<$BlogRSDUrl$>

Sunday, December 26, 2004

"TABLE BASSE" (late 18th century) (WALNUT TOP & LEGS; OAK DRAWERS)
Location: Galatea Offsite-San Francisco Apartment

18" height doesn't reflect original height. Originally a dining table but serves as coffee table now that the four legs were cut off.

***
Prov.: Mostly French, Calistoga, CA



Saturday, December 25, 2004

"PI PAINTING" (2003) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Galatea Offsite-San Francisco Apartment

"MILK AND COOKIES" (1997) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Galatea Offsite-San Francisco Apartment

"BASEBALL HOSTESS" (2004) (OIL ON BOARD) by MARVIN HUMPHREY
Location: Library, Pygmalion-First Floor

"ICED MUFFINS" (2003) (OIL ON CANVAS) by MARVIN HUMPHREY
Location: Galatea Offsite--San Francisco Apartment

"LANDSCAPE (RAIN ON SPRING MOUNTAIN)" (2001) (OIL ON CANVAS, 11 x 14 IN) by MARVIN HUMPHREY
Location: Galatea Offsite--San Francisco Apartment

(THIRD MENTION DUE TO UPDATE)

UPDATE:

Just acquired our fourth and fifth Marvin Humphrey works (the first two listed). Mr. Humphrey is one of the mail delivery people for St. Helena. I stumbled across his work when he had an exhibit at the St. Helena Library. His show was sold out, but we contacted him directly and got his "Iced Muffins." Being a writer and publisher, I often go to the post office and I soon noticed that on the bulletin board there, they would hang one of his paintings. That's how we got his "Landscape" painting, and now this latest "Baseball Hostess" painting of cupcakes! He's a treasure as his paintings have a popular local following. After someone acquires his painting from the post office bulletin board, another Humphrey painting soon would hang. I have yet to see a single painting that would disappoint.

During the 2004 Holiday season, my husband saw "Milk and Cookies" and got it for me as a Xmas present. Separately, I saw "Pi Painting" and got it for him as a Xmas present! Obviously, we were pleased with each other's tastes!

***
Prov.: St. Helena Post Office; Direct from Artist



"'TOO YOUNG TO DIE' ASHTRAY by YOSHITOMO NARA
Location: TBD

A hoot of a dish by pop artist Yoshitomo Nara.

***
Prov.: Museum of Contemporary Art, Los Angeles



Thursday, December 23, 2004

"PARVA, XXXIV" (1993) (ACRYLIC ON WOOD, 5.75 x 32 x 4 IN) by ANNE TRUITT
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE]

UPDATE:

Anne Truitt, Rest in Peace. Here's Artnet.com's notice:

ANNE TRUITT, 1921-2004

Anne Truitt, 83, Washington Color School sculptor known for smooth Minimalist forms that carried intensely saturated color into three dimensions, died from complications following gall bladder surgery on Dec. 23 in Washington, D.C. A close friend of Morris Louis and Kenneth Noland, Truitt was discovered by Clement Greenberg, who first wrote about her work in 1962. She exhibited for 20 years with Andre Emmerich Gallery, and is currently represented by Danese Gallery in New York. Her 1962 sculpture, Catawba, is included in the inaugural installation at the new facility of the Museum of Modern Art. Recent museum surveys of her work have appeared at the Carlos Museum in Atlanta (2004), the Sheldon Memorial Art Gallery in Lincoln, Neb. (2003), and the Georgia O'Keeffe Museum in Santa Fe (2000). She taught for many years at the University of Maryland.

***
Prov.: Danese Gallery, New York



Tuesday, December 21, 2004

"HISTORICAL OBJECT IN WHITE" (2003) (OIL AND PENCIL ON WOOD PANEL, 15 x 12 IN) by CHRIS OLIVERIA
Location: Living Room, Galatea-First Floor

"UNTITLED (NOTEBOOK SKETCHES)" (2003) by CHRIS OLIVERIA
Location: Galatea Offsite/San Francisco Apartment

"NOTE ZINE" (2003) (1/25 LIMITED EDITION, FIRST EDITION) by CHRIS OLIVERIA
Location: Library, Pygmalion-Second Floor

"COLLABORATIVE DRAWING" (2003) (INK ON GALATEA'S GUEST BOOK) by STELLA LAI AND CHRIS OLIVERIA
Location: Library, Pygmalion-First Floor

[THIRD MENTION DUE TO UPDATE]

UPDATE:

Chris Oliveria currently has an exhibit up at wunderK in Valencia, Spain. Click on wunderK's website link for more information!

***
Prov.: Lizabeth Oliveria Gallery, Culver City, CA; New Langton Arts Benefit; Direct from Artist



Monday, December 20, 2004

TWO FLEMISH OILS BY UNKNOWN ARTISTS" (19TH CENTURY)
Location: Living Room Hallway, Pygmalion-First Floor

Interior tavern scenes. Acquired during October 2004 exploration of Loire Valley. Bruno Maudet is a painter/restorer with his own shop; he restored one of the paintings.

***
Prov.: Bruno Maudet, 48, rue de la Scellerie, 37000 Tours; frames mention "H. Lucas & Sons, London"



Sunday, December 19, 2004

"UNTITLED" (1998) (PRINTER'S INK & RESIN ON PAPER, 19 x 15 IN) by MAUREEN MCQUILLAN
Location: Red Bedroom, Pygmalion-Second Floor

"UNTITLED" (1999) (PRINTER'S INK & RESIN ON PAPER, 19 1/4 x 19 1/2 IN) by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

HOLIDAY CARD DRAWING by MAUREEN MCQUILLAN
Location: Pantry Hallway (SouthEast), Pygmalion-First Floor

"UNTITLED" (PRINTER'S INK & RESIN ON PAPER, 1 1/8 x 7 IN) by MAUREEN MCQUILLAN
Location: Galatea Offsite/San Francisco Apartment

[THIRD MENTION DUE TO UPDATE}

UPDATE:


Maureen Mcquillan sent me the catalogue of a group exhibit in which she was featured: "ESPACIO NEGATIVO/TERRENO NYORQUINO" curated by Pamela Lawton and which recently closed at the Galeria Nacional/Museo de Los Ninos in San Jose, Costa Rica.

Here are some of the good stuff the catalogue essayist, poet and art critic David Shapiro says about Maureen's work:

"In the best works of [William] Crow, [Stephen] Westfall, [Pat] Adams and [Maureen] McQuillan, one is given a good infinity, one we can live with as through Adorno's love of the negative. Critical thinking must include this affirmation or not be convulsive. The sufficient art here has combined cubism and surrealism into a serial extravagance. Binswanger called it 'the upward fall.' We know how we both suffer and have the dignity of gravity, but in these works we also have the counter-grace of a repetition sign that is unconstrained. These artists fight for permission.

"There is a shameless music throughout McQuillan's address, and there is the wire as string that makes her whole world vibrate like a new theory of everything. The negative space and the positive jangle together, as if we were at the so-scalled stellar nursery where the black holes are born. We know that science and art do not hav ea simple one to one ratio. We know the letter is personal, vividly emotional, and cannot be rescued by positivism and context. But look! Here in this genesis of the line, we seem to feel that we have almost the graceful illustration of our contemporary Pythageoreanism. We do not need more color for sustenance. We do not need anything but the carved-out shapes of a woodblock made of electrons. See, how this letter addresses us with the modesty of a Dickinson, but the modesty to dive in. My mother asked for 'newsy letters,' Westfall gives us the news about his grids; Butter gives us information and recollection; and you have found in Maureen McQuillan's work some darkly factual work, like the autobiography of a burin."


And Shapiro ends with a postcript that sez:

"PS
"This art, the wild art of [Pat] Adams, the eclectic perspectives of [Tom] Butter, [Stephen] Westfall's grids and your [Pamela Lawton's] vistas of fracture, [Maureen] McQuillan's vibrations, and [William] Crow's non-assemblages, are not a pretext, but what I am trying to re-present. Not as in some positivist criticism, where Don Judd heroically tells me the inches and the material, though I love that persuasion. Not as by trailing wreaths of philosophy or poetry around your grounds and grinds. I have tried to be a partisan of attention and the person, of the addreseer and the addressee, and the dynamic rotating spin between all of what Jacobson regarded as the axes of the aesthetic. Of course, I leave out too much. No letter is final. E-mail demands a style of negative space.

"One editor once told me I might have confused criticism with a valentine. I told her Baudelaire did think of criticism as passionate and an act of devotion. Is it wrong to end with xo. D"


And that's what I call 21st century critical writing. Here, the medium by which most writers probably communicate nowadays is acknowledged without getting in the way of what is the archetype of aesthetic engagement: a criticism borne out of Love.

***
Prov.: Direct from Artist; James Graham & Sons, New York City; The Drawing Center (New York City)



Friday, December 17, 2004

"A COFFRET 'CHATEUX'" (1880) by GIEN
Location: Dining Room-Pygmalion-First Floor

It's a lovely, striking cache pot (grin: I first typed "poet"). Got it with a Gien "Hedailler Noel" for the 2004 Xmas tree!

***
Prov.: Sarl Faienceries De Gien Chamaillard, 14, 1uai Lenoir, 45500 Gien



Monday, December 06, 2004

"UNTITLED" (2004) (WATERCOLOR) by MICHEL SIMON
Location: Green Bedroom, Pygmalion-Second Floor

Acquired during October 2004 exploration of Loire Valley. Michel Simon had his own atelier and so was able to tell us directly how pleased as punch he is to know that his works go to homes around the world. How cheerful!

***
Prov.: Directly from Artist; La Palette, 26, rue Rabelais 37500 Chinon



Friday, December 03, 2004

test

This page is powered by Blogger. Isn't yours?