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Call to Artists Deadline Extended for Southern Oregon Artists Show & Sale

Call to Artists Deadline Extended

Georganna Happel is organizing a special show and sale of works by premier southern Oregon artists. The call to artists was first announced on January 15, 2019 with a deadline of January 30. Currently 18 artists are already slated to exhibit, however there is room for more. Therefore the call to artists deadline has been extended to March 8 for the March 15–17 show. Medford First Christian Church sponsors the exhibition, which takes place at 1900 Crater Lake Ave. in Medford. For more information and to submit your entry, please download and print the pdf file below. Please note that the pdf is not updated with the new deadline but is still valid.

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Kindred Spirits Spring 2019 Art Classes and Workshops

        Spring Art Classes and Workshops

Spring is approaching! Well, it’s snowing here and there but I did see a bush in beautiful pink blossoms the other day.
The students in the last several workshops have created some amazing and really inspiring art pieces and I feel even more excited to post this new series of workshops!

Also, remember, every Thursday evening is, “Random Acts of Art,” where you can drop in  and play in a, “candy store, ” of art all evening for just $10.

You can join in the Asian art of Sumi-e and Tea Tasting on Tuesday mornings at 10:00 and Wednesday evenings at 7:00, called, Sake and Sumi-e.

All materials are provided in any and every class I teach.
You can register for a class on-line at our website:
www.kindredspiritsartalewine.com. Go to Class Registration and sign up there.
Looking for to creating with you!

 

Sumi-e
Translated, ‘Black Ink-Painting,” is where art and art of living come together.  In these classes, you will explore the simplicity and spontaneity of the essence of nature.  In this painting-method, as in Zen practice, reality is expressed by reducing it to its pure bare form.  You will find this practice extremely therapeutic and heart calming.
All materials provided.
Every Tuesday Mornings with Tea:
Every Wednesday Evening at 7:00- -Sake and Sumi-e
Cost: $25 per class
“Random Acts of Art”
THURSDAY EVENINGS
Open Studio Drop In and different projects every week.
This photo ( milagros), is just one example.
Cost: $10
“More Random Acts of Art”
THURSDAY EVENINGS
Open Studio Drop In and different projects every week.
Another example: Matchbox reliquaries.
Cost: $10
Henna Garden Painting
Mixed Media on Canvas

This may look difficult but it is Not, and you will find it quite freeing and really fun!!.  As always I walk you through these creations step by step so it is easy and you CAN do it.
Saturday, February 23rd
1:00 – 4:00
Cost: $50
The Acrylic Pour
This is one of THE most addicting art forms EVER!
There have been so many requests for this class that I put it on this series again.  Many of you have maybe even tried this and been frustrated.  I am happy to lead you through the process, step by step and show you the ,”secrets,” to a successful piece.
Saturday, March 9th,
1:00-4:00
Cost $55
House of Blues
Just what it looks like, a house of birds.  Blue birds actually, but you can make any style of bird you want. (I know who you are out there who love blackbirds and crows!)
Saturday, March 2nd
11:00 – 4:00
Cost: $50
Abstract Figure Sculptures
For those of you who have begged for this class, here it is!!
The mother of mixed media creations.
There is limited space so you may want to register early.
Saturday, March 16th
10:30 – 4:00
Cost $65
106 Talent Ave. – Talent, OR

Wednesday 5:00 PM – 9:00 PM

Thursday 5:00 PM – 9:00 PM

Friday 5:00 PM – 10:00 PM

Spring hours start March 2nd

Lynda Hoffman-Snodgrass Guest At SOSA Meeting February 25, 2019

The Southern Oregon Society of Artists ( SOSA)

will be hosting it’s regular meeting at the Medford Public Library at 7PM Feb. 25th with Lynda Hoffman-Snodgrass as our Guest Artist

Hawaiian Sunrise, watercolor by Lynda Hoffman-Snodgrass

A resident of the Rogue Valley since 1972, Lynda Hoffman-Snodgrass received her BS in Art from SOSC in 1978.
A third generation Artist, she was encouraged to explore and express her creativity from an early age.
Predominately a watercolorist, Lynda  works in many water-based mediums and is known for her use of color with a strong emphasis on design.
The focus of her current body of artwork is nonrepresentational and abstraction in water media on watercolor paper.
An award winning artist, Lynda’s most recent awards include an “Award of Distinction” from the Fall 2018 Watercolor Society of Oregon Exhibition and “4th Place” from the 27th Annual Juried Exhibition of the International Society of Experimental Artists.  Lynda’s artworks hang in private collections around the world, locally she is represented by Art & Soul Gallery in Ashland, Oregon.
Doors open at 6:30, everyone welcome, including quiet, well-behaved children.
For more information call Judy Grillo at 541-625-3285  or BJ Mathis at 541-414-4993.

March 2019 at Art du Jour in Medford Features Mary Jo Heath and Guest Artist Carl Seyboldt

Art du Jour Gallery, 213 E. Main Street in Medford will be exhibiting the pastel work of Mary Jo Heath, in addition to the fine art paintings and illustration work of Carl Seyboldt continuing to be on display in the Salon through the end of March,  Plan on joining us for our Third Friday reception 3/15/19, 5:00-8:00 pm.  Musical entertainment will be announced on our Facebook page (www.facebook.com/ArtduJourGallery) prior to the event.

Featured Artist Mary Jo Heath

Mary Jo Heat "Blue Collar" exhibit

Mary Jo Heat “Blue Collar” exhibit. Image provided by the artist. 2/19

Mary Jo Heath was born in Coos Bay, Oregon and moved to the Rogue Valley with her family when she was five. After attending school in Central Point and Medford High School, she went on to earn two bachelor degrees from Southern Oregon College and the University of Oregon.  Now retired after teaching art in public schools for more than 30 years, her inspiration for this month’s featured exhibit comes from watching workers and their machinery toiling around her neighborhood. The results offer a vehicle for expression of color, shape and texture from her unique perspective.

Mary Jo Heath "Blue Collar" exhibit

Mary Jo Heath “Blue Collar” exhibit. Image provided by the artist. 2/19

Guest Artist Carl Seyboldt

The historical artwork of Carl Seyboldt on display at Art du Jour gallery through March 2019.

The historical artwork of Carl Seyboldt on display at Art du Jour gallery through March 2019.

While Carl Seyboldt specializes in painting and drawing wildlife, western scenes and historical subject matter, rarely does he have an opportunity to display illustrations that his advanced art students through Rogue Community College can recognize. A group of mystical castles with surrounding caricature serves as a model toward understanding perspective in a two-dimensional drawing. These gems are rarely seen in the public arena since most art shows he participates in are geared toward western artists.  Don’t miss this opportunity to see Carl’s exquisite artwork.

Carl Seyboldt illustration reprinted by permission of the artist.

Carl Seyboldt illustration reprinted by permission of the artist.

Calling All Rogue Valley Artists!!!

Art du Jour will be offering our “People’s Choice” art contests for 2019. Beginning in March we will have a contest for all mediums and the theme is “Landscapes and Still Life”.  May will be our 3rd annual photography contest with the theme being “My Favorite Photo”.  As in the past the popular photography contest will be on display and voted on during Art in Bloom. August the theme will be “Summer Fun” to include all mediums, and October the theme will be “Changing Seasons” also to include all mediums. In the event of a large turnout for the “all medium” contests, we may divide the judging into two separate categories between photography and painting.  See our website for entry rules and entry form, or stop by the gallery during our regular open hours

As one of downtown Medford’s premiere art galleries, we are now actively seeking new artists living in the Rogue Valley region who would like to join our cooperative and display their work to the Medford community. Membership includes an active role in the Art in Bloom festival in May, as well as our monthly Third Friday event.  Media to be juried for membership includes pottery, sculpture, photography and jewelry.  Contact the gallery by email at [email protected], or log into our website: www.artdujourgallery.com for full membership information.

Visions of the unbuilt

Andrea Durfee at ROCO

When I was growing up, in both East St. Louis and then in Idaho, my family lived at the edge of undeveloped land. These havens for my imagination weren’t protected, just overlooked or privately owned—undisturbed stretches of wildlife and undergrowth, a mix of grassy slopes, streams, and wooded paths. In a suburb at the edge of East St. Louis, it was a small copse at the base of the hill behind our little Cape Cod, and in Idaho, from our home sitting at the rim of the bench—just above the Boise Valley—I could walk to the edge of our back yard and look down at a fenced pasture with horses and, alongside it, the only human development within a convenient walking distance from the base of the slope, a sawmill. (We had some dangerous forbidden fun bounding across those floating logs.) My friends and my brother and I would spend hours in those spaces, only dimly aware of the smells, the soft feel of the earth, the birds and insects—yet all of it was imprinting itself on my mind whole, planting in me the desire to grow things as an adult and to get outside whenever possible. In those little overlooked tracts of wildness, I felt in touch with myself and the world in a way that I couldn’t in school or inside our home, in front of a television, the only screen that existed back then. 

There’s a surplus of artwork on view in Rochester right now devoted, more or less, to the symmetry between human nature and the natural world. (Thou art that, the ancient Hindu philosophers would say.) In a fortunate coincidence, while Oxford Gallery is showing the work of three masterful landscape painters, Rochester Contemporary Art Center has assembled a themed show, Landscapes and the Unbuilt, that celebrates the slightly paradoxical effort that we human beings are making to keep from spoiling places like the ones that helped shape me as a kid. We’re intervening to prevent ourselves from, well, intervening. For the RoCo show, a group of artists took as their subject a particular parcel of land under the protection of the Genesee Land Trust, and they created one or more works to capture the spirit of the place. The work is all marvelous, especially grouped together in a way that amplifies each individual effort—and some of it represents the best work I’ve yet seen from these particular artists. The terms of the show may have brought out new dimensions in their work by forcing some of them to pay attention to the particulars of a specific place.

I responded most intensely to what I saw just inside the entrance to the East Avenue membership gallery. There’s an intricacy and density in Andrea Durfee’s paintings and Bill Stephens’s drawings that makes it hard to get any deeper into the exhibition, there’s so much to see in just one or two of these pieces up front. In the work of both, the task of having to convey an actual, particular place—to sift through myriad impressions of a specific location and nurture a companionship with that landscape—produced excellent results. I’ve always liked Durfee’s work, but the clarity and particularity of her vision is amazing in her three largest paintings of Full Lotus Farm in Arcadia, NY. It feels like a new benchmark for her. She uses flat areas of color outlined with spiderweb-thin lines, vaguely reminiscent of stained glass. Her technique echoes the outlines of cloisonnism and some of the Nabis, yet her paintings have a different effect on the viewer—they draw you deep into the scene she depicts, forgetful of the painted surface, though they aren’t conventionally realistic. In each one, she conceals a nude female figure—her avatar, maybe—merged with the landscape yet emerging like bedrock pushed up from beneath permafrost.

Each of these images could serve as an emblem of the show’s purpose, to emphasize the symbiotic unity between nature and its most conflicted creature. Yet here, these elements of her style efface themselves behind the vibrant light and the scene’s immediacy. You feel the sun on your face and hear the cicadas. The surfeit of detail in the foreground of her recent paintings somehow unifies itself into an effect like the energy of a summer day. The most impressive painting in her grouping, Through the Garden, depicts receding tiers of vegetation, layers of growth that stand at successive distances behind a frieze of wild grasses in the foreground done with assiduous draftsmanship. These swaying stems are backed by more and more distant strata, with the female nude so unobtrusively camouflaged beyond a road as an irregular bulge of earth that I missed it at first and wondered if Durfee had given up on the trope. In these pieces, it works perfectly and underscores the point of the show: how hard it is to draw a border between human nature and the world it reflects. 

Directly across from her work are some of the largest drawings I’ve seen from Bill Stephens—and the surprise is that somehow the larger scale seems to have spurred him to find even more dense levels of entrancing detail, smaller regions of fascination within larger forms that emerge under his pen. In his methods, Stephens is has essentially been a surrealist, surrendering to process, letting the image emerge on its own as he works instinctively from his first marks. Yet here he’s taking pains to capture particulars of what he saw at Gosnell Big Woods Preserve in Webster. The results are dramatic and some of the work reminds me of Barry Moser’s illustrations of the dark wood introduced at the opening of The Divine Comedy. These drawings feel like work done from a deep sense of confidence and purpose, in a way the sort of images he’s been working toward over the past few years, and the marvel is how much he finds to see and show in ink drawings that conjure up psychological depths from a few gnarled roots or frond-like leaves. As in Durfee’s paintings, there’s a fine balance between complexity of detail and overall unity—how the unity is achieved represents part of what fascinates. In my favorite piece, Big Woods Spirit, what appears to be a twisted tree trunk, in literal terms, morphs into a hooded figure, like a ranger from Lord of the Rings or maybe a hint of Donatello’s prophet, some visionary wandering in from a long stay in the wilderness, impossible to ignore or dismiss. I think I wouldn’t want to turn my back on this particular tree—out of respect and maybe caution—and then I remember I’m looking at something akin to driftwood. It doesn’t diminish the respect.

Jean Stephens brings a similar kind of intensity—with a more traditional emphasis on building form from areas of value rather than with her husband’s storm of etching-fine lines—in her graphite drawings from Ganargua Creek Meadow Preserve. In a poem she wrote about the project, on display with the work, she refers to the trees and vegetation as “these old gals” and her imagery evokes an anthropomorphic likeness to human form in vegetation and the earth—but, as with Durfee, the vegetative world reveals itself to Stephens as distinctly female. It’s a cosmic yin to the yang of human technology and artifice. Portal shows an ancient-looking trunk where it spreads out into exposed roots as a door between inner and outer, a gnarly portal that might be a feminist nod more toward Georgia O’Keefe than Judy Chicago. These anatomical overtures speak more about nature’s generative power than gender politics.

Even though Phyllis Bryce Ely has been exhibiting a lot over the past year—at Main Street Arts and Oxford—she doesn’t appear to be stretching herself thin. This show, on the heels of the others, gives you maybe the clearest way to see the full scope of her work, from oil to encaustic. Some of the small paintings in wax serve as simple, iconic distillations of what she saw at Cornwall Preserve in Williamson, NY. Yet her most characteristic strengths are in her larger oils. The swirls of sky and land almost seem emblems of altered states: psychotropic visions of a natural order. If Edvard Munch had been a much happier camper, he might have painted scenes like this.

She was paying a visit to the exhibition when Bill Santelli and I arrived to see the show, and she explained that the artists all had about two months during which to do the work, a very tight opportunity, and she hadn’t gotten to know her paintings much before delivering them to RoCo. “I feel a little exposed,” she said. One of the interesting features in several of the paintings: she did them on discarded engineering vellums, from the planning office where she works in Penfield. Developers bring them in and if something turns out to be unacceptable in a particular schematic, they toss out the drawing and bring back a revised one. She collects these discards and uses them as a support, with a palimpsest of lines and words showing through layers of paint. In some cases, the drawings resonate or contrast with the image she applies to them.

I can’t do justice to all the work in the show, though it’s all fascinating and beautifully presented. Jennifer Schinzing’s glass boxes laden with beautiful, lapidary glass sculpture serve as beds for small taxidermied animals: bunnies, birds, and squirrels. It sounds macabre, but the effect is entirely the opposite: the small animals look asleep. The work is serene and almost radiant, qualities virtually impossible to capture in a photograph. (I know; I tried.) Nate Hodge, who has done murals throughout the region, produced a single painting, with an assembly of collateral objects linked to the site he depicts and his interaction with it, including a pair of muddy boots. The parameters of the show: to produce work that conveys a relationship with one particular place seems to have focused and concentrated his talent–as if may have done with Durfee and Stephens–in a way that makes the painting much more intricate and concentrated than his expansive murals. The work is a soaring abstract evoking a forested scene under a brilliant sky, though nothing is rendered in conventional ways. It’s assured and  exuberant, spontaneous but disciplined. It feels as if he’s worked hard to be true to something outside his imagination. The outcome is exhilarating.

Betty Barss Exhibit at Rogue Gallery: An Oregon Love Story

       

 

 

 In the Community Gallery

Exhibit Reception: An Oregon Love Story: Watercolors by Betty Barss

January 18 – March 1, 2019

Rogue Valley artist Betty Barss is an accomplished and versatile watercolor artist. This exhibit showcases a wide range of subjects from her beloved state of Oregon.

Betty Barss has been painting for close to five decades. She taught fifth and sixth grade art in the Medford schools for twenty-five years. Her painting expertise is with watercolor paint. She is a member of the Watercolor Society of Oregon, Southern Oregon Society of Artists, and the Artists’ Workshop. She has received several awards and has exhibited throughput the Northwest. Her work is exuberant in color. Barss describes her use of color in her work, “Color is an element I can’t live without. For that reason, many of my paintings are vivid and might have unusual colors. My palette consists mostly of transparent watercolors, which I use for my common themes of landscapes, wildlife and flowers.”

Betty Barss watercolor painting

In the Main Gallery

Capturing Beauty: Paintings by Sheri Dinardi , Ilene Gienger-Stanfield, and David Terry

January 11 – February 22, 2019

Artists Sheri Dinardi, Ilene Gienger-Stanfield, & David Terry create luminous works in the time honored tradition of oil painting. Their paintings of people, structures, and landscapes beautifully capture a moment in time and the essence of the subject. The Capturing Beauty exhibit features three artists who paint in the traditional oil medium. Creating figurative oil paintings requires talent, training, skill, and perseverance. The process of creating an oil painting requires many hours work due to the slow drying time and the paint properties required in layering the colors. The paintings in this exhibit reflect the expertise of these three artists. They are rich in luminous colors and are of profound beauty. While many of the works are reminiscent of great paintings from the past, each of these artists has developed their own artistic style.

Refreshments from Harry & David will be served at the reception.

The Rogue Gallery & Art Center is a non-profit community art center, founded in 1960 to promote and support the arts in the Rogue Valley. The center exhibits a wide range of artistic styles and mediums from local and national artists. Programming includes art educational opportunities for children and adults. Hours of operation are Tuesday through Friday from 10 a.m. to 5 p.m. and Saturday from       11 a.m. to 3 p.m.Call (541)772-8118 for more info or visit www.roguegallery.org.

Seeing for the first time

Jim Mott, from his recent show at ROCO

My next post will be about the current, marvelous exhibition at ROCO: a group of artists showing work that celebrates a particular place worthy of preservation in this region. But first I wanted to catch up on Jim Mott, whose own work would have found a place into that show if only he hadn’t had a solo exhibition there just a short while ago. Jim does, all of the time, what the artists now on view at ROCO did simply for the curatorial purposes of the exhibition:  to pick a place, sometimes at random, and depict whatever he sees as equally worthy of consideration, no matter what it is. 

Mott came by for a cup of tea recently and talked about a variety of things and rather than take time to rework our conversation into a regular post, I’ll just pass along the conversation, as I’ve done before, which should be of interest to his fans. I have high hopes for the residency he’s seeking at the University of Michigan. I think his proposal should get some serious interest, but the ordinariness of his work almost puts it outside the mainstream now—but he has an interesting angle on how he might present his project, which he discusses. He stayed long enough to touch on a lot of different things, yet left in time to get in some cross-country skiing at Mendon Ponds Park before it got dark: 

Jim: I’ve been reading this longish book. Richard Powers? A friend of mine from Nature Conservancy gave me this novel of his about trees. The first half is brilliant but the second is good but not as exciting. He takes nine different characters, odd people who are moved by trees toward something and then he goes to a showdown in the Northwest. It’s intensely poetic and full of information. He got a genius award.

That always helps.

Jim: He gets all ecstatic about trees. I didn’t loan you Julian Bell did I?

I don’t think so. Are you still communicating with him?

Jim: Yeah, I have an open invitation if I ever get to England. 

<I mention that I’m reading the last volume of My Struggle, which includes a long essay about Hitler and how Knausgaard thinks the modern era has de-individualized society and has cut people off from nature so that

32nd Annual Nancy Hanks Lecture on Arts &amp; Public Policy

Reserve your FREE ticket to the Americans for the Arts 32nd Annual Nancy Hanks Lecture on Art & Public Policy featuring Rita Moreno, introduction by Supreme Court Justice Sonia Sotomayor and performance by Brian Stokes Mitchell.

New Evidence of the Benefits of Arts Education by the Brookings Institution

Empirical evidence supports claims that engaging with art is essential to the human experience: Among adults, arts participation is related to behaviors that contribute to the health of civil society such as increased civic engagement, greater social tolerance, and reductions in other-regarding behavior. Yet, while we recognize art’s transformative impacts, its place in K-12 education has become increasingly tenuous.

Looking at Art Could Help Med Students Become Better Doctors

New research shows that looking at artworks can help future doctors hone their observation skills, maintain objectivity, and cope with moments of uncertainty.