Monday, March 7, 2016

Probe | Zeitgeist Gallery | Nashville

Growing up in Nebraska, I'd always planned on moving to New York to paint, but when I graduated college in 1966, a foolish and addled road trip sidetracked me to San Francisco, where I've now lived for half a century.

Except for 2012, when my wife and I relocated to Manhattan for a year.

I quickly found a midtown studio which fulfilled my childhood dreams, and it seemed only natural that my attention would also turn to the art I'd been doing before I got waylaid by the West Coast: small, minimalist sculptures; and paintings whose subjects were the Kennedy era space program and the first French atomic submarine.





The French Secret,
34" x 48" acrylic and archival photo on paper on wood,
2013









Gemini,
34" x 48" acrylic and archival photo on paper on wood, 2013















I Am Big Heaven,
34" x 48" acrylic and archival photo on paper on wood, 2013












The works looked very different from the non-objective, painterly work I'd been doing in San Francisco; they included photo transfers and printouts from magazines of the time. (I had kept them all those years!) I spent two years working on them, both in Manhattan and later back in our home in San Francisco.















Jump Me,
34" x 48" acrylic and archival photo on paper on wood, 2013



























The Photographer,
34" x 48" acrylic and archival photo on paper on wood, 2013






Mr. Nobody,
34" x 48" acrylic and archival photo on paper on wood, 2013
















Probe,
34" x 48" acrylic and archival photo on paper on wood, 2013
















Because they were so different from what I'd been exhibiting, I showed them to very few people; they were my little secret. But when Zeitgeist offered me a show this year, I immediately thought of them. Zeitgeist had given me my very first shows, despite the fact I had no record at the time and was known as an illustrator, not a painter. This would be something similar: showing works that fell outside my comfort zone. 








Included with the paintings above are five small painted wood sculptures; and in the backroom  there are about a dozen smaller works with acrylic and transfer photos on wood.





Zeitgeist Gallery  
05 March thru 30 April 2016
516 Hagan Street #100
Nashville TN 37203
615 256 4805
Tuesday - Saturday 11 - 5

Friday, February 19, 2016

Being Everyone

Being Everyone is a hand-painted book, page size 22.5" x 15" (opens to 22.5" x 30"), 48 pages plus cover, painted on BFK Rives, created in 2015, with a binding by John Demerritt.



























Monday, January 25, 2016

The Achenbach Foundation

In 2001 the Fine Arts Museums of San Francisco mounted a show entitled Artists' Books in the Modern Era 1870-2000. It consisted of 180 livres d'artistes from the collection of Reva and David Logan––books by Picasso, Miró, Léger, Kokoschka, Kitaj, Ernst, Hockney and many others.

The show was a marvel to me, an inspiration and an incentive.

I had only recently begun painting again, seriously, after an approximately 35 year hiatus, and the exhibition encouraged me to create books both as a vehicle to re-learn painting and as a final product. For the next five years I spent most of my studio time creating hand-painted books.

Because of my admiration for the Achenbach, it pleases me that five of my recent titles (the only ones which I've done in edition) have now become part of the collection: Owl Soup, G. Lekeu, Coffin Laughter, Libretto, and Golem Likes a Pretty Face.

My appreciation for arranging this goes to Karin Breuer, Curator in Charge at the Achenbach, and my San Francisco gallerist Jack Fischer.


Spread from Owl Soup

Go here for more information about The Achenbach Foundation

For more information about these books, please visit my prior postings:
Golem Likes a Pretty Face
G. Lekeu 

Spread from Owl Soup