Human Skull, Unearthed circa 1930
Human Skull, Unearthed circa 1930 will be on view in “Concerning the Spiritual,” along with work from around the U.S. as well as Egypt, at the Foundry Art Centre, Satin Charles, Missouri, from Nov. 18 through Jan. 6. This painting has logged more mileage, literally, than almost anything else I’ve done. Its exhibition history is more extensive than most of my paintings, having been included in shows at Manifest, Florida State University Museum of Fine Art, Memorial Art Gallery, and Viridian Artists.
Breakfast with Golden Raspberries, detail, oil on linen, 46″ x 26″
Breakfast with Golden Raspberries, will be on view at the Marin Museum of Contemporary Art, Novato, California, from Oct. 29 through Dec. 4. The exhibition was curated by Susan Snyder, co-founder of the Caldwell Snyder Gallery in San Francisco. I completed this painting over the summer, after working much longer on it than I had anticipated–but this one required all the stamina and grit I applied to its execution, lingering for quite a while on the clear poly carton for the berries and the coffee maker behind it. I managed to catch some subtle effects of multiple light sources in a way that I haven’t attempted in any other painting. In reality, there were actually ten different sources of light present in this little domestic tableau: three windows and seven artificial lights situated in different places throughout the kitchen. You can see the ceiling lights reflected as little orbs in the stainless steel bands and lid of the French press. And yet with all that light, coming from nearly every direction, some areas of color nearly melt into others because they are tucked away and shielded from most of the direct light.
The Southern Oregon Society of Artists (SOSA) October meeting will be the group’s last regular season meeting of 2016. The meeting takes place on October 24, 2016 at the Medford Public Library at 6:30 pm. This is a critique meeting, which means all members are welcome to bring their completed, gallery-ready works to be critiqued by guest artist Lucy Warnick.
Non-members are welcome to come and observe. The meeting starts at 6:30 with refreshments and social time. Then the critique starts at 7 pm.
Lucy Warnick Bio
Lucy Warnick was born in the Chicago area and began her art education at the University of Illinois before moving to the northwest.
While studying at Oregon State University under Nelson Sandgren, Warnick was introduced to painting outdoors, which is still the foundation of her work.
Lucy received a BFA in painting from the University of Oregon in 1974. She has worked as a teacher and arts administrator in Southern Oregon and Houston, Texas, as well as exhibiting her work throughout the country.
Nature is the source of inspiration for Lucy’s paintings and prints. She paints outdoors year-round as well as working from models and painting still life.
Lucy’s work is currently on display in the showroom of Cabinet Solutions at 315 N. Bartlett in Medford.
For more information please call Judy Grillo at (661 )609-5837 or BJ Mathis at (541) 414-492.
Chevron Bowl, oil on linen, 12″ x 16″
Chevron Bowl will be on view at the 2016 International Juried Exhibition at the Center for Contemporary Arts, in Bedminster, New Jersey, from Nov. 10 through Dec. 23. The exhibition was curated by Jonathan Goodman, an art writer and poet based in New York. He teaches at Pratt Institute in Brooklyn. This is one among a series of paintings of patterned bowls I’ve been working on this year with Fairfield Porter in mind. In this series, I’ve been trying to focus less on rendering the image with photographic precision, concentrating more on conveying light and color and pattern with an emphasis on more visible mark-making. I was gratified that this one made it into the show, because I was happier with the results in this painting than in nearly any other painting in the series. I’m going to keep working in this vein, following where it leads, while I also continue to do the sort of images I usually do. The line between this approach and the other is porous and a little unstable–I can start a painting thinking I’m going to be in one mode and find myself migrating into the other–but it’s a distinction that matters to me. What’s been surprising is that things I learn in one approach sometimes open up new modifications in technique in the other approach. Personal cross-pollination.