Living Off the Land

October 2007 | BY | Issue 58 | NO COMMENTS

Phyllis Shafer paints at Saguaro National Park in Arizona.

Phyllis Shafer’s lyrical landscapes, set in the high altitudes around Lake Tahoe and the deserts of Arizona, are a remarkable change from the urban world that the artist inhabited for most of her life. Shafer, who spent many years in New York and San Francisco, now paints her deepest feelings with accents of swirling, sensual cloud formations.

“I use the land as a metaphor for the human condition,” Shafer says, expressing admiration for how Native Americans have done so for centuries. “When I’m out there, I feel just like one more cactus or pine tree in the landscape. That’s where the soothing reassurances come from on a psychic level.”

Shafer credits New York dance classes for her work’s sense of movement. Yet it was her geographical shift to the mountainous West that inspired the heightened perspective and softly flowing lines in her work.

“The more time I spend in any setting, the more I become connected to the cycles of nature,” she says. “I don’t just paint in a realistic style. Instead, it’s a marriage between observation and fantasy coming from a felt response to the landscape.”

Shafer is a plein air painter, creating up to 90 percent of each work in the field before finishing it in the studio. She uses gouache about half the time, oils the rest. Her oil painting “The Oxbow” is in the permanent collection of the Nevada Museum of Art in Reno.

One of Shafer’s favorite sites is California’s Yosemite Valley. This past summer she took part in a four-week residency at the national park through the Yosemite Renaissance project. While Shafer was painting the park’s landmark El Capitan monolith back in 2006, a busload of Japanese teenage onlookers became so enthusiastic that all 50 took turns posing for pictures with her.

Shafer painted in San Francisco and earned her master’s degree from the nearby University of California at Berkeley. Because teaching is her other passion, she moved to the California-Nevada border to become an arts instructor at Lake Tahoe Community College in 1994, a position she still retains.

Her commercial breakthrough came in 2002 with the beginning of her association with Stremmel Gallery in Reno. That year, she was the first of 25 artists selected by gallery director Turkey Stremmel for “Artown,” Reno’s annual summertime arts festival. For its citywide exhibition, “Counting Sheep,” Shafer rendered the region’s monumental sky, mountains and forests on a three-dimensional fiberglass bighorn sheep, a piece now displayed at Reno’s McKinley Arts and Cultural Center. She painted a landscape “across the belly,” then worked in perspective on the legs.

“Phyllis is one of the greatest up-and-coming artists I’ve ever met,” Stremmel says. “Every time she brings us new works, she amazes me with her consistency, quality, talent and depth of understanding of the landscape.”

Shafer has had two solo exhibitions at the gallery, which has sold nearly 100 of her works.

Contemplating Shafer’s stylistic creativity, Stremmel says, “Phyllis is a contemporary artist painting in our time,” noting, as have others, similarities in her approach to those of great early-20th-century landscape artists.

But it’s her ability to convey her love for the land with each brushstroke that sets Shafer apart.

Eloquence Between the Covers

October 2007 | BY | Issue 58 | NO COMMENTS

Daniel Essig’s newer works feature an element of carving, including “Centipede Book”.

Could there be a more apt art form for an introvert than a wordless book? Not that Daniel Essig’s books have nothing to say—they are really quite eloquent. It is just that, like him, they use words sparingly, if at all.

Essig was studying at Southern Illinois University Carbondale when he discovered artists’ books, thanks to his photography professor, Charles Swedlund. They were like nothing he had ever seen. “There was one about a loaf of bread, and as you paged through it you saw the air bubble. That triggered the realization that you could make your own book, plus,” says Essig, “that a book didn’t have to have words in it.”

Essig wanted a book whose pages opened flat, without the pinch that causes the leaves to undulate from the center out. Books made by fourth-century Coptic monks in Egypt were just the ticket: because their folios are sewn together in a chain stitch, they move independently of their wood covers.

It took Essig two years to master the necessary sewing and woodworking techniques. He then went to the Penland School of Crafts on a work/study scholarship in 1991, where he saw “detritus—bits of paper, little graphited wooden pieces” left behind by sculptor Dolph Smith. Upon Smith’s return to Penland, Essig signed up for his three-day Paper Book Intensive in 1995. Again, that was that.

The way Essig tells it, one might assume that from that first encounter with the Coptic book, he never looked back. But wandering through his house in Asheville, N.C., it is clear that looking back is precisely what fuels his march forward. The downstairs is the key— this is where Essig communes with his hoard of treasures while nearby his wife, fiber artist Vicki Essig, works on her loom.

Essig’s workspace is like a walk-in curio cabinet: bowls overflowing with stones, an old camera, fossils and arrowheads aligned in trays, a shadow box with shells. Perched on Essig’s desk, a typesetter’s cabinet offers drawer upon drawer crammed with yet more: fossils, shells, minerals, cicada husks, coins, bones, nails, dead bugs. “Vicki finds things,” Essig says, chuckling, “and she doesn’t know whether it happened to die or I put it there.”

A hoarder since childhood—”I picked up anything, truly”—it is little wonder that Essig was later drawn to photography: what he could not tuck in his pocket, he could collect on film. Today, although he does not use his photographs in his art, photography’s galvanizing mixture of fact and fiction permeates his work. In photography, the light that touches the subject bounces into the camera and reproduces it on film. You cannot get more factual. Or can you? Photographers, after all, frame reality to suit themselves and manipulate the viewer.

The same dynamic enlivens Essig’s bridge books and sculptures. The patina on the exterior looks like old leather, but is actually paper that Essig has painted, sanded and burnished until it gives the illusion of being what it is not. The found objects he places in the various niches, on the other hand, are real. Tucked behind windows of transparent mica, each of these random objects encapsulates a day, an event, a memory, sometimes a life. And don’t forget the fact—illusion?— that a photograph freezes a moment in time … which brings us back to Essig’s childhood love of fossils.

Essig’s wordless books, as a result, speak volumes. Bound with flexible Egyptian stitching, each of Essig’s folios creates a swaying bridge connecting two sculptures—then, with a twist, the bridge morphs into a heart-shaped ruffle, recalling in shape and texture forms as different as Elizabethan collars and African masks. One book sports a shelf on which sits a smaller book, while another hangs by a chain, the way medieval tomes were secured within the monastery walls. Yet another book, this one a miniature, sits in the center of a sculpture bristling with handmade nails—a nod to protective talismans from the Congo.

When they are saying so much, why, indeed, would Essig’s books require words?

‘Tis Better to Give

October 2007 | BY | Issue 58 | NO COMMENTS

Looking for a special occasion gift as unique as the person you love? Join these customers as they enlist the experts in their search for the perfect presents. Seven gallery owners from across the country suggest their top picks from $500 to $8,000.

The Recipient

“I’m looking for a Hanukkah gift for my mother- in-law, who collects fiber art. She has a number of pieces in her collection, both wearable art and art for the home, including some baskets. I want to get her something unique, by a newer artist she isn’t familiar with. I’d like to stay in the $2,000 price range.”

The Gift

“Giant Green Anemone”
by Gerri Johnson-McMillin
Fish bone, monofilament and glass beads
$2,000 at del Mano Gallery, Los Angeles, Calif.

The Reason

“I have chosen ‘Giant Green Anemone’ for its original use of materials and because of the enchanting way the piece presents itself,” says del Mano Gallery owner Jan Peters. “It is a wonderfully wispy basket form that captivates the viewer with its glistening strands of monofilament, the surprisingly sculptural quality of the fish bones and a colorful sprinkling of glass beads.”

To continue reading “‘Tis Better to Give,” pick up a copy of the December 2007 AmericanStyle today!

What Characters!

October 2007 | BY | Issue 58 | NO COMMENTS

A Richard Dunbrack bookcase greets visitors in the Sussons’ entryway. Among children’s books on top is “Jimmy Zangwow’s Out-of-This-World Moon-Pie Adventure” by Tony DiTerlizzi. Photography by Margot Hartford

The tale begins with two Dale Gottlieb hand-knotted wool Story Rugs—”Happy” and “Big Dog II.” These cheery characters greet visitors to the Newport Beach, Calif., home of Dana and Mark Susson. The happy story unfolds when the home’s walls come into focus. They are covered by original artwork for illustrations from children’s books that the Sussons avidly collect. It’s a love story.

The couple, both lawyers, estimate that their collection encompasses some 150 framed original illustrations, in mediums ranging from oil painting to collage, and perhaps 6,000 books. They have been collecting since their son and daughter, Matthew and Sarah, now both in their 20s, were just children.

Some of the Sussons’ favorite illustrators have pride of place in the entryway. Their first acquisition—”Little Red Riding Hood” by Daniel San Souci—hangs there. It was this illustration from “The Bedtime Book: A Collection of Fairy Tales”, depicting the little girl discovering the wolf in her grandmother’s bed, that sparked the Sussons’ passion for children’s book illustrations.

To continue reading “What Characters!,” pick up a copy of the December 2007 AmericanStyle today!

A Treasure of a Life

October 2007 | BY | Issue 58 | NO COMMENTS

Still limber at 66, David Bennett welds a bronze armature for a figure. Photography by Daniel Sheehan www.danielsheehan.com

It’s mid-morning, and work is in full swing in David Bennett’s glass studio. Bennett, his son Drew, and gaffer Bob Park are finishing work on a bronze-and-glass female torso. The atmosphere inside the studio is one of respect—no shouting, no ego bruising, just three professionals creating a vision. When Bennett turns off his torch, Mozart’s “Requiem” is audible in the relative quiet. The music and artists seem to merge, choreographed as though by design, both racing toward their coda. More heating, rolling and heating the glass again. A chorus of instructions—Bob to David, David to Drew, back to Bob—accentuate the choral finale. Finally, glass thrust into the waiting vessel. Amen.

The climax offers a temporary respite, as the work is only halfway finished. Once the torso has cooled, they must remove the bronze mold that has coaxed molten glass into sensuous shapes, then patina bronze embellishments and painstakingly clean, scrape and polish the glass.

Overlooking Puget Sound outside Seattle, Wash., Bennett’s studio and home are an hour and a lifetime away from his 25-year career as a litigator in the city. In one of those accidents of fate, Bennett met a glass blower while vacationing in Florida to celebrate his 50th birthday. “He fished every morning, blew glass six to eight hours, and was well into his cocktails by six o’clock each evening,” Bennett recalls. “I thought to myself, ‘I’m missing something.’ ”

To continue reading “A Treasure of a Life,” pick up a copy of the December 2007 AmericanStyle today!

Characteristically Quirky

August 2007 | BY | Issue 57 | NO COMMENTS

Albuquerque sparkles in the foothills of the Sandia Mountains.

If the city of Albuquerque, N.M., ever decides to abandon “It’s a trip” as its tourism slogan, it could always try “They don’t call us ‘querque’ for nuthin’.”

Sure, it’s a bad pun, but it fits a city whose art scene is most often described as eclectic and … quirky. Albuquerqueans take their art scene very seriously, but they know better than to take the art itself that way.

Other cities fund stadiums; Albuquerque finances museums. The city lays claim to having one of the nation’s oldest One Percent for Art programs, with funds supporting everything from the Albuquerque Museum of Art & History in Old Town to more than 400 pieces of public art around town. The museum, which underwent an $8 million expansion in 2005, boasts an expanded sculpture garden with works by artists including Luis Jiménez and John Boomer, and an 8,000-square-foot changing exhibition gallery.

The creative temperament the city is so proud of is built into its heritage, developed through centuries of multicultural history. In addition to being a museum, the National Hispanic Cultural Center is an architectural work of art. Its structures tell the story of various cultures intermingling in New Mexico, including a work in progress–when complete in 2009, Frederico Vigil’s 4,000-square-foot circular fresco will depict the history of Hispanics in the Americas.

But you don’t need to visit museums to see the art. It’s sprinkled all over the city. A road divider might take the form of a giant, intricately bricked rattlesnake, mosaics and murals dress all sorts of surfaces, and downtown street signs represent significant local events and icons.

Those signs run along Central Avenue, Downtown’s main thoroughfare, otherwise known as Historic Route 66, where the neon glow emanating from vintage motor lodges, gas stations, diners and prestrip-mall shopping centers each night really does give the sense of a trip. Right through a time warp.

Art lovers who want to get their kicks on Route 66 might want to start in the resuscitated Nob Hill neighborhood, home of Mariposa Gallery. In business for over three decades, it’s one of the area’s contemporary-craft resident elders (though not nearly as old as Wright’s Indian Art in nearby Northeast Heights, which celebrated its 100th anniversary in 2007). Co-owner Jennifer Rohrig, who wasn’t even born when Mariposa opened, says the gallery has succeeded by changing with the times.

Though Rohrig confesses it’s hard to cycle out artists they’ve represented for years, she and partner Liz Dineen—both former Mariposa employees—decided when they took over that the place needed an infusion of new work. They’ve also given it a little extra prestige with folk artist Ken Saville’s skeletons and collages by Suzanne Sbarge. Sparge and Saville are among Mariposa’s many local artists. Rohrig says the gallery focuses on New Mexican art, but “without the howling coyotes.”

“The gallery has always been a place for emerging artists,” says Rohrig. “Anybody can come in here and buy affordable art.”

“We’re able to cultivate young collectors and serve experienced collectors as well,” she continues. “We really want to make art accessible and unpretentious.”

Collage artist Sbarge, executive director of Albuquerque’s 516 Arts, is one of the city’s cultural movers-and-shakers. Before operating 516, she ran the gallery in its previous incarnation as the popular Magnifico Arts at the same location. The two-story 516 Arts bills itself as a cross between a gallery and a museum; beyond exhibitions of both traditional and contemporary work, programs and events at the complex run the gamut from lectures to live music and poetry performances.

516 was launched in December 2006, with a show entitled “Green,” showcasing work by New Mexico artists in a variety of mediums. The title played double duty, acting as a symbol of the rebirth of an arts venue at the location. Organizers of 516 are hoping the nonprofit will bring a wider range of visitors to Downtown, Sbarge says.

Roy Sumner Johnson, owner of another veteran gallery, Downtown’s Sumner & Dene Creations in Art, has a similar goal in mind. That’s why he carries everything from kitschy collectibles to fine art at his gallery, across the street from 516 Arts. “I’ve been in business for 27 years, and to survive, I have to have souvenirs available. It doesn’t matter if it’s a $5 souvenir or a $5,000 souvenir,” he says. “It’s still something of that experience you had here in New Mexico.”

Johnson describes Albuquerque’s art scene as a reflection of the city itself: “a beautiful, eclectic blend” of Native American, Hispanic, Southwestern and contemporary influences.

“Eclectic”—or that “q” word— could certainly describe his store’s retail mix. Standouts include Normand Couture’s Jelly Beans series, modular sofas “with a sense of humor,” and tapestry art by Rebecca Smith.

Both Southwest art and souvenirs can be found at just about every turn in Albuquerque, but particularly in the city’s Old Town section, where you can buy directly from Native American crafters who spread their wares on blankets. Visiting Old Town gives visitors a taste of the original Albuquerque, settled 70 years before the American Revolution. Settlers built their homes, shops and offices around the plaza, which remains the center of activity.

If browsing in galleries is more to your liking, more than 20 are located in the flat-roofed buildings of Old Town. Weems Galleries, whose original site in Eastdale opened more than two decades ago, opened a second location in Old Town 16 years ago. Mary Ann Weems set tongues wagging when she first opened her establishment, mixing fine art with crafts and offering art at more affordable prices than many other galleries. That philosophy continues to propel the gallery, says employee Karen Furia. They keep art affordable “so everyone’s lives can be enriched by it,” Furia says.

If her two galleries weren’t enough to cement her reputation as an arts advocate in Albuquerque, Weems also organized the first Weems Artfest 25 years ago, to capture the holiday sales market for art fairs. The annual event, now known as the Weems International Artfest, brings together artists, children and charities, and has attracted celebrity artists including Sophia Loren and the late Anthony Quinn.

Whether you’re looking to bring home a piece of the Southwest with a traditional silver and turquoise work, or hoping for something a little more out of the ordinary, the best plan is to go without preconceived notions. And there are so many great deals to be had (the natives say you won’t find these prices in Taos or Santa Fe), the best rule of thumb is, if you love it, buy it. Or at least, have lots of fun looking.

Arts Travel: On the Search for Sculpture

August 2007 | BY | Issue 57 | NO COMMENTS

Wander through the Boca Ciega Millennium Park in Seminole, Fla., and if you look carefully, you’ll find delicate figures propping up leaning trees, a giant pine cone covered with hands and ladders leading to imaginary oak tree communities.

The six installations nestled into the park are the creation of artist Leslie Fry. All are made primarily of plaster, designed to gradually decompose. A book and video of the disintegration will document the evolution of the works.

While park visitors are encouraged to walk the boardwalk trail and locate the sculptures on their own, printed maps showing their locations are also available.

Fry is the park’s artist-in-residence, and will be giving guided walks and workshops through the end of 2007.

Arts Travel: Free Culture

August 2007 | BY | Issue 57 | NO COMMENTS

Penny-pinching arts aficionados, make way to Baltimore this October.

For the second year in a row, Charm City will host Free Fall Baltimore, 31 days of cost-free performances, lectures, exhibitions and more at cultural institutions across the city.

The program encompasses events large and small–from the Baltimore Museum of Art to the intimate Black Cherry Puppet Theatre. Last year, institutions hosted 342 free cultural activities, attracting about 180,000 visitors.

This year, the event has been condensed from two months to one, and funding has been reduced from $750,000 to $500,000. Participating groups apply for grants from the program’s fund, which is allocated from the city’s budget. For more information on this year’s events, visit www.freefallbaltimore.com.

Arts Travel: Coexisting in Iowa

August 2007 | BY | Issue 57 | NO COMMENTS

Davenport, Iowa, is the unexpected site of a major international public art exhibition this fall.

“Coexistence: The Art of Living Together” brings 45 images by 43 artists, each measuring 9×15 feet, to locations throughout the city, to explore human relationships and behaviors.

The exhibition, created by Jerusalem’s Museum on the Seam, debuted in Israel in 2001. It has since traveled to more than 20 cities, including Berlin, Germany, Washington, D.C., and Cape Town, South Africa.

In Davenport, works will be on display at the Figge Art Museum, LeClaire Park and along West Second Street, through Sept. 27.

The exhibition will be accompanied by a variety of community events, including a local art competition on the subject of coexistence.

Arts Travel: Opening ‘The Doors’ in Scottsdale

August 2007 | BY | Issue 57 | NO COMMENTS

Walk into Donald Lipski’s interactive sculpture “The Doors” in Scottsdale, Ariz., and you’ll find yourself inside a massive kaleidoscope, your image broken into thousands of reflected fragments on the work’s stainless steel interior walls.

On the outside, the 28-foot-high piece of public art appears as towering riveted wooden doors precariously propped up against each other.

The project, commissioned by a local developer and gifted to the Scottsdale Public Art Program, was dedicated in May, launching a series of significant pieces of public art slated for the city’s canal area.

“The Doors” is located at the corner of Scottsdale and Camelback Roads, marking the threshold of downtown Scottsdale.

Arts Travel: People Who Live in Glass Houses…

August 2007 | BY | Issue 57 | NO COMMENTS

Philip Johnson’s Glass House in New Canaan, Conn., opened to the public this summer.

have incredible art collections, but no walls on which to hang them, at least in the case of the late Philip Johnson.

This summer, the Modernist architect’s personal home in New Canaan, Conn., constructed almost entirely of glass, opened to the public under the auspices of its new owner, the National Trust for Historic Preservation.

Johnson and his partner, curator David Whitney, were avid art collectors. Their art collection also opened to the public this June, and now showcases 14 significant works by Frank Stella.

The 47-acre Glass House campus is home to 14 structures, including the Painting Gallery and the Sculpture Gallery. Among the other artists in the collection are Robert Rauschenberg, Donald Judd, Julian Schnabel and Andy Warhol.

Guided tours of the property are available and tickets are online at www.philipjohnsonglasshouse.org.

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