This last week of April/first in May I am hard at work preparing paintings to go to Louisa Gould Gallery on Martha’s Vineyard. My sixth season with the gallery—and 20+ showing on the Vineyard—we are in a good groove together, and both excited about this line-up for the season.
For more, you can go to the gallery website:
A recent sale at Louisa Gould Gallery was the winning selection of a fellow who thoroughly researched my galleries’ websites and then sent inquires about pieces that he liked to five different galleries. After careful consideration, this is what he chose:
Reaching back to last winter…gone but not forgotten. I taught my Constructing/Deconstructing the Landscape workshop at the Woodstock School of Art. This is a very structured course, especially the first day+, dialing in on compositional shifts and how they affect movement, directionality, and mood. I always love what evolves, and this incarnation was no exception.
Here are a few of the student-executed exercises.
First, just hillside and tree or two in black gesso. Then move them around; change angle and division of picture plane; different type of tree. Several thought to break up the hillside.
This workshop feels like a slow flowering from tightly following direction early on to a much more open expression, integrating lessons learned along the way. I feel grateful for the trust that I am given to lead this guided work, since at the beginning of the workshop students feel a little hemmed in and have to go on faith that there are reasons for this, and that we are headed somewhere quite satisfying.
The first quarter of 2019 has been busy not just in the normal progression of events, projects, and deadlines, but also unusually so in the shear number and complexity of sales. Some of these required a fair bit of waltzing on my part, often accompanied by one of my galleries or consultants and assisted by my husband.
As you can imagine, each of these has a story.
A few of these stories:
In late February a designer I work with in Piermont NY, Ned Kelly, called in regard to the large painting below, wanting to show it to a client who already owned a smaller piece of mine. So off we went, my husband and I, that painting and a few others in tow, to meet up with the designer at the client’s home.
The piece actually didn’t work in the planned spot, so Ned headed upstairs to look for another likely wall, finding it above the bed in the master bedroom, across from my smaller piece that they owned.
With five people in a huge house, conversations splintered off, grouping and regrouping. By the time the painting was settled upon and the below smaller piece brought in from the car and actually installed, we had ranged far and wide, through good-natured expletive-laced teasing and the performative appearance of a shot gun. Add in two gorgeous dogs and a couple of cute kids and you have the whole picture.
Shortly after that I picked up a phone message from a person unknown to me but with a familiar last name, inquiring about a piece on my website. She turned out to be the new wife of a long-time friendly acquaintance. He and his (now I am understanding) ex-wife had remained on my mailing list for some years since I had last seen them, and I had been picturing them together, with the visiting grown kids and grandkids, exactly where I had seen them every summer for about twenty years.
But big changes had taken place. His new wife wanted to purchase a piece for her husband for their 3rd wedding anniversary. Apparently, the first wife had gotten the painting that they owned in the divorce (something I hear fairly often, actually) and he had been forwarding my invitations and updates along to his new wife, expressing enthusiasm for my work.
I had assumed years of silence meant lack of interest. But this is why I don’t take anyone off my mailing list unless they ask to be removed—I never know who is looking and enjoying and who deletes without opening.
So, after much back-and-forth and a delivery of three pieces for a staged viewing on the anniversary itself, this five-part vertical seascape was selected. I even got to have lunch and catch up with my old friend when he brought the other two paintings back to my area.
There is something in this story that feels very rich to me, maybe starting with the fact that it spans decades of time. There is a lot of life-essence in it—changes, losses, new beginnings, time passing, reconnections, and tracing the timelines of entwined lives.
We did a pop-up house party, a big collaborative effort, in Riverdale, NY. I hadn’t done one of these since the several that I did about a decade ago with Asher Nieman Gallery:
My co-conspirators this time were Albert Shahinian Fine Art, my husband, and my sister and brother-in-law, who opened up their apartment for the event. With this crew I had a driver; art handlers; a chef; a party planner; and a galleriest. Lucky me!
Below, a few of the pieces that departed for new homes:
I have two very different workshops coming up in May and June in the Catskills.
At the Emerson Resort in Mount Tremper, for all levels, an exploration of the imagery of our beautiful Catskill Mountains in May color:
And in June, for more experienced painters looking to explore a different concept:
On deck in my studio is another incarnation of my environmentally -themed Atlas Project. Atlas/Forms of Water, a solo show, will open at Albert Shahinian Fine Art in Rhinebeck this September, exact date TBA.
This show will feature all sorts of water imagery along with a new site map, in progress below. Along with the oil paintings, look for map pieces in collage and lino/mono print exploring climate change and sea level rise/storm flooding.
This builds on the show that I had at Thompson Giroux Gallery last spring, Atlas/Hudson River Valley (you can see the site map for that show in the upper left background). If you missed seeing or reading about the show, here is the link to my blog post on it:
Forms of Water explores a more a global rather that locale-specific theme, though my personal forms of water have most often been experienced in the Northeast.
Also upcoming, a small duo show with my friend Polly Law at the Roxbury Arts Group; more workshops; and fresh work heading to Nantucket. More on all of this soon!
If you are not on my mailing list and would like to be, contact me at firstname.lastname@example.org.
Hello all, happy oncoming 2018! I have quite a lot to report in this year-end update, both from 2017 and about events on the schedule so far for the coming year.
Many folks have asked me to send out a save-the-date for my Atlas/Hudson River Valley show opening on Match 31 at the Thompson Giroux Gallery in Chatham New York. I’ll do a separate email soon so that it’s easy to find in the inbox, but here on my blog I can talk about the exhibition in more detail.
This will be the first full-size installation of one of my Atlas Project-themed exhibitions. Later themes might be Atlas/Cape Cod or Atlas/Forms of Water, but I an delighted to be launching this within my own Hudson River Valley/Catskills, both as the theme and the locale of the show. Included will be monoprints, mixed media/collages, and pastels along with the oils, and the Site Map that explains it all.
The Site Map is an integral part of an Atlas Project installation, a map of the show itself which includes tiny monoprints of all of the oil paintings in the show overlaid on a collaged map of the Hudson River Valley. It includes numbered map tacks that show the locales of the scenes depicted; river towns and bridges and a key to the map and the show.
This map will have to be finished and photographed at the last minute, when I am sure of exactly which oil paintings are going into the show.
A side panel is Mapping Memory/Wildlife of Particular Interest that includes lino-monoprints and some text of my associated personal memories. Three panel extensions coming asymmetrically off the right side and top and bottom of the main map include a collage/lino/mono of the upper Hudson, the source of the river in the Adirondaks; another of Hudson Canyon, which continues out to sea from New York Harbor for 400 miles; and a third comprised of short discussion and collage/prints of three local trees endangered by climate change.
New Blog Post
In current news, I have recently published a blog post on the intersecting themes of teaching, independent studio practice, and group dynamic for the artist:
I welcome any comments on the post!
Many Things Nantucket
In January I will again be part of an exchange between artists of Woodstock and Nantucket, this time to take place at the Woodstock School of Art. We will be working together for three days in the graphics studio; doing a few studio visits and looking at the historical connection between the two arts colonies; eating and schmoozing. (What could be better?)
Part I of this exchange took place in September at the Artists Association of Nantucket with a show of the four Woodstock-area artists seen below, who had all taught and/or done a residency there:
The plan was for the four of us to show up for a closing reception and artist’s talk on September 23rd, and my plan was to to do a tour of the Cape and Islands with my husband, starting in Provincetown, checking in with and delivering to or picking up from my three galleries in the area.
Just as we were coming onto the Cape Tropical Storm Jose was approaching the area, causing concern over the Cape bridges closing as well as cancelled ferries. From Provincetown we saw some amazing sights during the storm, particularly the surf from the high dunes on Longnook Beach.
We had a ferry reservation to continue on to Martha’s Vineyard, and from there I had another res for the fast ferry to Nantucket a day later.
Three of the four artists did manage to get on Cape, or in my case, to Martha’s Vineyard, and then reschedule ferries to arrive for our reception at the AAN. We suffered a rocky crossing and then enjoyed a lovely evening of spirited discussion and camaraderie.
I also arrived in time to pay a visit to my new gallery on Nantucket, Thomas Henry Gallery. I am looking forward to painting some large, open seascape and marsh imagery for the 2018 season there:
My residency at the Artists Association of Nantucket in February was one of the highlights of 2017 for me, beautifully intensive and key in advancing the rubric for my Atlas Project:
The below was my second prototype for a site map for a grouping of Atlas Project work. From here I was able to take what works best (the monotype thumbnails of paintings that I had done) and change things that I didn’t (particularly the text) for the next map, for Atlas/Hudson River Valley. I would also love to return to Nantucket for a more fleshed-out exploration of of the theme.
Fall Studio Demonstrations
This fall I did three second-Saturday demo/open studios, starting in October. During the first I worked on small oil-on-paper pieces, like this:
The below I developed during the November demo, which had the theme of working large in oil. I had a nice group who I can only describe as riveted, watching for about two and a half hours while I painted and explained. Then the mood shifted to jolly when I called for a break and lively conversation ensued over a glass of wine.
The slightly textured surface of this piece is something I love to do every so often, allowing a little more of the underpainting to show through, creating a subtle vibration.
Here is a link to the video created by the Woodstock School of Art from a painting demonstration that I did there a few summers back:
For the last demo, in December, I worked in pastel, completing both of these during the two afternoons:
Other Highlights from 2017
I had a successful show last winter/spring with my gallery of 20 years, Albert Shahinian Fine Art in Rhinebeck. It is such a pleasure to work with Albert and Joanna, who are also friends and neighbors in our Hudson Valley arts community.
Here is a link to my post on the show, updated to label pieces that sold later in the year, as well as those that went during the show (the others are, of course, still available):
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In April I went to Florida to do a large painting for my friends Karen and Len:
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During my third year with Louisa Gould Gallery and my 18th or so showing on the Vineyard, we had the kind of year that the artist really looks for. I had some relaxing off-season visits that gave us more time to connect. The crazy Cape and Islands tour in September with Hurricane Jose was followed by several days of sun/fog/sun/fog, rolling in and out, that had even islanders exclaiming. This started as I was leaving Nantucket on the ferry, included a wild rainbow at sea, and continued into the next day while I photographed favorite and new locales on MV and Chappy with my husband. There will be paintings to follow!
This piece, which I delivered to LGG the next month, was of a moment just after the fog cleared.
In 2017 Louisa and I sold work big, medium, and small and in a range of palettes and formats. When this happens, I feel truly appreciated and at home in the gallery. The below are a few that found new homes since my last post.
Older Favorites Find New Homes
In the past several months I have been delighted to see a number of pieces that, despite generating admiration, have lingered too long in gallery or studio leave my walls for others:
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The Luminous Landscape at Albert Shahinian Fine Art continues through the month of January, closing with a last reception on January 27th. I have several pieces in the show and many more in inventory, accessible for viewing. I look forward to the reception, which is also a 20th-year anniversary party, an opportunity to enjoy the warmth of our arts community during the winter months.
En Masse, the dynamic small works show at Thompson Giroux Gallery in Chatham, NY, continues to January 7th. They have been generating anticipation for my spring show with the many small works they have of mine seeded throughout the gallery, as well as larger pieces in inventory. One of my last sales of 2017 was Blue Tidal Pool, one of my favorite paintings from the past decade:
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I have a new workshop at the Woodstock School of Art, rescheduled for March 3rd-4th. The theme, somewhat more descriptive than my workshops that emphasize formal elements, is for students to create a suite of paintings of the four seasons.
Many representational painters explore a zone on the spectrum of realism, on one end, and very abstracted imagery, on the other. I have often emphasized the abstract in my teaching, feeling that the go-to for landscape painters early on is to try to copy everything they see within a scene. So my approach is to encourage students to think instead about the needs of the painting, inventing an image that is not a copy but a new reality.
In the past year I have been closely examining my connection to place through my Atlas Project. The theme of this new workshop, more descriptive than abstract, may have emerged from these musings. That said, students will be focusing their attention, with my help, on all of those formal elements in order to create compelling, personal paintings.
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I look forward to a focused, productive year ahead. We have much work to do on the national level, and also need our creative retreats more than ever. I hope you enjoy yours, and am filled with gratitude that you have supported mine. ♥
This post, designed primarily for the galleries and consultants that I work with, serves as a data-base for oil-on-linen paintings that are currently in my studio. As work sells or is consigned I will remove it, and new or returned work will be added.
My website– created by Stephanie Blackman Design—was beautifully designed as a calling card. Since I create/sell/move work around frequently, it was never my plan to keep it current at all times. With this data-base I will have a comprehensive selection for you all to peruse and can reduce the number of emails that I send showing dealers my currently available work, as those become outdated quickly also.
Often I am expecting some work back imminently or have a painting on the easel that is almost finished, so please feel free to inquire if you have a particular need: email@example.com.
For works on paper (pastel; oil on paper; mixed media/collage; monotype) consult this blog post: https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/
Things Past/Esopus Valley, 30″x30″, $4,000.
Shoreline with Blues, 30″x40″, $5,000
Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Gallery Jupiter in Little Silver, NJ; Louisa Gould Gallery on Martha’s Vineyard, MA; Butters Gallery in Portland, OR; Thomas Henry Gallery on Nantucket, MA; and Thompson-Giroux Gallery in Chatham, NY.