still lifes, by a concentration on composition and scale and a reduction to essentials, and now in the portraits, engaging similar means in the service of conjuring a human presence.
Through it all I've learned to accept and enjoy the impossibility of having more than a momentary resting place before moving on to another attempt. I do appreciate more and more the way a painting, its spirit arising out of such humble materials, continues to rest silently on the wall, contemplating both itself and the viewer amidst the hurried buzz of our contemporary lives, offering a refuge and occasion for those who desire a deeper and more satisfying engagement of our attention.
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| Willard Dixon Nob Hill Oil on canvas 31 x 29 inches $5,000, 2007 |
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| Willard Dixon Lagoon Oil on canvas 48 x 33 inches $6,000, 2005 |
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| Willard Dixon Grey Ocean II Oil on canvas 54 x 66 inches $12,000, 2010 |
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| Willard Dixon Big Sky Oil on canvas 67 x 96 inches $14,000, 2007 |
As he enters his fifth decade of painting this is what he says about his work:
With the perspective afforded as my practice of painting moves into its fifth decade, I have occasion to reflect on the common spirit that might be running through the work, underlying the different approaches and subject matter that have emerged over the years.
What I perceive most clearly in the work that is most successful, is a sense of presence or aliveness, and a "rightness" of form, scale and color. Somehow through luck, hard work or some combination of the two, I've been able to find and draw these qualities out of the paint. In my landscapes, that can be achieved through a certain evocation of space and light. In the still lifes, by a concentration on composition and scale and a reduction to essentials, and now in the portraits, engaging similar means in the service of conjuring a human presence.
Through it all I've learned to accept and enjoy the impossibility of having more than a momentary resting place before moving on to another attempt. I do appreciate more and more the way a painting, its spirit arising out of such humble materials, continues to rest silently on the wall, contemplating both itself and the viewer amidst the hurried buzz of our contemporary lives, offering a refuge and occasion for those who desire a deeper and more satisfying engagement of our attention.
Tenuously balanced blocks...
and small hopeful symbols of structure. What a lovely way to talk about these collages by Claire Cotts.
Here is what Claire says about this body of work:
In the abstract paintings, there is a pull and tug between forces: disorder and entropy countered by balance and structure the tangle and chaos of vines intermixed with off-kilter, tenuously balanced blocks and small hopeful symbols of structure: a seed pod, a bud, a branch. I hope they convey the feeling of constrained joy I have when I make them - the nervous breath-held happiness a child has while stacking up books and blocks and toys into a precariously swaying tower.
Read an interview with a collector of Claire's work, Keith Glanz.
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| Claire B. Cotts, Circus Quilt #1, 2006, Acrylic/vintage collage on panel, 20x16 inches, $950 |
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| Claire B. Cotts, Circus Quilt #2, 2006, Acrylic/vintage collage on panel, 20x16 inches, $950 |
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| Claire B. Cotts, Circus Quilt Birthday Acrylic/vintage collage on panel, 16 x 20 inches, $950, 2006, |
Here is what Claire says about this body of work:
In the abstract paintings, there is a pull and tug between forces: disorder and entropy countered by balance and structure the tangle and chaos of vines intermixed with off-kilter, tenuously balanced blocks and small hopeful symbols of structure: a seed pod, a bud, a branch. I hope they convey the feeling of constrained joy I have when I make them - the nervous breath-held happiness a child has while stacking up books and blocks and toys into a precariously swaying tower.
Read an interview with a collector of Claire's work, Keith Glanz.
April 8, 2011
Interview with Amit Greenberg
Last summer Amit Greenberg participated in our Wondrous Strange Show. He has now moved on to Brooklyn but he was recently interviewed in Oakazine and discusses one of the pieces exhibited in the Wondrous Strange show, what he is up to now and a recent video Anthropology of Fashion Week. Read the article and see the video.
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| Amit Greenberg Cocoon Tree 2, 2010 Branches and moss 32 x 34 x 32 inches |
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| Greenberg performing in the video A Single Ceremony, Photo by Tracy Morford |
Last summer Amit Greenberg participated in our Wondrous Strange Show. He has now moved on to Brooklyn but he was recently interviewed in Oakazine and discusses one of the pieces exhibited in the Wondrous Strange show, what he is up to now and a recent video Anthropology of Fashion Week. Read the article and see the video.
April 7, 2011
Dive into the warm, sensuous emptiness...
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| Robert Ogata with Haiku 10. Photo by Maureen Davidson |
The eloquent simplicity of Robert Katsusuke Ogata’s recent paintings is a state achieved only after a lifetime of exploration. Ogata traveled many roads as an artist to get here—here, where an ambiguous gesture in black chalk on white canvas speaks volumes and draws the viewer closer, all the better to dive into the warm, sensuous emptiness of a pond of luminous white, but also pushes the viewer back for perspective and a view of the whole vision.
Maureen Davidson, Santacruz.com. Read the article
Here is a sampling of work consigned to the Artists Gallery by Robert.
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| Haiku 2, 2010 Chalk and polymer on canvas 56 x 66 inches, $6,500 |
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| Haiku 13 (diptych), 2010, Chalk, polymer on canvas, 56 x 132 inches, $18,000 |
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| Haiku 20, 2010, Chalk, polymer on canvas, 30 x 66 inches, $6,000 |
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| Interior Design by The Wiseman Group Text by Patricia Leigh Brown/Photography by Matthew Millman Published April 2010 |
Robert's work was featured in Bay Area Embrace:An Asian Aesthetic Defines a High-Rise Apartment in Downtown San Francisco, Architectural Digest. Read the complete article.
Review of the Current Show
We’ve heard much about the “dialog” between painting and photography, and throughout history there have been many such “conversations”. This show, at least from a distance, didn’t promise to be one of them. Westerhout photographs the interiors of decayed buildings; Bolles makes color field paintings. The success of this unlikely pairing shows how an inspired curatorial vision can bridge the arbitrary divide we sometimes erect between media. Read the complete review
David Roth, Square Cylinder
April 6, 2011
Play Ball!
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| Charles Valoroso, World Series, 2011 Acrylic on canvas, 30 x 24 inches, $1,500, 2011, |
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| Charles Valoroso, The Beard Acrylic on canvas, 18 x 24 inches $500, 2011, |
An Infusion of Art and Math
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| Cosmic Voyage, 2010, Oil on canvas, 60 x 72 inches, $6,000 |
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| Sonora 12, 2010, Oil on canvas, 60 x 36 inches, $3,200 |
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| Sonora 14, 2010, Oil on canvas, 60 x 48 inches, $3,800 |
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| Sonora 18, 2010, Oil on canvas, 60 x 36 inches, $3,200 |
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| Hermosillo #4, 2010, monotype, 33 x 25 inches, $1,125 |
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| Hermosillo #6, 2010, monotype, 33 x 25 inches, $1,125 |
Liz Maxwell just consigned a number of new paintings and prints to the gallery. Liz's work is a favorite of many of the gallery's clients and it is nice to have a selection of new works. To find out more about Liz and her background, read the interview Artist Liz Maxwell invokes nature, math, flight by Samson Reiny, University of California, Berkeley Graduate School of Journalism.
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