Opening In Dallas

On November 1, 2014 I will be meeting and greeting at the opening reception for my next exhibit. It’s at Ilume Gallerie on Cedar Springs near Oak Lawn in Dallas.

The exhibit consists of collages on acrylic painted paper from the “Springtime Suite” series and collages from the “Have Map Will Travel” series. I’ll also be exhibiting several mixed media acrylic paintings on panel. It’s a high-energy show with lots of color and movement in each piece – so get your groove on!

Here’s the info:  Illume Gallerie

4123 Cedar Springs, suite 107 (next to Dish restaurant)

Dallas, TX 75219

214-507-7369

Opening Reception – Saturday November 1, 2014 7-10pm

Check out one of the paintings in the exhibit.

#1269 Untitled, mixed media acrylic painting on panel, 24x24", 2013

#1269 Untitled, mixed media acrylic painting on panel, 24×24″, 2013

 

 

 

Arkansas Has Art

Nestled in the Ozarks, in the northeast corner of Arkansas, is Bentonville which I’m sure you know is where Sam Walton started Walmart all those many years ago. Bentonville’s latest claim to fame is the Crystal Bridges Museum of American Art, founded and funded by Sam Walton’s daughter, Alice with a major endowment by the Walton Family Foundation. Fall- a good time to take a drive to Arkansas.

The museum, designed by Moshe Safdie, is set in a natural ravine surrounded by mature native trees, stone walls and creeks. The multi building museum straddles two ponds whose water flow comes from Town Branch Creek and Crystal Spring. Water is an integral part of the design. The materials, concrete, glass, wood and steel complement each other nicely. The natural and man-made are well integrated.

Crystal Bridges

Crystal Bridges

The museum’s restaurant, Eleven, has better than average food. The stunner is a curved wood ceiling that echoes the exterior metal roof.

Crystal Bridges Museum of American Art

Crystal Bridges Museum of American Art 

Crystal Bridges-Reflections

Crystal Bridges-Reflections

 

Crystal Bridges-Roof

Crystal Bridges-Roof

Restaurant Eleven

Restaurant Eleven

The art collection, from the Colonial era to contemporary art is quite good. There are some well-known American artists, some not so well known (by me). I thought the contemporary art was quite good. Ms. Walton probably needed more mega-millions to buy enough top quality art to fill the museum.

The more than 100 acres surrounding the museum are an added treat with walking paths/trails that loop around and connect with each other for several miles.

Crystal Bridges trail

Crystal Bridges trail 

Large-scale sculpture is placed at intervals along the trails. Some like the Mark di Suvero can also be seen from one of the inside galleries, giving one a different perspective.

Mark di Suvero "Lowell's Ocean" 2005-2008 steel

Mark di Suvero “Lowell’s Ocean” 2005-2008 steel  

This welded and polished sculpture “Yield” by Roxy Paine is at one of the entrances. There is a similar piece (same series) at the Ft. Worth Modern. Here it is on a bright fall day.

Roxy Paine "Yield" 2011 stainless steel

Roxy Paine “Yield” 2011 stainless steel

Some art sneaks up on you like Robert Tannen’s “Grains of Sand.” He has placed fifteen boulders of native limestone and sandstone with aluminum numbers and ART on them along the trails. Finding all fifteen was a challenge we were not up for. We did find this one.

Robert Tannen "Grains of Sand" 2011 native stone and cast aluminum

Robert Tannen “Grains of Sand” 2011 native stone and cast aluminum

A short walk from the museum, near the town square, is another recent addition to Bentonville, the 21c. Museum Hotel. As it’s name implies, it is a combination of a contemporary (comfortable and spacious) hotel and museum. The museum has 21st century art with intriguing site specific and rotating temporary exhibits. The inside/outside areas with a lot of square feet are open to the public 24/7. You do need your room key to access the art on the upper floors. Here are a few pieces from “Outside/In: Site-specific art at 21c. Museum Hotel, Bentonville.

Chris Doyle "Unfolded" 2010-2013 wallpaper

Chris Doyle “Unfolded” 2010-2013 wallpaper

 

Serkan Ozkaya "A Sudden Gust of Wind Bentonville" 2013 metallic sheets, monofilament

Serkan Ozkaya “A Sudden Gust of Wind Bentonville” 2013 metallic sheets, monofilament 

The temporary exhibit during our stay was “Transporting Transformation: Cuba, In and Out.” The artists in this multi media exhibit deal with political, social and economic issues surrounding their identity and experiences.

At the hotel’s entrance, on the plaza, sits this 1950’s Plymouth. It’s thought provoking, to say the least. What were those people looking for?

DSC_7555

Inside is a video lounge (this hotel has everything). Currently showing is Sandra Ramos’ 3D animations.

Sandra Ramos 3D annimation

Sandra Ramos 3D animation

Carlos Garaicoa’s “El Mapo del Viajero ll”, a wall installation of pushpins and strips of paper with quotations from travel writings, draws you in to read the tiny writing. Or, you can stand back and appreciate the patterns on the wall.

Carlos Garaicoa "El Mapa del Viajero II" pushpins, strips of paper

Carlos Garaicoa “El Mapa del Viajero II” pushpins, strips of paper

Perhaps the wildest piece, made of found objects (blown glass, crystals and wigs), is “Perfect From Now On” by Amelia Biewald. Lit up at night, the shadows caught my attention.

Amelia Biewald "Perfect From Now On" 2010 13 chandeliers, blown glass, crystals, wigs

Amelia Biewald “Perfect From Now On” 2010 13 chandeliers, blown glass, crystals, wigs

Amelia Biewald "Perfect From Now On"

Amelia Biewald “Perfect From Now On” 

The “Green (color and recycled material) Penguin Flock”, the hotel’s mascots, show up in unexpected places. A whimsical touch, me thinks.

IMG_4176 21c.Museum Hotel

We came for the Crystal Bridges Museum. The 21c. Museum Hotel was a delightful surprise. Serendipity!

On Exhibit In Denver

I thought I’d give those of you who cannot get to Denver to see my current exhibit at Artwork Network a little tour of the show. I’ll mention several pieces in the exhibit.

On exhibit are collages combining my monotypes, collagraphs, photographs, and found paper. The collages are non-objective; the emphasis is on the relationship of line, color, shape and texture.

Here are a few.

#1235 Untitled photo + collage 30x22 2010

 

#1236 Untitled, photo + collage 17x24 2010

My photographs generally feature people and places close to home or far away. I celebrate people and the world in which they live, trying to capture that special moment which made me pause to take a second look.

Looking down can often be rewarding. My “Underfoot” series of photos started when I had my head down and noticed the interesting abstract pattern of street and sidewalk marks made by construction workers. We seldom pay attention to such marks but they resonated with me and I began to photograph them wherever I traveled.

I am always open to new ways to express myself as an artist. Combining my prints (re-purposed etchings, monotypes, collagraphs) with found paper to create collages took my work in a different direction. Cutting up and adding the “Underfoot” photos seemed like a logical next step. Their abstract quality echoes that of the other elements in the collage.

#1239 Untitled, photo + collage, 41.5 x 29.5 2010

 

#1241 Untitled, photo+collage 22x30, 2011

Sometimes I assemble the collage on painted paper. The acrylic painting weaves its way in and around the collage. Negative space and positive space play games with one another. The group of collages called “Springtime Suite” is very energetic with directional movement tightly controlled across or up and down. Inspiration came from a visit to the Dallas Arboretum when it was ablaze with color. 

(#1259) Springtime Suite, acrylic painting w. collage, 22×30, 2012

(#1260) Springtime Suite, acrylic painting w. collage, 22×30, 2012

(#1265) Springtime Suite, acrylic painting w. collage, 30×22, 2012

I love to travel and have a large collection of paper maps. Remember those? Why not use them in my collages? Instead of cutting up the actual maps I photographed them, enlarged segments in the computer and printed them out. I cut them up and they became part of the collage series “Have Map Will Travel.”

(#1267) Have Map Will Travel 2, collage, 22×30, 2013

(#1272) Have Map Will Travel 4, collage, 30×22, 2012

(#1273) Have Map Will Travel 5, collage, 30×22, 2012

Who knows what new elements will work their way into my collages? Or what new series the collages will lead to. Stay tuned!

P.S. The exhibit runs through November 29.

 

Another Opening of Another Show

On November 1, 2013 I’ll be hanging out at Artwork Network Gallery in Denver, CO for the opening reception of my next exhibit. The reception is from 5-9pm. It’s Gallery Walk night in the Santa Fe Arts District, so the streets will be jumping. Artwork Network Gallery is right in the middle of the action.

I’ll be exhibiting collages. Some combine my photographs of street markings from my Underfoot series with repurposed collagraph, monotype or etching prints, some are collages over acrylic painted paper, and some combine Underfoot photos, prints and maps which have been photographed and digitally printed. Remember maps? I have a collection of them.

Here’s the info: Artwork Network Gallery

878 Santa Fe Dr., Denver CO 80204, 303-388-7420

Opening Reception: Friday November 1, 2013  5-9pm

Join me and other artists in the area for a night of mingling among the art. I’d love to meet you.

A sneak peek at one of the pieces in the exhibit.

#1260 Springtime Suite 2, acrylic painting on paper with collage, 22x30", 2012

See another piece in the exhibit on my website’s Home Page – www.studio7310.com

 

New York, New York

 It’s a wonderful town! There are always new things to see and do no matter how often one visits. Stan and I discovered some of them on a recent trip. The sunny and mild weather meant we spent a lot of time outdoors, walking, walking, walking. We made good use of   the Metro card, taking the train when necessary. It’s the fastest way to get around. Put the Subway map app on your phone and off you go.

We popped into the Guggenheim Museum right away to catch the James Turrell show before it closed. His lights bathed the rotunda in varying degrees of color making the museum walls his canvas.

I found the people in a circle on the floor more interesting to contemplate than the light installation. It was like a mini version of the 1978 mass murder of Jim Johnson’s cult followers by cyanide laced Flavor Aid. Weird.

James Turrell Light Bath

James Turrell Light Bath

A bright, sunny day brings out the performers. This, in front of the Metropolitan Museum of Art.

Hipsters at the Met

We were in New York to celebrate my birthday. Grand Central Station was also celebrating – its 100th. I should look so good at 100!

Grand Central at 100!

We walked the one mile stretch of the High Line, the public park built on a section of the elevated former NY Central RR on the west side of Manhattan (2009-2011). Looking down you get some unique views of Chelsea and beyond.

Gilbert and George, Waking, 1984

 

From the High Line

Art on the High Line.

El Anatsui, Broken Bridge II, 2012

Art off the High Line. No privacy for these folks!

Charlie Hewitt

We dropped down into Chelsea for art gazing and found some sheep grazing. This is not something you would expect to see in the middle of Chelsea. The late Francois-Xavier Lalanne’s “Moutons” were installed on the site of an old Getty gas station by art dealer Paul Kasmin and real estate developer Michael Shvo. What a great way to warehouse a piece of land waiting for a luxury high rise. 25 moutons. Better than a parking lot!

 

Francois-Xavier Lalanne, Moutons

We walked on several other elevated structures during the week. In all the years we lived in New York, growing up and going to school, neither of us had ever walked across the Brooklyn Bridge. Hard to imagine, but true. To get to Brooklyn from the Manhattan side you take a train down to Chambers Street and walk a few blocks to the bridge, passing several Court Houses with beautiful Corinthian columns built in the 1800’s.

Courthouse, NYC

And then, you’re on the bridge’s pedestrian way with a zillion other people who had the same idea on a gorgeous Fall day.

Brooklyn Bridge

Great views looking back toward Manhattan.

Manhattan from the Brooklyn Bridge

Manhattan Bridge, NYC

Coming off the bridge we hit the DUMBO (Down Under The Manhattan Bridge Overpass) Arts Festival. Lots of art on land and sea.

DUMBO Arts Festival

DUMBO Arts FestivalDUMBO Arts Festival

Fun stuff, too.

Who, Me?

At Rest

We got it into our heads that it would be fun to walk across the Williamsburg Bridge, another crossing between Manhattan and Brooklyn. Several trains later we found ourselves on the Brooklyn side and walked back to Manhattan. These bridges are not only for pedestrians. There are separate roadways for vehicles and trains.

Williamsburg Bridge, Brooklyn side

Williamsburg Bridge, Brooklyn to Manhattan

Models, too!

Here's Looking At You

 

Too much graffiti on the walkway, but good pickings for my “Underfoot” photo series.

Underfoot - Williamsburg Bridge

We clocked about seven miles of urban hiking that day but how many people can say they walked across two bridges in the same day? Maybe we should call Ripley’s.

 

 

 

 

 

 

Big, Tall and Off The Wall

The Modern calls. Once again I braved the never-ending highway construction between Dallas and Ft. Worth to go to the Modern Art Museum of Ft. Worth. This time, I was drawn to three works, one which has been there since the museum opened, one on temporary exhibit, and one newly acquired.

Richard Serra’s Cor-ten steel sculpture “Vortex”, at more than 67 feet, towers above the museum at one end. It was acquired in 2002, the year the museum opened.

You walk up to it from the parking lot. It doesn’t seem that tall from a distance, but it increases in size the closer you get. It has weight. It is solid. It’s like a sentinel, guarding the building, its graceful, arching steel plates intersecting and almost, but not quite, meeting at the top,

Richard Serra "Vortex"

An opening allows light to pour in, more or less, depending on the weather. There is no “Do Not Touch sign”. It is a kid’s delight. They race around it and through it, yelling and calling out to hear the echoes of their voices. Adults usually can’t resist and join in the fun. It’s a powerful statement with a joyful, interactive quality.

Another sculpture has been temporarily installed at the entrance to the museum and will be gone in a few weeks. The big guy is called “Companion (Passing Through).” It is by Brian Donnelly who calls himself KAWS. He is a multi- faceted artist who started out doing graffiti, then added designed objects, illustration and toys, frequently referencing Pop-culture. “Companion” sits up a box, eyes covered by gloves with KAWS’ signature XXs on them. Think Mickey Mouse – shorts, gloves, shoes.

KAWS "Companion (Passing Through)"

Is it cute? Menacing? Sad? Its cartoon-like character was perfect as an inflatable balloon in this year’s Macy’s Thanksgiving Day parade.

The newly acquired piece is stunning. It is a site specific installation by Jenny Holzer called “Kind of Blue.” Holzer is known for her provocative texts such as “Money Creates Taste” and “Lack of Charisma Can Be Fatal.”

 

Holzer "Kind of Blue"

Unlike many of her LED moving text artworks placed on the wall, this one, in Ando blue (for the architect Tadeo Ando), has text moving in parallel lines along the floor of the gallery, stopping at the glass wall facing the pond. The text repeats in an endless loop and seems to both penetrate the glass and be reflected in it. It is physical, yet ephemeral. It was acquired for the 10th anniversary of the Modern and is the first by Holzer for the museum.

 

Two sculptures and an installation. They made my day.

Photos by Cecelia Feld Copyright 2013 All rights reserved.

Stage Sets, Tsunamis and Sintra

I just saw my friend Terry Hays’ exhibit “Irreversible Change” at the MAC in Dallas. What a treat!

Terry’s expertise is in making stage sets for theater productions. His artistic creativity can also be seen in small, and not so small, 3-D sculpture.

Swimming to Salvation, escape from the water demons, Acrylic on wood, Sintra, 52" x 78" x 12.5"

Swimming to Salvation... Detail

He acknowledges that these sculptures are models for possible stage sets. I saw them as stand alone sculptures. They are to be viewed from the front, but the various layers can be seen from the side. The wood and Sintra surfaces are painstakingly and exquisitely painted. Seen from a distance they look like glass mosaics. As you come closer, you see the incredible painted detail.

Pembina Highway - Acrylic on wood, Sintra 52" x 44" x 19.5" - detail

Terry says, “These models draw heavily from current events such as the tsunami in Japan, earthquake in Haiti and wind driven fires in California, all natural disasters of unimaginable scale.”

He uses a special saw to make his precise curved and angled cuts out of the Sintra, only slightly  softer than plexiglass.

Terry recycles, too. This piece incorporates tree roots, cleaned and painted. Survival in the midst of chaos.

Irreversible Change, Acrylic on wood, Sintra, 5' x 12'

Irreversible Change - detail

Some of my favorite pieces are grouped on one wall. They are small and more monochromatic, mostly browns, black and white, but boy, are they powerful. They are very high relief, very complex and very compelling.  Think desert flora, Native American ritual objects and African headdresses.

Souvenir #3, Acrylic on wood, Sintra, 11" x 11"

Untitled, Acrylic on wood, Sintra, 19" x 24"

Detail

The show runs until July 7. Catch it if you can. It’s a great way to start your summer.

Thank you, Terry, for giving us such beautiful and sensitive works of art.

Glorious Glass

 

Dale Chihuly , master glassmaker,  has come to Dallas!  Chihuly at the Dallas Arboretum is a must see exhibit. This man-made spectacle consists of fifteen glass sculptures situated among the Arboretum’s sixty-six acres.  They soar into the air like this one, a blinding burst of colorful spikes wired to a tall armature.

Photo by Cecelia Feld

Some surprise you as you come upon them nestled in a small water garden. So much of Chihuly’s glass is brightly colored that seeing these white “macchia” forms placed among the lily pads is a nice change of pace and feels just right.

Photo by Cecelia Feld

Water is used as a setting as much as open space. Two skiffs, one filled with float balls, the other with wild and crazy shapes, sit on a small pond with White Rock Lake in the background. It’s easy to imagine Venice.

Photo by Cecelia Feld

There are sharp, reed-like spikes and gently curving Heron forms rising out of other small ponds.

Photo by Cecelia Feld

Photo by Cecelia Feld

Some sculptures resemble out- of- this -world flora.

Photo by Cecelia Feld

Or fantastical sea creatures.

Photo by Cecelia Feld

As you enter a more enclosed garden a sunburst atop a tall pole greets you. Brilliant reds, yellows and oranges bombard the senses. You stare in wonder. How can glass be so fragile, yet so strong?

Photo by Cecelia Feld

Photo by Cecelia Feld

Is this guy having a bad hair day?

There is no end to the surprises.

The exhibit runs through November 5, 2012. It’s worth multiple visits. The sculptures will look different by day or night and in different seasons.

Unwrapped

Some of my recent work is currently in the exhibit “Collected Memories” which just opened at Mary Tomas Studio Gallery, Dallas.

Ready to go.

The operative word for this group of work is “re-purpose.” Same as “re-cycle.” Your choice. I have selected parts of my earlier collagraph and monotype prints, cut them up (yes!) and combined them to make a collage.

collagraph – a permanent collage of materials, inked and printed. Original.

monotype –  a one-of-a-kind print from an image drawn or painted on a plate such as plexiglass or metal. Original.

These collages incorporate parts of my digital photographs from the ongoing “Underfoot” series. The photos capture street markings from many different cities. I like their abstract quality.

This is one such photograph.

Underfoot #3775

Here is the combined photo + collage

#1232 Untitled, photo+collage, 24x20", 2010

Another photo.

Underfoot #7286

As part of the collage.

#1239 Untitled, photo+collage, 41.5 x 29.5", 2011

Here are a few more pieces in the show.

#1233 Untitled, photo+collage, 24x20", 2010

#1241 Untitled, photo+collage, 22x30", 2011

The lines, textures, shapes and colors of the “Underfoot” photos play off against the same qualities found in the collaged segments of prints.

Relationships – that’s what it’s about. And, serendipity. And, not getting hit when I stand in the street taking pictures.

The exhibit runs through June 9. Catch it if you can.