33 Unique Seats

The SEAT Exhibition at Fort Mason is a year-long installation project featuring unique outdoor seating designs.

The curators of SEAT, Topher Delaney + Kika Probst of Seam Studio, have brought their expertise in the field of public art and reached out to the diverse and creative Bay Area community with a request that artist’s create a seat which is responsive to the site and the extraordinary weather conditions of Fort Mason Center.

Concept drawings and completed pieces for SEAT

Each artist has considered and built a unique expression of the SEAT project which they have generously loaned to Fort Mason. Of special interest are the working collaborative partnerships which have grown through this exhibition. Read more about the project at the Fort Mason Center website, along with a list of participating artists and their biographies.

Deladier Almeida Featured in Southwest Art

 

Deladier Almeida

 

Deladier Almeida | Carrying On a Tradition

Southwest Art, June 12, 2011

By Bonnie Gangelhoff

The first thing you should know about Deladier Almeida is that when he was 5 years old, he asked his neighborhood pals in the port city of Santos, Brazil, to pose for him while he sketched their portraits with his school pencils. When he was 7, he saw a movie featuring an artist who demonstrated how Leonardo da Vinci may have painted the MONA LISA. He was riveted to the screen, and he knew at that moment what he was going to be when he grew up. “There weren’t any artists in my family. It was all just spontaneous for me,” Almeida says.

The charming efforts and interests of the young Deladier were a foreshadowing of things to come. Many years later, Almeida would ask an array of prominent California artists, including Paul Wonner, Gregory Kondos, and Clayton Bailey, to sit for him as part of a series for a 2006 show at John Natsoulas Gallery in Davis, CA. Likewise, the MONA LISA would pop up decades later as part of his provocative visual commentaries on modern life.

Deladier Almeida
Melon RowOil on linen board
10 x 18 inches
$2,500, 2009

Today the California-based Almeida, 50, is known for both his landscapes and his figurative works. This month a solo show at Blue Rain Gallery in Santa Fe, NM, spotlights both genres, including his paintings FORTRESS and OBFUSCATION. One day recently, Almeida sat down in his studio and reflected on his life, now half spent in Brazil and half in the United States. Slight traces of a Portuguese accent lace his speech. It’s hard to believe that when he first arrived in the United States in 1985, he didn’t speak a word of English. These days he speaks it with the speed of a native New Yorker as he talks enthusiastically about art, geology, and technology.

Deladier Almeida (pronounced de-LA-dee-ay al-MAY-dah) left his native Brazil in 1985 after meeting and marrying an American exchange student. The couple eventually settled in the Northern California college town of Davis, located in the fertile Sacramento Valley. In Brazil, Almeida had studied architecture, industrial design, and urban planning and worked at a Sao Paulo newspaper creating portraits of international heads of state. But in the United States he decided to enroll in the fine-art department at the University of California at Davis.

Deladier Almeida
Anode MusicOil on linen
32 x 42 inches
$6,500, 2010

Pundits are fond of saying that being in the right place at the right time is all-important, and for Almeida that was certainly the case. When he entered the UC Davis art program, legendary artists Wayne Thiebaud, Roland Peterson, and Roy De Forest greeted him in his painting and drawing classes. Even before Almeida arrived, the Davis campus had been evolving from a sleepy university known for home economics and agricultural studies into a hotbed of creativity, thanks to the art department. In fact, today whole museum shows are devoted to the painters, sculptors, and ceramists who taught and studied in the department from the 1960s onward.

Thiebaud, Peterson, and De Forest were all part of the Bay Area Figurative movement—a cadre of artists that turned New York’s Abstract Expressionist movement on its ear, creating their own answer to the East Coast hegemony. The Bay Area Figurative artists left behind the abstraction of Jackson Pollock and Mark Rothko and replaced it with artworks marked by figures, humor, and a return to realism. The Davis art department in particular became known as a center for the humorous side of the Bay Area Figurative movement, according to Susan Landauer, a curator at the San Jose Museum of Art. She wrote about the subject in a catalog essay that accompanied The Lighter Side of Bay Area Figuration, a museum exhibit in the year 2000.

Read the complete article.

The SFMOMA Artists Gallery has a selection of Almeida's still life and landscape works available.

Learning to Draw

Video: Learning To Draw
Posted by The New Yorker

This week in the magazine, Adam Gopnik writes about what he learned when he learned to draw. In this video his teacher, Jacob Collins, begins a self-portrait and discusses his representational style..








Read more http://www.newyorker.com/online/blogs/newsdesk/2011/06/video-jacob-collins-drawing.html#ixzz1QayoUiED

Studio Visit: Kai Samuels-Davis

Today we will have an online visit to the studio of Kai Samuels-Davis located in Bodega Bay. A quick look into the space where the artwork is made.

Kai Samuels-Davis' work utilizes expressive realism to creat a mood of melancholy, self-reflection and solitude, all meant to provide a sort of quiet escape. We have a number of his landscapes available at the Gallery.

Kai Samuels-Davis
Fog lifting over hillsideOil on wood
15 x 20 inches
$1,200, 2010

Kai Samuels-Davis
Still morning (Russian River)Oil on wood
18 x 18 inches
$1,300, 2010

Kai Samuels-Davis
Sky over Sonoma coastOil on wood
24 x 24 inches
$1,500, 2010



Kai Samuels-Davis
Bodega Bay SunsetOil on raised panel
36 x 60 inches
$4,500, 2011



Kai Samuels-Davis
Bodega Bay SunriseOil on raised panel
36 x 60 inches
$4,500, 2011



Road Trip

The Artists Gallery has new photography by Philip Ringler.

Philip Ringler
Ladies and GentlemenSilver Gelatin Print
63 x 42 inches
Edition 1/1
$5,000, 2011

Philip Ringler
MartyrSilver Gelatin Print
63 x 42 inches
Edition 1/1
$5,000, 2011

Philip Ringler
Things Are Looking UpSilver Gelatin Print
63 x 42 inches
Edition 1/1
$5,000, 2011

What Philip says about this new work:
"Things Are Looking Up" is a series of black and white photographs that re-invent roadside Americana as a sinister visual landscape. I made these photographs during a road trip across historic route 66 from Illinois to California with the intention of turning conventional roadside imagery on its head.  The images function as metaphors for my emotional relationship to the current cultural/economic climate of the United States. Images of dinosaurs and folk art, commonly presented in a benign nostalgic documentary style, are electrified by high contrast 35mm film printed on 60"x40" fiber base silver gelatin mural paper. The difficulty inherent to the mural printing process mirrors the struggle of existing as an artist in the depressed American economy.

Read more about Philip and his work.

What's Familiar

Marie with an installation of her work

Marie Van Elder has just consigned new work to the gallery. Van Elder paints what's around her, what's familiar, surfers, her daughters, her dog.

Marie Van Elder
Untitled (2 girls)
Monoprint
30 x 24 inches
Edition 1/1
$800, 2008

Marie Van Elder
Untitled (girl-dog)
Monoprint
30 x 24 inches
Edition 1/1
$800, 2008

Marie Van Elder
Untitled (big rock-3 surfers)
Oil on canvas
6 x 12 inches
$900, 2009

Marie Van Elder
Untitled (10 surfers)
Oil on canvas
6 x 9 inches
$800, 2011

Marie Van Elder
Untitled (big rock-2 surfers)
Oil on canvas
8 x 10 inches
$900, 2011

Black Magic



via Anthology Magazine




via decor pad




via Elle Decor

 Black paint is in. It may not be for everyone but it does have a look of sophistication and drama and sure shows some artwork to amazing advantage. Here are a few choices available at the Artists Gallery that could  find their home easily on a black wall.

Maizie Gilbert
Mostly After Dark no. 34, 2002
Pigment Print
31x41
Edition 1/8
$2,100

Maizie Gilbert
Mostly After Dark no. 39Pigment Print
31x41
Edition 1/8
$2,100, 2005

Silvia Poloto
HushMixed Media
44 x 44 x 4 inches
$5,200, 2010

Sandra  Russell
At the Foot of the North MeadowOil on canvas
48 x 60
$5,500, 2008

Andrea Voinot
BranchingOil pastel/ Oil stick on paper
37 x 37 inches
$1,800, 2009

Andrea Voinot
ConnectionOil pastel/ Oil stick on paper
37 x 37 inches
$1,800, 2009

Carol Inez Charney
POT 1Photography
32 x 32 inches
Edition 4/15
$2,400, 2007

Organizing the Chaos of an Expansive Space

The inventory at the Artists Gallery is always changing with new consignments and also the addition of new artists to the gallery. Robert Reed is a new artist to the gallery and he has recently brought in these new paintings.

Island, 2010
Acrylic on paper
34 x 39 inches
$1,600

Blossom, 2010
Acrylic on paper
25 x 26 inches
$800

Longitude, 2011
Oil on canvas
36 x 36 inches
$2,000

Heartbeats, 2011
Oil on canvas
30 x 36 inches
$1,800

Gloomy Sunday, 2011
Oil on canvas
30 x 40 inches
$2,000

Folly, 2011
Oil on canvas
28 x 28 inches
$1,400

What Robert says about his work:
My recent work has been influenced by satellite imagery of the earth; I use high color resolution photos as a departure into the world of abstraction.  This macro-perspective allows me to experiment with shape and form, organizing the chaos of an expansive space into an artificial landscape that inspires and peaks my sense of wonder.  I want to travel to these imaginary spaces and get lost in the fantasy world that emerges.   The brilliance of color and layers present give the work a spatial connotation, suggesting without describing a playful use of the elements water, air, earth and fire within the composition.

Fascination with Texture, Form and Color

Mark Bowles recently consigned a number of new works to the gallery.

Spring Rain, 2010
Acrylic on canvas
48 x 48 inches
$8,000

Magenta Sky, 2010
Acrylic on canvas
36 x 36 inches
$4500

Summer Heat #4, 2010
Acrylic on canvas
60 x 60 inches
$12,000

Fields of History, 2010
Acrylic on canvas
48 x 48 inches
$8,000

The Weight of the Weather, 2010
Acrylic on canvas
48 x 48 inches
$6,000

Nightscape, 2010
Acrylic on canvas
60 x 48 inches
$10,000

What Mark says about his work:

Whether I am working with a still life, the human figure, or landscape, I am always fascinated by texture, form and color which I use in expressing how I feel about what I am seeing. I do not limit myself in what I paint or how I might interpret what I see. This freedom allows my work to move from representational to minimalist to abstraction. My work is ever changing, ever challenging and always a passionate delight. It is always my intention to address the canvas directly, honestly, and boldly. My heart is always pushing my work to find new language in expressing what I see and how I feel about it. The result therefore is not just an intellectual exercise for me, it is being involved in the “Now”...always open for change and challenge always ...evolving.


Exploring color, composition, the quality and attitude of a line, as well as various materials will always fascinate and be tools for me. It is my goal to draw the viewer into my space and let them become involved in their own personal journey and discovery of the work. The ultimate reward for me is to communicate something new to the viewer even if for just a moment in time.

Perfect Addition

Via housetohome

This light and neutral room is serene and relaxing, but what about a little colour and interest with the addition of a painting. Michelle Mansour's Waiting for Time would be a perfect addition.

Michelle Mansour
Waiting for Time, 2007
Acrylic, ink, silicone on muslin on panel
18 x 40 inches
$2,400

Michelle's process includes layering translucent washes of color and building up a system of marks. As amorphous shapes bloom through the application of fluid pigment to wet surfaces, she proceeds by applying tiny marks and patterns to create an ethereal space where particles gather and disperse in an endless cycle. In some areas these particles accumulate, and in the case of the works on panel, layers of silicone begin to grow, emerge, and cluster on the surface. They are fascinating and beautiful paintings.