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Voting ends on July 11.
Presented by the Richmond Art Center in partnership with the Northern California Surface Design Association, What Knot? will feature contemporary art by Californian artists working with fiber and textile construction techniques, and offering new twists on traditional processes, materials and concepts. The exhibition will be juried by Camille Ann Brewer, Curator of Contemporary Art at The George Washington University Museum and The Textile Museum, D.C.
AN INTERVIEW WITH PHIL LINHARES
by Amy Spencer, Exhibition Director
Unlike many exhibitions juried online, the scale of the work for Small Works actually translated very well to a computer screen. Where you thinking about this as you viewed the works?
The submissions came off pretty well. Years ago I dealt with juried shows where the actual artwork was brought in. It was a real hassle. For the centennial of the San Francisco Art Institute Annual we had 16,000 artworks brought in to be juried. So for the Small Works exhibition, being that the works are a small scale, it was especially effective to see them online.
The way I jury a show is I look at everything first to understand the range. Then after looking at the whole field I go back a few times to start making selections. For Small Works we ended up with nearly 60 pieces. If we had more room in the gallery I could easily have selected more.
Some of the artists in the exhibition always work on a small scale. While others work in varying sizes and simply selected a small work to enter. What did you observe about how different artists approach scale?
Some of the works entered in Small Works looked like small works but others you could blow up to six feet and they would still work very well. In some regards art needs to justify its size. Most of the submitted artwork I did not recognize who the artist was by simply looking at the piece.
What do you think artists can learn from participating in juried exhibitions?
Juried shows give artists an opportunity to present their work in a public sphere. It gives them a line on their resume that could allow them to go beyond that venue. I think people have a lot of respect for the Richmond Art Center. It’s important for artists to show work with their peers, meet other artists, and look at new work for inspiration.
What do you learn from jurying exhibitions?
There’s always something unexpected. Something that stands out. Something I continue to think about long after the jurying is over. Looking at new art sustains me everyday.
RICHMOND ART CENTER ANNUAL MEMBERS’ BOARD ELECTION and RECEPTION
SATURDAY, JUNE 9, 2018, 3:00 p.m. to 4:45 p.m.
The Richmond Art Center’s Annual Members’ Board Election and Reception will be held at the Art Center beginning at 3:00 p.m. The purpose of the meeting is to hold the election for the fiscal year 2018-2019 Board of Directors.
Ballots will be available at the front desk during the reception; completed ballots must be submitted between 3:00 and 4:00 p.m.to the front desk at the Art Center. All members are eligible to vote in person. At least twenty (20) members must vote for the election to be valid.
The Board President, Inez Brooks-Myers, will conduct the meeting, starting at 4:00 p.m. Executive Director, Ric Ambrose and staff will provide updates on the Art Center’s accomplishment of the past year, and plans for the next year. The meeting will be followed at 5:00 p.m. by the public opening reception for the Summer Exhibitions.
- 3:00 p.m. – 4:00 p.m. Members’ Reception and Voting
- 4:00 p.m. Annual meeting, Inez Brooks-Myers presiding
- 4:15 p.m. Ric Ambrose and staff
- Accomplishments for year 2017-2018
- Plans for the year 2018-2019
- 4:45 p.m. Announcement of vote results
- 5:00 p.m. – 7:00 p.m. Public Reception and Opening of the Summer Exhibitions
Sweet Lynn Motel
graphite on Arches paper
60 x 35 inches, unframed
The complex patchwork of urban elements in my immediate surroundings holds tremendous fascination for me. I am particularly struck by the ironies and paradoxes found in both the micro and macro world that surrounds us. My panoramic drawings are a compilation of disparate images stitched together and interwoven much like reconstructing a memory or a recollected experience.
I have always been attracted to the black and white world due in part to my quirky memories of growing up in small industrial Pennsylvania town, constantly gazing out of my third floor bedroom window overlooking a colorless landscape of slate roof tops and coal-fired smoke punctuated by cathedral-like steel mills and bell towers. This disengagement fueled my imagination and made seeing come to life. To me, a drawing is a more suggestive or evocative form of color. Actual color tends to cloud my perception, seeming to be too decorative.
Unlike traditional panoramic views captured from a fixed point and distance, I try to construct my world around the viewer and beyond their periphery, beckoning them to simultaneously partake in the grand scope of its spatial depth and inhabited insignificance. My large – scale work is drawn from my journeys throughout the Bay Area, immersed in its exotic diversity of architecture, landscape, and the paradoxes of human interaction and disengagement. I am as compelled to it as I am to the urban memories of my youth.
The extended drawing format is derived in part from traditional Chinese landscape scrolls. It provides me the ideal vehicle for the depiction of a multitude of disparate elements within a rhythmic spatial context. The elongated format allows the viewer to experience the whole environment as well as its parts, moving through it visually as if he/she were actually travelling within its confines. The element of time is both actual and perceptual. This movement establishes a visual paradox — while one might enjoy digesting the pictorial grandeur (macro) and opulent details (micro) in my work, there is an element of detachment, alienation or even entrapment.
Using the most basic tools – – graphite and an eraser – – allows me to recreate a colorless yet colorful world that suggests a timeless sense of my life experiences.
Tomye Neal-Madison is an exhibiting artist in this year’s Art of Living Black. She’s been showing her work in this annual show since its inception. We’re pleased to share some of her thoughts about her art and what inspires her to create.
Please be sure to visit the gallery to see this diverse collection of African-American artists through March 8. Our galleries are open Tuesday through Saturday and are always free to the public.
Q. Tell us a bit about yourself.
A. My formal Art education began learning fine Art techniques within Dobbins Technical High in Phila., PA. While living in Phila., I enhanced my scholarly and Artistic skills with employable skills of Advertising, Fashion Design, receiving a BFA from Moore College of Art and Design. Soon after graduation, during the mid 70’s, I ventured from family and moved to San Francisco, to begin a professional Artist Life. I learned more substantial skills, Business Math Media Production, Welding & various Art programs as computers replaced hand-made imagery. I’m fortunate my knowledge results in employability and freelance contract work.
Q. What do you find most inspiring about making art? Tell us about your current projects.
A. I’m a proponent of integration of Art with any other knowledge, as viable connections that boost retention. As a Visual storyteller, I enjoy a process of making Art which involves research, attentiveness to oral stories, looking at photographs and other references such as maps, books, documents, etc. which help me create images to remind viewers of crucial past occurrences that affect the present and future.
It seems my shift from universal subjects to my current images, have political overtones. The most recent inspirational Artworks created from Dec. 2017- Feb. 2018, are the result of having joined the National Women’s Caucus for the Arts last November. This is an organization that I felt ready to become a member. I encourage anyone to review their website and mission. I now express matters affecting “working people” which are out of kilter. This includes the Art I’m exhibiting at the Richmond Art Center, the Pacific Pinball Museum and SpiritHaus.
Of a total different path, is my series of profiles fabricated with Fused Slumped Glass.
These are light expressions of one Artist supposedly meeting another. In reality most haven’t met. This is using Artistic license.
Q. How did you become involved with the Art of Living Black? How does your work represent and uphold the tradition of this exhibition?
A. During the mid 1990’s while I was gallery director of a non-profit Center for Visual Arts, I met Jan Hart Shulyer and subsequently her friend Rae Louise Hayward. Sometime during our discussions of business and life, they told me of their desire to have TAOLB. Once it became a reality, of course, I accepted their invitation to participate. I’ve only missed one year of the 22 years it has been presented to the public. They would be proud.
Rae and Jan only knew my Art as an interpretation of a fortunate life, encouraged by my Mom and Dad, siblings and friends. Typically, I rendered lovely portraits, pleasing renditions of musicians, children, city scenes. Since they’ve passed on, my Art reflects my life shifts from compromising, sad, taken aback, enlightenment, beautiful and now historical. The latter, I believe would delight them in honoring their vision.
Q. What was your path to becoming an artist? Please share some of your favorite work.
A. Mom, now 92, told me that I was 6 years old when a teacher gave her a watercolor tin as a gift for me. The teacher was impressed with my abilities. I continue my love of Art throughout my life. At times when my employment wasn’t Art related, I was able to exhibit and sell what I created beyond work hours. I’m classically trained from a technical high school, obtaining a BFA degree from college and participating in workshops.
Q. Who are your inspirations?
A. Tamayo Rufino, Romare Bearden, Henry Ossawa Tanner, Gordon Parks, Claes Oldenburg, Samella Lewis, Louise Nevelson, Elizabeth Catlett, Kitagawa Utamaro, Carrie Mae Weems, Wayne Thiebaud, Andy Goldsworthy, Martin Puryear, John Wehrle, etc.
Q. What do you like to do when you’re not making art?
A. Enjoying time with my buddies and friends, going to plays, movies, music performances and helping with whatever each needs.
Q. What’s on your bucket list?
A. To live and remain healthy for at least as long as my Mom. Who knows what will be possible for me to do within 20-30 years.
Q. If you could meet one artist, living or not, who would it be and why?
A. Martin Puryear, has an awesome imagination of fabrication on a large scale. I’m moving in that direction and could be inspired by his mentorship.
Thank you, Tomye.