Moody, Minimalist Landscape Painting

Posts tagged “Thompson Giroux Gallery

Eagle Above, Fish Below: Summer 2018

The surface of a body of water is a reflective, moving, open expanse. Beneath it, the water roils with life—rooted or crawling or burrowing or swimming, lifeforms going about their business of feeding off of each other and reproducing and eventually dying. Above it, life also carries on.

Sky Meets Water, 18″x24″.

One day last July, while staying on Otsego Lake near Cooperstown, NY, I headed to the dock to sit and gaze at the water for a few moments. Looking down at the dock to find my seat, I heard a throaty, loud honk/squack. We had been enjoying visits all week from a mama duck and her nine ducklings, so my first thought as I turned my head was, “that was not a duck!”.

Nothing behind me, but as I straightened to face the side I was now seated at, I saw an adult eagle taking off from the water about 25 feet in front of me. It had been addressing my intrusion, I think!

Shortly after, I decided to make a call to my friend Jenny, with whom I had been playing phone tag. I got her voicemail, and the message went something like this: “Hi Jenny, we’re playing phone tag but I am around today so give a  OH MY GOD THAT IT THE BIGGEST *#!%ING FISH I HAVE EVER SEEN IN A LAKE GOTTA GO BYE”.

The fish was directly below my dangling feet, at least two feet across, lit up by slanting sunlight. I know there are fish in these waters, despite an altered ecology due to Zebra mussels—my husband has caught some other years from our small boat and I have seen them feeding off of bugs at sunset. And yet, it was as if this big fish had crawled up on land and joined us on the deck for cocktails, such was my sense of worlds colliding.

I am puzzling out, ever since, what was so startling about this fish sighting. After all, I have been among whales in our 16 foot boat off Race Point in Provincetown—including a pod of killer whales; froliked with a mola and some dolphins in the harbor; snorkled off St. Thomas among all sorts and sizes of sea life.

I think that my jolt of surprise was about expectations, so often the case. I had for days been focused on the surface reflections, and I lost track of the awareness of how much is going on underneath and that during my daily swims, I was intruding upon their busy world. Seeing this large fish directly under my feet brought that crashing back.

As artists we are concerned with both surface appearance and deeper function and meaning. The surface is mesmerizing and ever-changing, feeding our visually-linked emotional hunger, and soothing our quotidian bumps and bruises. The complicated churn beneath, however, mirrors life in its day-to-day, demanding a nuanced and dedicated attention.

 

Indigos with Glowing Light, 18″x24″.

 

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This summer has served to remind me of how much I appreciate my galleries. It can be rewarding, sometimes, to hop off that train and do something self-generated like an open studio or studio tour; or an event at a non-gallery venue. But ultimately, a gallery is where people go to view and buy art. It is a business whose purpose is to exhibit and sell art, and therefore all effort is going to that end.

Invitations generally go out in a timely fashion, instead of getting buried in the more pressing things that a non-gallery venue might have to attend to. The galleriest installs the show, with beautiful results based on years of experience. Folks walk in off the streets who are interested in art; search for the local galleries when visiting; respond to invites. A showing of a grouping of selected works in a collector’s home gets on the schedule without delay, follow-ups are done to inquiries as a matter of course…and so on.

Rokeby Meadow, 24″x30″, at Albert Shahinian Fine Art in Rhinebeck, NY.

That said, the mom-and-pop galleries struggle to stay afloat, with many more friends and lookers than buyers. So collectors, please support your favorite galleries!

 

Familiar Reds, 11″X14″, at Butters Gallery in Portland, OR.

And if you are an artist with gallery representation, this is how you can help:

https://scheeleart.wordpress.com/2012/04/06/the-art-ethicist-your-relationship-with-your-gallery/

 

Forms of Water, 30″x36″, at Thompson Giroux Gallery in Chatham, NY.

 

Harbor with Sunset Mists, 24″x36″, at Thomas Henry Gallery, Nantucket.

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I had a lovely time teaching this past June in Woodstock and August on Nantucket, with a full house for my color-mixing workshop in both places.

My Woodstock group.

These are the demo pieces that came out of the two landscape workshops:

 

Summer Haze, pastel on paper, 12″x18″.

 

Saltmarsh with Soft Sky, 24″x36″.

 

Seablues with Brilliant Fog, 16″x20″.

 

Three Posts, 12″x24″.

My week on Nantucket was filled with not only with my wonderful students, but also with salt air and good food and warm friendship.

I organized an informal gathering at Thomas Henry Gallery so that my students could see my work there, all of the sea or the island:

A grouping of my work at Thomas Henry Gallery.

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The Woodstock School of Art invitational Monothon in July was a printmaker’s dream. Imagine having a printing staff at your beck and call, both master printmakers and monitors, facilitating your every move. Master printmaker Anthony Kirk guided and facilitated my hoped-for plan, my first monotype triptych (and then a few more).

 

 

Wave Triptych, three panels of 8″x10″, headed for a show at Albert Shahinian Fine Art.

 

One 8″x10″ was chosen from each participating artist, to be sold at the show there opening September 8th, 3-5pm This is my donation print that will be featured, followed by some of my other wave monotypes.

https://woodstockschoolofart.org/event/woodstock-monoprint-invitational-exhibition-2/

 

8″x10″.

 

10″x16″.

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We will be featuring monotypes and my vintage series, along with oil paintings, in my grouping for the upcoming four-artist show at Albert Shahinian Fine Art in Rhinebeck, NY, their yearly Luminous Landscape exhibition. The show opens on September 29, 5-8pm.

 

 

Cloud over Green Valley, monotype, 8″x10″.

 

Dusk Drive in 12, oil on board in a vintage muffin pan, 18″x11″.

 

Reflected Sun, 32″x48″.

 

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Several of my summer sales:

 

Gleaming, 12″x24″, sold by the Julie Heller Gallery, Provincetown, MA.

 

Swirling Winter Sky, 20″x24″, sold by the Woodstock School of Art.

 

One of my favorite pieces from the past decade, Perceived Acuity pleases me for its simplicity, movement, elegant shapes, and unusual color:

“Perceived Acuity”, 18″x52″, sold by the Louisa Gould Gallery, Vineyard Haven, MV.

 

Serene Sengie, 44″x68″, sold by the Louisa Gould Gallery.

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Link to in-studio available works in oil and on paper:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

https://scheeleart.wordpress.com/2016/11/03/available-workstudioworks-on-paper/

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Coming right up, my teaching week in Provincetown, Sept. 17th for Color Mixing and 18-20th for the Landscape Painting Intensive. If you are feeling inspired and spontaneous, come and join us!

 

Provincetown, 20″X30″, at the Julie Heller Gallery, Provincetown.

 

Also upcoming: another residency on Nantucket in November. My focus there and in my studio will be on Atlas/Forms of Water, from the sky to the land to the ocean, and everywhere in between.

 

Affirmation in Blues, 36″x72″ overall, at Louisa Gould Gallery, MV.

 

 

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What Your Gallery Can Do for You

Some time back I wrote a post to inform fellow artists what they can do to encourage sales, behave ethically, and in general help their relationship with their gallery grow.

https://scheeleart.wordpress.com/2012/04/06/the-art-ethicist-your-relationship-with-your-gallery/

I always intended to write a partner post from the artist’s perspective: what can our galleries do to be responsive to us, encouraging open communication and trust?

I have for years maintained a positive attitude toward my galleries, always grateful for their hard work and the skills that they bring to their job. At the same time, I am repeatedly struck by certain patterns of behavior that make my life more difficult. My career artist friends are often adversely impacted by exactly the same things.

Just as I am always counseling other artists—and myself—not to make life more difficult for our art dealers, this discussion is centered on how gallerists can avoid behaviors that wear us down and potentially waste time for all involved. Since most of my galleries do avoid these habits most of the time, I know it is possible. (And we need to forgive the occasional lapse, just as we hope that they will forgive ours.)

At a reception for a group show of gallery artists at Albert Shahinian Fine Art.

 

The pay discussion is always a big one. Many galleries have a set policy of paying for this month’s sales on the first or the 15th of next month. Galleries often argue that, just like any other retail business, they pay artists out of the overall earnings rather than specifically from the sale of your piece. This works out well when/if they pay on time, because the artist can count on when to expect the check, but not so well when the days slide by and your mailbox remains empty.

One thing to point out here is that unlike other retail businesses, galleries don’t have to buy inventory. The artists own the inventory, and when a piece of theirs sells, half of that money is theirs. One gallerist of mine said it best years ago: “I like to pay the artist right away because if that money sits in my account for any length of time I’ll start thinking it’s mine.”

I had a gallery for a period of years that sold my work well but often was very late in paying. The argument from the dealer was that they had to keep the doors open, and so would pay rent, electric, and so on, first. Basically, then, the pay-policy was eventually-after-some-time-has-gone-by-I’ll-start-looking-around-and-see-if-I-have-money-to-pay-you-but-if-not-you’ll-have-to-wait. It was excruciating, the waiting and the not-knowing. They had received payment for their 50% and mine both, and yet I was left to beg for my money—-and was essentially floating them a loan.

This can lead to other kinds of disfunction. The gallery in this case would often avoid my phone calls that were on other matters—things that were directed at bringing us business—because they owed me money and feared being asked. So we both potentially lost money.

Artists calling and nagging about money makes everyone feel bad about each other. But to reiterate an important point: most often we are not demanding nor begging, but simply looking for info on an ETA for our money.

What is my advice to galleries?

-Have a clear pay-policy, whether it’s as-soon-as-the-check-clears or a date next month. If the former–and we all so appreciate the immediate payment–and the gallery has need to wait a week or so to pay, tell the artist. If the latter, send  checks out when you say you will. In a busy season it might be hard to find the time to sit down and write a big stack of checks for all of the previous month’s sales, but make it a priority. If for any reason checks will unavoidably be late that month, inform your artists.

-If an artist calls or emails to inquire, give a short answer right away. “Just got paid–sending you a check Monday.” “Waiting for payment.” “In the mail.” “Your contract says the 15th of next month.” Bear in mind that even if the answer is “two weeks from now”, you are giving the artists the consideration of info with which to plan how to pay their bills. And to repeat: it is the artist’s money. It’s not that you need to keep every artist updated on the payment status of every sale, but answering direct questions is a simple courtesy.

Which leads me to another source of stress and feelings of disrespect for the artist.

For all of us who have reached a certain level in our career, we are there because we are responsive to our galleries. I have curated group shows and I regularly organize my mentoring meetings and groups for emerging artists, so I understand well how organizing artists can truly be like herding cats. However, galleries generally cannot operate if artists don’t ship work or send jpegs when they say they will, and those artists who have a pattern of flaking out tend to fall by the wayside.

So when one of my galleries asks me for anything, it behooves me to respond fully and quickly. Sometimes requests could have been made earlier and there would be less stress all around, but those are typical job-related problems. So, if they ask me to jump, I do it right away. If I am traveling without my laptop (which is rare and only for a few days), I do the short reply: “Traveling without access to my files, but I’ll send you jpegs on Sunday evening when I am home”.

The problem comes in when the situation is reversed and I need some info from them. Often my questions have to do with serious planning issues that, just like the gallery, I have to settle so that I know when I am showing where and what pieces are going to which gallery. Sometimes I can wait painfully long for these answers, preventing me from settling dates and artwork for other galleries.

I imagine that part of the issue here is that a number of the artists that I show with may have only a gallery or two, so they don’t have the stress of the juggle. If their show is going to be July or August, it isn’t always a big deal to wait to find out. But for those of us who show with multiple galleries, this comes back to the two-way street: if I am to be understanding that you, the gallery, are juggling multiple artists (as well as clients and PR and so on, of course) and I am not the only one in your pantheon, I would like you to understand that I am juggling multiple galleries, schedules, ferries, accommodations, and artwork. And I want to do right by everybody.

So, advice for the gallery:

If you don’t have the answer to my question yet, please acknowledge the email or phone call. It feels really bad to be ignored. It also is a big waste of energy for one party to have to send reminder emails repeatedly. Again, short answer is fine, “working on it!”, or “we’ll decide by next week”.

 

A third bit of communication that varies from gallery to gallery is when they notify the artist of a sale. Often, when new to a gallery, I just let this evolve over time and get a feel for their M.O.

But then, just when you think you know that X gallery will email you within a few days of making a sale, you get a check–maybe even a big one—from sales for last month. Well, on the one hand, who doesn’t love a surprise check? But on the other, maybe it is a slow spell and you have been stressing for weeks about where your next check is coming from, so if they had notified you sooner you could have avoided all of that worry.

Advice?

Have a policy (which some galleries do have, stated in their contract) on when you notify artists of a sale. Within the week certainly seems doable. As a point of trust, we will rarely know exactly when a sale or payment takes place, so we always assume that our galleries are telling us the truth. Period.

(Just for the record, there are several reasons why an artist will promptly take their leave from a gallery. One is if somehow the artist receives reliable info that dates of sales have been fudged in order to avoid timely payment. Another is if a gallery gets caught padding prices and putting the extra in their own pockets. But this post is not about egregiously unethical behavior on the part of a few galleries but instead about unintentional lapses on the part of many that can fairly easily be addressed.)

All of these things come back to communication and making life easier for those around us. Several years ago I wrote this post about communicating when a sale falls through, particularly one that has required a lot of time and effort on the part of the artist:

Friend Jenny Nelson doing paperwork at Gold Gallery in Boston; my solo show installed.

 

At the root of this whole discussion is the aspect of power. Do the galleries see themselves as our bosses, or our partners? If it is true that there are way more artists than there are galleries to show them, does this mean that artists are just supplicants, grasping at strewn crumbs?

I have heard of art dealers that look at their artists in that way, but I would not be working with them in any case. Most often, we are appreciated as the cherished talent, the sources of these amazing, unique objects. And if there are others of us eager to fill our spot should we leave a gallery, that doesn’t mean that our personal, artistic terrain can be filled by another. In my experience sensitive gallerists attach to our unique work, and to us.

That said, we are, here at least, acknowledging the power of the purse and of having needed information, while pointing out that galleries are not paying us their money, but only ours, and keeping us informed on what we need to know to carry the partnership forward.

 

On our boat in Provincetown with Julie Heller on a chilly September day.

 

So are any of us perfect? Am I positing that gallerists should never be allowed a slip-up? Not hardly! In fact, the more consistently considerate a gallery has been to me the more I can easily let go of a forgotten email or a perceived error in judgement. This is true in all human relationships, and I hope that others—including my dealers—grant me that leeway as well.


Spring into Summer 2018: News and Updates

Deep, happy, exhalation—spring is here!

I recently delivered fresh work to Louisa Gould Gallery on the Vineyard. She is currently hanging her first show of the season, including my new work, and then plans a big 15th anniversary show with a reception mid-summer. Here are a few of my additions to the gallery walls:

Brilliant Fog, 24″x36″.

 

Affirmation in Blues, 36″x72″ overall.

 

Meandering, 24″x36″.

 

In other shore news, I am very pleased to announce new representation on Nantucket at the Thomas Henry Gallery. I am still working on the pieces that will be delivered in early June, but here is a sneak preview:

Summer at the Creeks, 36″x24″.

 

Angle of the Cloud, 30″x36″.

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My solo show at Thompson Giroux Gallery in Chatham, NY, Atlas/Hudson River Valley, was very well received. I will continue updating the blog post on the show to label what has been been purchased, as the gallery has kept many pieces for follow-up viewing and acquisition. I have also labeled with a G the pieces still at the gallery.

https://scheeleart.wordpress.com/2018/03/21/atlas-project-hudson-river-valley-and-catskills/

Most of my spring sales have naturally come from this Chatham show, and have included oils, a pastel, monotypes, and a collage—a nice affirmation for all of these explorations. Here a is a handful of examples:

 

“September Dawn”, 12″x28″, pastel, the first with a red dot.

 

Sweeping Greens, 32″x68″, sold to the Emerson Resort and Spa.

Sold, happily, as a pair:

 

MVroman’s Nose/Green Fields, 8″x10″.

 

MSweeping Sky with Fields, 8″x10″.

 

Atlas/Hudson Valley Collage, 18″x14″, sold to the Emerson Resort and Spa.

This show was a wonderful experience for me from every standpoint. Parting words from them when I was done with pick-up—after expressing my deep appreciation for how well-handled every aspect of our interaction was—“happy artist, happy gallery”.

Those works that have returned to my studio are back on my available work post, as well a number of other pieces:

https://scheeleart.wordpress.com/2015/11/18/available-workstudio/

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Iconic Cloud recently came back to me and I just touched it up, brightening both hillside and sky. I’ve done that a few times recently—must be a shift in my mood.

Iconic Cloud, 20″x40″.

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Here is a schedule of my workshops in Woodstock, Nantucket, and Provincetown. My color-mixing workshop has become very popular with painters of all levels and styles, so some version of that is being offered in the three locales.

JUNE 16-18, WSA: My last landscape painting workshop in Woodstock for 2018 is coming right up in June. Last year we had a really lovely time in this workshop for students with landscape painting experience. It’s a good one to repeat, too:
AUGUST 7-10, Nantucket at the AAN: A full-day color-mixing and 3 short-day Form and Content
SEPTEMBER 17-20, Provincetown at the PAAM: Also a one-day color mixing followed by 3 short days of of Form and Content
This will be followed by my show opening on the 21st at Julie Heller East, across from the PAAM.
My fabulous color-mixing group in Woodstock in April provided the feedback that the class would be even better as a two-day workshop. I also have wanted to extend the information by immediately applying it to painting, mixing and critquing palettes. So I altered the theme of my October WSA workshop to this:
OCTOBER 27-29, WSA: New workshop: Color Mixing and Composition for Painters:
Anyone who has taken my color-mixing workshop can join us for day #3 of this workshop, to explore more deeply the practice of color.
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I will participate in the Shandaken Studio Tour July 21-22. More on this as it approaches—it is such a pleasure for me to set up my studio as a gallery and host visitors both new and known.

Moving forward, a September show at Julie Heller East in Provincetown and the Luminous Landscape at Albert Shahinian Fine Art in Rhinebeck later in the fall. Plus some as yet unknown opportunities will likely arise, as they usually do…

 

Blue Dusk, oil on board in vintage drawer.

 

 


Atlas Project/Hudson River Valley and Catskills

My first fully realized Atlas Project installation opens at Thompson Giroux Gallery in Chatham, NY, on March 31st, 2018. Elaborating on my artist’s statement for my discussion below, I am also including photos of all of the work in the show.

 

Here is the gallery’s press release, nicely weaving together my previous artist’s statement about my paintings with my new Atlas Project statement. Thompson Giroux Gallery and I are very pleased to be pledging a donation from sales to benefit two local land conservancy organizations, a small thank-you to the earth for the beautiful vistas and open spaces that I have been painting for the past decades.

 


 

Forms of Water

Forms of Water, 30″x36″. (G)



The artworks in Christie Scheele‘s solo exhibition Atlas/Hudson River Valley take the viewer on a walk through the Hudson River Valley’s open spaces from Albany south to Manhattan.

In this exhibition Scheele brings together paintings, drawings, printmaking and mixed media and explores the personal and collective connection between our lives today and our increasingly fragile environment. Scheele continues her immersion into open spacious landscape painting. Using soft lines Scheele allows the viewer to sense and experience a particular place in our local environment; the way the light makes you feel at a specific time of day, how a place has it’s own color palette reflecting memory and process. Scheele’s use of color and atmosphere creates a suspended moment to experience the intangible power of nature.

With each destination on the “Site Map” we are invited to take an intimate look at how process, history and memory play a crucial role in our relationship to our natural environment.

In an effort to support our local land conservation initiatives, artist Christie Scheele and Thompson Giroux Gallery pledge 5% of any sales by the artist during Atlas/Hudson River Valley on view March 31-May 6, 2018 to benefit the Columbia Land Conservancy and the Woodstock Land Conservancy.

Please join us Saturday March 31st from 4-6pm for refreshments and live music by Josh Connors & Otto Gardnier.

For more information please visit www.thompsongirouxgallery.com or call 518-392-3336.
Thompson Giroux Gallery is located at 57 Main Street, Chatham NY 12037.

Gallery hours: Thursday – Monday 11am to 5pm, Friday 11am to 7pm.
Closed Tuesday & Wednesday
Closed Sunday April 1st

Image credit: Christie Scheele, “Forms of Water”, 2016, Oil on Linen, 30″ x 36″.


 

Land and water use have been political since the beginning of our time on earth. As these issues become increasingly critical, I have been catapulted —but also eased, nestled— into expanding the environmental discussion that until now has been mostly implied in my work, putting into context my decades-long celebration of the powerful beauty of our planet.

 

River with Lighthouse, 12″x36″, oil on linen.

 

Ebullient Winter, 18″x24″, oil on linen. (G)

My new Atlas Project maps my work while mapping the world, revealing a web of meaning around and between the individual pieces that I create. The matrix that connects all of my landscape imagery is saturated with memory, both personal and collective. To show these connections, I am working in one thematic grouping at a time, creating a legend, or site map, to each body of work. The Site Map is a key both to a given installation and to the region or theme that it explores.

 

 

The Site Map for Atlas/Hudson River Valley, the first of these exhibitions, is created with collage on a Rand McNally road map of the river valley, the Catskills, and our wider region. It contains numbered mini-monotypes of all of the oil paintings on view and corresponding map tacks showing the locale depicted on the map.

 

Site Map with Extensions, as it appears on the gallery wall.

 

Extensions of the Site Map include Mapping Memory, lino/mono prints of regional flora and fauna with written personal observations; a collaged and monoprinted map of the source of the river in the Adirondacks; a collage of the Hudson Canyon, extending 400 miles out to sea from NY Harbor; and a fourth extension discussing climate change and local impacts.

 

 

 

Using drawing, printmaking, pasteling, writing, and mixed-media along with oil paintings, I am exploring the interrelationships of process, history, and memory. These are revealed not only by air, land, and water but also by my materials and personal history as an artist, family and community member, and frequent inhabitant of the outdoor world.

The Atlas Project text is therefore a blend of natural history and personal memory.  For the Atlas/Hudson River Valley site map I decided to tuck the text of my stories into an envelope that I created with rice paper. You can see these along the left-hand side of the Site Map, and an open one below:

 

Detail from left-hand panel, “Mapping Memory”.

Other bits of writing get more into the life-cycle of the wildlife depicted. I chose the species included in the map based on my interactions with them but also on a long-standing fascination. We probably all have these — how amazing, to me, is the Red Eft, so bright among the fauna of the NE United States? How cool is the life-cycle? Here is my story about these creatures:

It wasn’t until recently that I realized that the salamanders that I caught as a child near Oneonta, NY, are the same creatures as the Red Efts that I greet after every rain or heavy dew on the trails of the Catskills.

They have three life stages: the first after hatching in ponds; the second when they turn from brown to red and lose their gills, traveling on land for several years to find a new body of water. Finally, in their adult phase the tail widens, and they turn back into a greenish-brown color, living and breeding as aquatic animals with lungs to complete their 12-15-year life span.

At eight I was enamored of catching and releasing in a pond that we swam in during summer months. On one occasion I brought two newts home in a mayonnaise jar, stocked with moss and bits from the bottom of the pond. I changed the water every day with nearby creek water and left the jar under a big tree on our lawn, dropping in small insects from time to time.

One day I spotted eggs in the moss. Such anticipation!

A few days later we heard young voices coming from our front yard just after dark, and looked out to see two boys walking away. The next morning, I found my jar empty of water and newts, the eggs drying in the sun.

 

 

Reflected Suns, 32″x48″, oil on linen.

Printmaking become an integral part of Atlas/Hudson River Valley. Below are two monotype versions of the image used in “Reflected Suns”, exploring the more graphic possibilities of the medium.

 

MReflected Sun #2, 10″x16″, monotype. (Sold)

 

MReflected Sun #1, 10″x16″, monotype. (G)

And the mini-monotype on the Site Map (placement of these had to do with compositional concerns, as the numbers and map tacks are what identify the precise locales):

 

 

The first energy and ideas for this project evolved in 2016. That fall, I was experiencing profound grief over election results and their potential to set policy that will accelerate climate change. I was also contemplating a scheduled residency on Nantucket in February of 2017, and my upcoming 60th birthday later on that year. The second two factors prompted a question—how do I want to expand and deepen my range as an artist? The first, my accelerating concern over the health of our planet, gave me direction.

This extension to the Site Map addresses the issue of global warming:

 

 

These two recent monotypes reflect a view of a section of  the Schoharie Creek valley in summer and then during the massive storm flooding caused by Irene:

 

MVroman’s Nose/Green Fields, 8″x10″. (Sold)

 

Vroman’s Nose/Flooded Fields. (Sold)

And two additional monotypes of our region:

 

MSweeping Sky with Fields, 8″x10″, monotype. (Sold)

 

MWhite Field #1, 8″x10″, monotype. (G)

 

The Nantucket residency produced a prototype Site Map where I first used the idea of making small monotype prints of the oil paintings to be included in the grouping or show. It is a very rich process, artistically, entering a new world as you are creating it, and also full of the discomfort of facing the unknown. To read about my residency, go to this link to my blog post:

https://scheeleart.wordpress.com/2017/03/18/artists-residency-on-nantucketnew-atlas-project/

 

I so loved the collaging-on-a-map process while working on the Site Map that I decided to create some of these as stand-alone art pieces. The first, below, leaves much of the under-map showing, and in addition to pattern and magazine papers; samaras, wasp galls, and other bits and bobs, I hand dyed some of the green papers used for the Catskill Park area.

 

Atlas/Hudson River, 18″x14″, mixed media/collage on Rand McNally Road Map on board. (Sold)

 

I live in the High Peaks area of the Catskills, so many of the pieces in this show are images of the mountains, roadways, streams, and of course, the Ashokan Reservoir, seen above in blue within the Park.

 

Esopus Mists, 12″x12″, oil on linen. (G)

 

Indigos with Glowing Light, 18″x24″.

 

Affinity/Dusk Road, 30″x30″, oil on linen with frayed edges on primed board overlaid with graphite gridding.

 

Another collage, also of the River, is more tightly composed and with more contrast than the first, and includes the small river towns of Kingston, Rhinebeck, Poughkeepsie, and Newburg.

 

Atlas/HV Collage, 2 panels of 16″x8″/ea.

 

For the third, following my own lead with the Site Map extension, I hand-died rice papers in varied blues to reinterpret the Hudson Canyon, the below-water extension of the river itself.

 

Hudson Canyon Collage, 12″x12″. (G)

 

The Hudson River originates in Lake Tear of the Clouds, in a remote area of the Adirondacks, as pinpointed in the upper extension, above. It empties out into New York Harbor:

 

Harbor with Soft Light, 13″x20″, pastel on paper.

 

Many images are Hudson views between NYC and Hudson, NY. The stretch between Poughkeepsie and and Saugerties is well-traveled in the summer by us in our small lake boat. Lower sections are often views from bridges and the train.

 

2 Shores/Reflected Sun, 12"x12".

2 Shores/Reflected Sun, 12″x12″, oil on linen.

 

Refracted Golds, 20″x40″, oil on linen. (Sold)

 

Downriver, 24″x24″, oil on linen.

 

River with Big Sky, 24″x30″, oil on linen. (G)

 

Rare Summer Silence, 20″x30″, oil on linen.

 

River Island with Castle, 9″x36″, oil on board.

 

Gleaming Bridge, 20″x40″.

 

Affinity/Shore Lights, 16″x8″, oil/linen/board/graphite gridding.

 

Red River Shore, 20"x30".

Red River Shore, 20″x30″, oil on linen. (G)

 

This is not a catalogue of all of the wonderful views of the HV and Catskills, but rather an organically created collection of a number of the paintings that I have done over the past 10 years or so of our region. In this way, the grouping is a bit of a retrospective.

I am frequently hiking and driving around both the East side of the Hudson, into the Berkshires, as well as the West side, reaching into of the foothills of the Catskills, providing sources for some favorite views of the river itself as well as farm fields and hillsides.

Triptych in Reds, 24″x24″/ea. panel, oil on linen.

 

Long Storm Cloud, 8″X28″, pastel on paper.

 

Meadow with Peaks, 14″X18″. (Sold)

 

Trees with Mist, 18"x48", $4,200.

Trees with Mists, 18″x48″, oil on linen. (G)

 

Mountain Sky/Blues, 24″x48″, oil on linen. (G)

 

 

“September Dawn”, 10″x28″, pastel on paper. (Sold)

.

 

ParticularityPlace

Particularity of Place, 36″x36″, oil on linen. (G)

 

layersofmeaning

Layers of Meaning, 30″x24″, oil on linen. (G)

 

Snow Fields, 12″x12″, oil on linen. (G)

 

Snow Shadows, 12″x12″, oil on linen. (G)

 

The final study done for a large piece in oil, now sold, inspired by the Maya Lin Wave Field at Storm King:

Green Waves, 5″x28.5″, oil on paper.

My upcoming groupings will include Atlas/Forms of Water, and Atlas/Cape Cod, the former creating overlap with the place-based themes and requiring a different solution for the map (I am thinking maps, actually).

I alternate between focusing on aspects of this work that I am currently inventing and my continued immersion in my open, spacious landscape paintings, looking to draw it all together into a cohesive whole, mirroring the wholeness of life on earth.

 

Sweeping Greens/Jostling Trees, 28″x68″, oil on linen. (Sold)

A link to the Violet Snow article in the WoodstockTimes:

https://hudsonvalleyone.com/2018/04/02/artist-christie-scheeles-map-magic/

Many thanks to those who have helped this project along: my husband, Jack, for design and paste-up help; Kate McGloughlin of the Woodstock School of Art for teaching me monotype techniques; Mary Emery for inspiring my rediscovery of printmaking; The Artists Association of Nantucket for hosting the residency that advanced this work; Polly Law for brainstorming titles (including “Atlas Project” itself) and language with me; Jenny Nelson for being my sounding board; Loel Barr for showing me some of her cool collage techniques; Thompson Giroux Gallery for planning and mounting this large and complex solo show; Geoffrey Rogers for his expert framing; and Mark Loete for the perfect photographs of the Site Map and extensions.


Available Work/Studio/Oil on linen and board

This post, designed primarily for the galleries and consultants that I work with,  serves as a data-base for oil 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.

 

Iconic Cloud, 20″x40″, $4,000.

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.

Rokeby Meadow, 24″x30″, $3,600.

 

Tree with Mists, 18″x48″, $4,600.

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: scheeleart@gmail.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/

 

Saltmarsh with Soft Sky, 24″x36″, $4,000.

 

Boundless Summer, 24″x36″, $4,000.

 

Additional work can be found at my galleries: Albert Shahinian Fine Art in Rhinebeck, NY; Julie Heller Gallery in Provincetown, MA; 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.

 

StillMists

Still Mists, 24″x62″, $6,000.

 

 

Affinity:OntheGrid

Affinity/On the Grid, 36″x48″, $6,500.

 

Mountain Sky/Blues, 24″x48″, $5,000.

 

Lively Discourse, 24″x36″, $4,000.

 

Sunset in 5, five panels of 8″x8″/ea., $3,400.

 

Sky Meets Water, 18″x24″, $2,200.

 

Triptych/RedFields, 3 panels of 24″x24″/ea., $7,500.

 

Contrasting Sunset, 18″x52″, $4,800.

 

Red Line, 24"48", $5,000. (CVB, Solera)

Red Line, 24″x48″, $5,000.

 

River Island with Castle, oil on board, 9″x36″, $1,800.

 

Affinity/Dusk Road, 30″x30″, $4,000.

 

Downriver, 24″x24″, $3,200.

 

SeablueswithBrilliantFog

Seablues with Brilliant Fog, 16″x20″.

 

 

Gleaming Bridge, 20″x40″, $4,000.

 

River with Lighthouse, 12″x36″, $2,600.

 

 

Particularity of Place, 36″x36″, $5,500.

 

Sundrenched Saltmarsh, 20″x16″, $2,000.

 

White Light/Green Light, 24″x24″, $3,200.

 

Sunset Roofline, 24"x23".

Sunset Roofline, 24″x30″, $3,600.

 

White Sun, 20″x20″, $2,200.

 

Affinity/Flatland's Drive, 18"x18", $2,000.

Affinity/Flatland’s Drive, 18″x18″, $1,800.

 

Marsh at Dusk, 14"x16",

Marsh at Dusk, 14″x16″, $1,500.

 

Affinity/Return at Dusk, 12"x24".

Affinity/Return at Dusk, 12″x24″, $2,000.

 

Indigos with Glowing Light, 18″x24″, $2,200.

 

 

Affinity/Reflected Trees, 10″x10″, $850.

 

 

Light into Dark, 12″X24″, $2,000.

 

Layered Clouds, 20″x16″, $2,000.

 

Affinity/Shore Lights, 16″x8″, $1,300.

 

 

Embracing Pink, oil on board, 3 panels of 8″x8″/8″x10″/8″x8″, $1,800.

 

“Smokey Sky”, oil on a vintage slate.13.5×9,5, $1,000.

 

Affinity/Dual Twister, 10"x10", $900.

Affinity/Dual Twister, 10″x10″, $900.

 

Dawn Headlights, 12″X36″, $2,600.

GleamingSkyoverProvincetown

Gleaming Sky over Provincetown 11″x14″, $1,300.

 

Mists over Mountain Road, 8″x8″, $800.

 

Summer Reflected, 12″X12″.

 

Gleam over Ridge, 8″x24″, $1,500.

 

Esopus Mists, 12″x12″, $1,300.

 

SummerCloudbank

Summer Cloudbank, 10″x30″, $2,000.

 

 

 

 

 

 

 

 

 


Small Studies in Oil on Primed Paper

I began using small oil-on-primed-paper studies as a teaching tool in my September 2013 workshop at the Provincetown Artists Association and Museum.

At work on one of the studies for

At work on one of the studies for “Blue Above”. (Photo courtesy of Carol Duke.)

As you can see above and below, I did several versions of the same image, moving elements around, encouraging my students to do the same.

Version

Simple version, tidal pool coming off the bottom and corner of the picture plane.

It is not just a question of what is included and what is left out–though that is always a major consideration in my work (see https://scheeleart.wordpress.com/2015/06/30/contoursdistillations-a-solo-show/   for more on that conversation). Even in this very reductive composition, there are many variables. What, exactly, is the shape of the tidal pool cutting toward us, and where does it leave the picture plane, both on the left and on the right? How high or low is the horizon line? Cool greens, warm greens, or both? Back shore more compressed and lighter, making it seem further away, or larger and darker, bringing it forward?

Version with suggestion of houses in back land form.

Version #2 with suggestion of houses in back land form, and Long Point lighthouse on the right.  Tidal pool moves off the right side. (Sold)

I decided to go very white with the sky in the large piece, since I love the shore phenomenon of bright blue sky overhead and white at the horizon, which is due to the many miles of atmosphere, denser close to earth, that we are looking through.

Blue Above, 12

Blue Above, 12″x36″ , currently at the Julie Heller Gallery, Provincetown, MA.

None of these versions is any better or worse than the other—they are just different. The choices that I made for the larger oil were largely mood-driven. For example, I opted to emphasize the simplicity of the major shapes by omitting the lighthouse and bits of detail on the back shore. Including them would have made it a more descriptive piece, which I do from time to time. But at heart I am a minimalist, enjoying the open feel that these compositions bring.

First set of small

First set of small studies. (Mostly sold; two are currently at Edgewater Gallery, Middlebury VT.)

I soon saw that the studies function nicely as small paintings in their own right if I finish them the same way I do a larger piece. They look great framed with a mat and under glass, though I have also exhibited and sold a number of them mounted on board, sealed to be airtight, and presented without glass, such as the below.  I did a grouping, example below, for a small works show without any intention to do them larger—some of them are images I already had done as pastels or larger oils. Switching it up!

Tidal Flats at Dusk, 6

Tidal Flats at Dusk, 6″x6″, sold by Thompson Giroux Gallery. (Sold)

 

Study/Triptych in Reds

Study/Triptych in Reds, 3 panels of 5″x5″/ea., private collection.

I decided to leave out the soft water-shape in the larger version, mostly because I knew that I was going to frame each panel separately and I felt that the simpler field dividers would work best, carrying the horizontal sweep of the composition through the strong verticals of the frames and the wall space between.

Triptych in Reds

Triptych in Reds, 3 panels of 24″x24″, currently at Gold Gallery, Boston.

 

 When I do these studies, I don’t do them to copy them later in a big piece, but rather to familiarize myself with some of the elements. I have my students do several of the same image, and until they do they really don’t get the concept. It isn’t to come up with the perfect study to be copied, but to move things around and look at the results to see what sections work best, comparing all of the studies. Having done that, choices will still need to evolve organically with a larger piece–and just the size difference can really influence this process— but you now have the advantage of  having posed key questions to yourself.
Study/Intervening Bay

Study/Intervening Bay, 7″x7″, private collection.

In this recent piece I moved the front tidal pool a bit over toward center in the larger piece and had more room to play with the blues. It became clear that in the 24″x24″ version I needed to clearly differentiate between the three groupings of marsh grasses to indicate far, middle, and close proximity, using color to establish distance. Why? It just didn’t look right to have them all on the same plane in this particular image. This, though, is something that in another painting I might love—allowing all of the shapes to sit right on top of the picture plane, functioning as a color field painting.

Intervening Bay, 24″x24″, private collection.

The study and the large version each ended up where they needed to, and different from each other in subtle ways.
Study/Open Road #1, 4.5

Study/Open Road #1, 4.5″x14″. (Sold)

These two are quite similar, the main difference being the enhanced distance in the road that I created with the larger piece.

Open Road, 20

Open Road, 20″x60″, available at Gallery 901, Santa Fe, NM.

 

Sometimes after both—or all of—the pieces are finished there are things that I prefer about the study. In the following two, it is the differences in size and materials themselves that create a somewhat divergent feel.

Study/Sunset Sea, 5″x5″ (at Thompson Giroux Gallery).
One element to be considered is that the texture of the paper is more assertive in a small piece, and often a bit more matte, even though my linen also has tooth and the paint is applied to the same dark, absorbent ground. Here I feel that the study is more painterly and the oil-on-linen more photographic.

Yellow Band, 36″x36″ (at Julie Heller Gallery).
With the following pair, the study is simpler and more illustrative than the larger piece that came after.
Study/Skyline

Study/Skyline, 7″x7″,  (at Thompson Giroux Gallery).

In the larger size I needed to add more buildings, and I opted to make it more atmospheric. It turned out to be very useful to have established the front detail in the small piece, since I wasn’t at all sure how it was going to work out or even if I wanted to include it. I liked it well enough in the study to follow my own lead in the larger oil.

Skyline with Lifting Rain

Skyline with Lifting Rain, 20″x20″ (sold by Edgewater Gallery).

Here are some pieces from my current collection of studies that I haven’t yet done large. I will do this with some, and others will remain in small format only.
What I choose to paint next is driven by a complex set of considerations, partly mood-driven and partly tending to the needs of my galleries. Yet sometimes I love to not over-think it, changing direction at the spur of the moment. Any of these could be explored in large canvas at any time, and/or my next large piece might be of an image that I did not approach first in small format.
Study/Mountain Contours

Study/Mountain Contours, 4.5″x14″, currently at Albert Shahinian Fine Art in Rhinebeck, NY.

 

Study/View from Little Mountain, 6

Study/View from Little Mountain, 6″x8″, currently at Edgewater Gallery, Middlebury VT.

Study/Lake Mists, 5

Study/Lake Mists, 5″x5″ (currently at the Tenderland Home, Phoenicia, NY).

 

Study?Gleam over Tidal Flats,

Study/Gleam over Tidal Flats, 6″X10″. (Sold.)

 

Study/Green Valley

Study/Green Valley, 6″x10″.

 

Study/Late Summer Light, 5"x7.5".

Study/Late Summer Light, 5″x7.5″.

 

Study/Meadowlands with Mists.

Study/Meadowlands with Mists, 3.5″x10.5″. (Sold.)

I was so enjoying the color on the above that I decided to do a version without the industrial detail in the back landform.

Study/Fall Marsh Mists, 4

Study/Fall Marsh Mists, 4″X8″. (Sold)

And then I wanted to simplify even more and use the soft lavender with greens instead.

Soft Summer Light, 4"x8".

Soft Summer Light, 4″x8″.

Additional pieces (updated since the publication of this post):

 

Study?Yellow Bush, 4"x14.5", Edgewater Gallery.

Study/Yellow Bush, 4″x14.5″ (at the Tenderland Home).

 

Study/Waterspouts, 6"x9".

Study/Waterspouts, 6″x9″ (at Julie Heller Gallery.

 

Study/It Looks Like Rain, 6"x9".

Study/It Looks Like Rain, 6″x9″.

 

Study/Summer Marsh, 5"x12".

Study/Summer Marsh, 5″x12″ .

 

Study/ClusteredCLouds, 5"x12".

Study/ClusteredClouds, 5″x12″. (Sold.)

 

Study/White Fields, 5"x11".

Study/White Fields, 5″x11″ (Sold).

 

Study/Grey Dawn, 5"x7".

Study/Grey Dawn, 5″x7″.

 

Study/Winter Warmth, 7"x7".

Study/Winter Warmth, 7″x7″ (sold).

 

Study/Se.rene Winter, 5"x11"

Study/Serene Winter, 5″x11″ .

 

Study?Reservoir from Little Mountain, 4"x12".

Study/Reservoir from Little Mountain, 4″x12″ (sold).

 

Study/Green Fields, 5"x13".

Study/Green Fields, 5″x13″.

 

Study/Glowing Sky over Fall Marsh, 6"x8".

Study/Glowing Sky over Fall Marsh, 6″x8″ (at Tenderland Home).

 

The study below illustrates another use for the small format, as it was a a study for a commissioned painting (something that I have always done in a small pastel or oil to iron out the imagery that has been chosen by the collector):

 

Study/Resting Clouds, 4"x14".

Study/Resting Clouds, 4.5″x12″ (sold).

 

Lifting Clouds, 18"x42".

Lifting Clouds, 18″x42″, (private collection).

 

You may have noticed that some of the oil-on-paper pieces have a deckled edge and some have a clean edge. This does not translate with the large oil-on-linen work, but instead is something that I’ve been playing with in my pastels for a number of years. Some images have shapes within that relate to the uneven edge, and others have a more linear sweep to the composition. Those that have the deckled edge are framed showing it, and the others have the mat coming right up to the edge of the image.

I never like to over-plan. But even though I got along just fine without these studies for years and years, I have to say that for myself and for my students, they can have a liberating effect. Once you have internalized some aspects of what you are doing, it is much easier to proceed with confidence and an exploratory attitude.

Summer Preview

Summer Trees, 16"X20", $1,600 (uf). (JSO)

Summer Trees, 16″X20″.

The pleasures of late spring and early summer as they affect my studio experience and the tasks related to showing and selling my work are too many to list. Must-mentions: painting with windows and door open to the yard and the stream behind my studio; drying my paintings in the sun in my yard so that I can resume work on a second layer within just a day; doing my daily work on the computer sitting on my screened-in back porch with the sound of the stream as accompaniment; and driving my work around for deliveries surrounded by the visual joy of many-colored lilacs, poppies creating a splash of brilliant orange next to purple dame’s rocket, and amazing, shifting, spring-soft greens.

Ellsworth Kelly at Thompson Giroux Gallery

I had the pleasure of attending an exhibition and 90th birthday party for Ellsworth Kelly on May 31st, the day of his actual birthday, at my gallery in Chatham, NY,  Thompson Giroux. Chatham is familiar turf for Ellsworth– the dinner  was thrown in the same space that he rented for his first upstate studio back in the early ’70s, and is of course the source for the title of his “Chatham Series”.

Ellsworth

It was lovely to see again the botanical prints that we studied and admired back when I was in art school as iconic line drawings from life—spare, fluid, and subtly quirky.

EKShowTGG

I was most interested to read that Ellsworth based his abstract paintings on “observed reality”, a departure from the ethic of the day. Comparing this with the work of the abstract artists that I am closest to, Jenny Nelson, Melinda Stickney-Gibson and Marie Vickerilla,, whose imagery evolves from within the process of developing each canvas (and whose shows I have also recently seen) has set me thinking. I plan a blog post on this discussion, coming up next.

Then, I may not be able to resist jumping into the issue of prices and how crazy the art market is. Discussing an artist whose work brings some of the highest prices of any living artist in the same breath as three mid-level artists makes it hard to avoid that particular elephant in the room.

What is the realtionship between quality and price in the art market? Why do these four artists have such different price points?

Shandaken Art Studio Tour July 20-21

Save-the-date for the Shandaken Studio Tour, when it is my pleasure to arrange and open up my studio to new folks doing the tour, my collectors, fellow artists, and friends. This is a busy weekend for me, though oddly grouped sometimes (last year about half the people who came by seemed to be there just after 2pm on Sunday!). Here are a few of the pieces that I plan on showing.

"Rare Summer Silence", 20"x30".

“Rare Summer Silence”, 20″x30″.

"Mountain Vista", 24"x48", $5,000.

“Mountain Vista/Max Patch”, 24″x48″.

Unreservedly Summer, 10"X30", 2013, $2,000.

“Unreservedly Summer”, 10″X30″.

Favorite Pieces at my Galleries

Within the past month six of my galleries have either received new work or been delivered the whole grouping that they will show for the season. I have chosen a favorite piece from each location to show you below—I hope you get a chance to visit these wonderful galleries!

Ongoingness of Summer, 3 panels of 24"X30"/ea., $9,000. (GG)

“Ongoingness of Summer”, 3 panels of 24″X30″/ea., at Gold Gallery in Boston.

Cranberry Bog in Reds, 48"x24", 2013.

“Cranberry Bog in Reds”, 48″x24″, Van Ward Gallery, Ogunquit, ME.

"Spring Light", 36"X36".

“Spring Light”, 36″X36″, Chace-Randall Gallery, Andes, NY.

Sundrenched Saltmarsh, 20"x16", $2,000, 2013. (JHG)

“Sundrenched Saltmarsh”, 20″x16″, Julie Heller Gallery, Provincetown, MA.

Oak Bluffs Morning Fog, 3 panels of 14"x18"/ea., $5,000. (DG)

“Oak Bluffs Morning Fog”, 3 panels of 14″x18″/ea., Dragonfly Gallery, Oak Bluffs, MA.

 

Overlook Summit View, 24"X48".

“Overlook Summit View”, 24″X48″, Albert Shahinian Fine Art, Rhinebeck, NY.

An Invitational Show in Newburgh

Luminists_Poster_or_flyer9A(3)

"Particularity of Place", 36"x36", one of three pieces of mine included in the show.

“Particularity of Place”, 36″x36″, one of three pieces of mine included in the show.

A Few Recent Sales

Trove: From the Road, 16 paintings of 3"X5"/ea., 22"X28" framed..

“Trove: From the Road”, 16 paintings of 3″X5″/ea., 22″X28″ framed. This sale was quite a story, involving a trip to Chicago where it hung perfectly on a particular wall, then back to my studio where it was almost shipped off to my Boston gallery; then the intervention of a purchase as a generous gift so that it ended up back in Chicago in its perfect spot. There were several co-conspiritors on this one!

Mutable Sky, 20"x40", $3,600.

“Mutable Sky”, 20″x40″, to a lovely home in Woodstock.

Upcoming painting workshops

Landscape and Mood, the Woodstock School of Art, June 24-26.  http://woodstockschoolofart.org/

Landscape and Mood, The Provincetown Artists Association and Museum, September 16-19  (this will be on their website soon). http://www.paam.org/mspaam.html