Tuesday, December 11, 2012

American Art Collector Magazine Article

Steps of the Ryman  charcoal on plywood, gouache, hand-built altar
I will be having a four page article in the February 2013 edition of American Art Collector Magazine, where I'll be discussing both my paintings and my new work on wood that will be heading to The Arts Company in Nashville for Altar-nate, my March exhibit there!
American Art Collector Magazine

Monday, December 3, 2012

International Artist Magazine feature

I will have a one page feature in the upcoming International Artist magazine #89 February / March 2013 issue. It will focus on my Produce Paintings process.

Description of the magazine from Amazon.com:

"Product Description

In each 164 page bi-monthly issue of International Artist magazine we take you inside the studios of the world's best artists. They tell you the thought processes behind their creative methods and reveal their painting techniques. For beginners, intermediate & professionals as well."

This should be cool.



Tuesday, November 13, 2012

December Exhibit at Target Gallery: 5x5(x5)

Seed Pods: Optically Focused/ pigment inkjet print on rag paper, glass
 My triptych Seed Pods, Optically Focused will be going to Target Gallery's 5x5(x5) this December.

Target Gallery, Torpedo Art Center, Alexandria, VA
Exhibition Dates: December 8th - 30th, 2012
Reception: December 13, 2012
Back by popular demand, this exhibition examines work on a very intimate scale. This juried exhibition includes 112 small works by 68 artists from around the country. This is an all-media exhibit that was open to all artists nationally and internationally. All work is under five inches in any direction.

Our juror, Stefanie Fedor, is the Executive Director of Arlington Arts Center. Before joining AAC, she served as the Assistant Director of the American University Museum at the Katzen Arts Center where she presented over 80 exhibitions of contemporary art featuring the work of both emerging and internationally renowned artists. She has additionally managed and directed exhibitions programs at the Maryland Institute College of Art and New York University. Before relocating to the Washington DC area, Ms. Fedor was the Membership and Regional Alliances Manager at ArtTable in New York, a national professional organization for women in the visual arts. In this role she advocated for and supported the leadership of women in the arts. She has remained active with the organization and was recently elected to serve on the Board of Directors as the VP of Membership.

Tuesday, October 9, 2012

Confrontations and Observations will be at Yeiser Art Center in Paducah, Kentucky until Oct. 30, 2012.

The exhibit features the work of Knoxville, TN artist Denise Stewart-Sanabria  www.stewart-sanabria.com, and West Lafayette, IN artist Christine Wuenschel www.christinewuenschel.com 

The Yeiser's new Yak sculpture has been Yarn Bombed!
Yeiser Art Center www.theyeiser.org is the principle art non-profit in Paducah, Kentucky, a city that was put on the arts map by a major urban renewal experiment driven by an artist relocation plan. People whom I've exhibited with in the past, Travis Graves and Anne Bagby had shown there, so I liked that. Also, Wuenschel and I are in a book together, INDA 6, produced by Manifest Gallery in Cincinatti, so I  knew her work and loved it. Local professor Randy Simmons, ironically also in that same book, was on the Yeiser board at the proposal submission time and pushed to have us exhibit together. It's interesting when you find out how the process works.

My installation piece, Quantum Confusion, filled the center of the gallery, while Wuenschel's drawings on paper covered the walls. My favorite aspect of the blending of our work was how her massive panoramic piece looked from the back of my piece. My people became silent observers.

Wuenschel, (left) and myself hit our gallery talks.
Wuenschel talks with Randy Simmons, local professor at WKCTC http://www.randysimmonsdrawings.com/Home.html

We appreciated a really decent article in the Paducah Sun. (Note to artists who do nudes; PG crop your 300 dpi's before submitting to papers-that way the other artist doesn't get handed all the image space and ends up feeling like a hog.)


Walk Around Time

I had a whole day to wander around downtown. It is a really beautiful town with an interesting history. We ate in a bar that had these tiles on the floor. I like weird tiles.

The night before, we had been on the outside of town, which had a certain kultural authenticity that reminded me of Pigeon Forge, TN. So, we stuck to downtown.

Downtown has had tremendous renovation, with more to go. I think they are working on this beautiful old movie theater (above) and below, you can see one of the old brick streets and the side of the Yeiser, that connects to a small history museum.
There is a history of incredible floods in the city, as the marker on the side of a building on the 3rd block from the river attests. This portion of the Ohio River is just miles above where the Tennessee River joins it. The gallery is 2 blocks from the river.
The entire river side has lines of flood walls that now protect the city from disaster, painted with wonderful history murals.
The chair below is on the Kentucky side, the land on the other side is Illinois.

Farmer's Market: Stuff for sale above, extinct food supplies below.
Early settlers and Indians discover the National Quilt Museum.
The neighborhoods downtown where the artist relocation program occurred have gone from ruins to gorgeous. Many of the artists who live there don't exhibit locally, but many have galleries in their studios. 2nd Saturdays are when they open for receptions to the public together, but many are open Sat. afternoons. When I went to William F. Renzulli's studio (he relocated from PA), he showed me something really cool I'd never heard of-clay slip printing. He has this huge clay tablet he uses as a base. The basic concept is mono-printing, but is done on the tablet with clay slip mixed with pigment and other materials. He has just smeared on a couple pigments here, and is grinding chalk dust into part of it, plus using a plastic circle as a stencil. After, he sprays it with water a bit, and then sprays his print surface, which is not paper, but commercial garment interfacing. It is the stuff used to stiffen lapels, waistbands, ect. It is white, and partially translucent. He does a series of prints using a roller for transfer. Each print is pulled from a sub-surface of the first, where years of previous slip and pigment reside, ready to be reactivated. It is kind of like an archeological dig.
This below shows the transitions from 1st pull, upper left, to last, lower right.
I went next to Keyth Kahrs' studio. He is mainly a landscape painter who does pop art also, like the multilayer plywood cutout corn dog painting. He's working on a hotdog now. I think they'd be cool in a restaurant.
More wandering around:
See all the locations for Finkel's? I was excited to see Metropolis. I went on a search for Superman.
I found him!
I spent some time just wandering around playing Photo Shoot, and found more cool stuff.

Paducah School of Art, below.

Sunday, September 30, 2012

October Exhibit: "Confrontations and Observations: Drawings by Denise Stewart-Sanabria & Christine Wuenschel."

The Yeiser Art Center of Padukah, Kentucky hosts an exhibit titled "Confrontations and Observations: Drawings by Denise Stewart-Sanabria & Christine Wuenschel." The opening reception will be held Saturday, October 6, from 5PM to 7PM, and the show runs through Tuesday, October 30.

(the dates on their web site haven't been corrected)

Quantum Confusion    Denise Stewart-Sanabria  charcoal on plywood   8' x8' x 18'

Christine Wuenschel
In the Flesh (side-view)

Thursday, September 6, 2012

Upcoming Lecture at the Huntsville Museum of Art

The Huntsville Museum of Art
The Artists' Point of View
Sunday, September 16, 2 p.m.
in conjunction with
The Red Clay Survey: 2012 Exhibition
of Contemporary Southern Art

Dori DeCamillis in Red Clay
Dori DeCamillis, Museum Purchase Award Winner, Thy Self, Thy Foe, 2011, oil on panel, 16x20 in.
Only 10 days remain to view 80 works by 61 artists
from 10 Southern states in the the popular Red Clay Survey!
On the final day, join Red Clay artists Denise Stewart-Sanabria
of Knoxville, Tenn., Kathleen Girdler Engler of Augusta, Ga.,
Dori DeCamillis of Birmingham, Ala., and John Powers also
of Birmingham, as they discuss their works in person.
The program is FREE to Museum members
and included in general admission for non-members.
Join us for a reception following the program.
Click HERE for more information
or call 256-535-4350.

Tuesday, August 14, 2012

Inclusion in Review/Fort Wayne Museum of Art

Michelle Davies | The Journal Gazette
A series of realist paintings by Jaye Schlesinger, featuring the rear ends of various vehicles, wait to be hung for Saturday’s opening of the Fort Wayne Museum of Art’s contemporary show.
Published: August 10, 2012 3:00 a.m.
Shock & awe value
Realist exhibit might challenge, enthrall visitors
Steve Penhollow | The Journal Gazette

Robert Schefman’s “Science of Structure” is one of the works of art on display in the Fort Wayne Museum of Art’s contemporary art show, opening Saturday.

Visiting the Fort Wayne Museum of Art’s Contemporary Realism Biennial is a little like opening an album of vacation photos and seeing things you didn’t expect to find.
On one wall of the museum there is a vibrant painting of a dahlia and a sumptuous one of river stones, and then there is Frank Trankina’s “Dream Cabinet.”
The cabinet in “Dream Cabinet” contains a few broken toys and a few that might seem less ominous if they were broken.
The museum’s curator of American art, Sarah Aubrey, says Trankina could have made his painting a more comfortable viewing experience by presenting the toys in a “cutesy little arrangement.” But instead “Dream Cabinet” is like the vacation photo that argues with your memories, but may get closer to the truth.
Aubrey says such paintings and arrangements of paintings challenge some people’s notions about what realism is and what it’s for.
“There is this misconception that it’s all homogenous,” she says. “Pretty pictures of flowers. But there is not only a diverse range of media in this show, there’s a diverse range of subject matter.”
Aubrey says some of the work is challenging.
“It makes you think outside the box,” she says.
The 2012 Contemporary Realism Biennial opens Saturday.

Ernest Viveiros’ “Spiked Dahlia”

What makes realism so popular, Aubrey says, is that most viewers quickly find something relatable in it.
Aubrey says it is the artists’ intention to “(pull) something out of them, evoke a memory.”

David Eichenberg’s “Fiona”

She jokingly describes realism as the “gateway drug” of art appreciation. But realism can’t be summed up as an attempt to make a painting look like a photograph, even though some of the paintings do indeed look like photographs.

Denise Stewart-Sanabria’s “Gastronomical Attractions”

Several of the works in the Biennial, such as Sharon Moody’s paintings of rolled-up comic books, are so photo-real that it is hard to discern any brush strokes.
And others, like Denise Stewart-Sanabria’s painting of key limes, stop being identifiable as limes if you get too close, just as Claude Monet’s lilies stop being lilies under the same circumstances.
There is an elegant painting of wine and cheese in the show and a painting of a pomegranate and a doughnut that is about as reassuring as surgical images.
Bruno Surdo’s “Right to Bear Arms,” which depicts a scene of violence that is equal parts visceral and allegorical, is no more bucolic than Hieronymus Bosch’s hell.
Even some of the work that should make us feel cozy has the power to unsettle us for reasons we can’t quite define.
For example, James Viewegh’s painting of a man hugging his son in a toy-filled room, which is somehow as otherworldly in almost unspecifiable ways as a scene from a science fiction film.
The museum doesn’t set out to offend people, Aubrey says, but they need to be prepared for the possibility that they will be offended by something.
Aubrey says she arranges works on the wall to create conversations.
Case in point is a grouping of three unique approaches to painting faces: Andrew Ek’s sardonic “Self Portrait Scratching Face”; Joel Ottman’s intense “Lipstick and Libido”; and Carl Gombert’s raw yet tender, “Mom During Chemotherapy.”
They are dissimilar and yet their coming together on the same wall encourages a viewer to reflect on their similarities, to consider how one piece affects the others.
Aubrey suggests that each work should generate a trilateral conversation.
“(It’s) what the artists brings to the conversation,” she says, “what the viewers bring to the conversation and what the artwork around it brings to the conversation.”

If you go
What: Fort Wayne Museum of Art’s 2012 Contemporary Realism Biennial
Where: Fort Wayne Museum of Art, 311 E. Main St.
When: Saturday through Oct. 28
Hours: 10 a.m. to 6 p.m. Tuesday and Wednesday; 10 a.m. to 8 p.m. Thursday; 10 a.m. to 6 p.m. Friday and Saturday; noon to 5 p.m. Sunday
Admission: $5 adults, $3 children, $10 families; free admission every Thursday and Sunday

Sunday, August 12, 2012

"Epicurean Disturbance" at 16 Patton

"Epicurean Disturbance" at 16 Patton Gallery, Asheville, NC
August 10 through September 9

Complete list of work
Cake VS Marshmallow   oil on panel    7.5” x 13.5”        $600
Double Zinger            oil on panel           6” x 12”     $600
Produce Butcher     oil on canvas        40” x 40”           $3,200
Inquisition Vanita:   oil on panel   20” x 16”    $900
Mini Moons and Zinger     oil on panel      18” x 24”       $950
Popped Cherry Danish      oil on canvas      30” x 30”     $2,500
Ripe Ritual                 oil on panel              24” x 30”     $1,000
                 Pomegranate          oil on panel      12” x 12”     $750                     
Cosmetic Extermination    oil on canvas     48” x 48"   $3,800
Mini Moons   oil on canvas   30" x 40"
Cosmetically Enhanced       oil on canvas      40” x 40"    $3,200