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.
Agenda:
3:00 p.m. – 4:00 p.m. Members’ Reception and Voting
Summer registration for classes and workshops open on May 1! Catalogs are in the mail, but you can get an advance look at what’s in store for summer today.
Unleash your child’s creativity this summer! Art Camp at the RAC gives kids and teens an exciting immersion in visual art practice. Daily projects include drawing, painting, printmaking, textile arts and sculpture. Art Camp runs weekly, Monday to Friday, with a varied curriculum. Whole and half-days available, with extended hours for drop-off and pick up. Art Camp is geared to ages 5-13.
Use this coupon code (CAMP18) to sign up for an additional 10% Early Bird discount, good through March 31.
Richard Ambrose Sweet Lynn Motel 2015
graphite on Arches paper
60 x 35 inches, unframed
Artist Statement
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.
Apparent Love Ink Drawing
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.
Her Rockin’ Horse Enamel on copper
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.
African Lion Mask Fused 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.
Wanda as a youth in SF Collage
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.
Head Chakra Gouache on cork
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.
Nisa is a Texas native who recently relocated to the Bay Area. Raised in a very artistic household, she is the daughter of a Jazz musician turned videographer and an Assistant Young Artist Director at a nonprofit that provides studio art programming to the San Antonio community. Nisa has a BA in Film and Media Arts from American University in Washington D.C.
After working as a Digital Media Coordinator at a Texas, nature, science and culture museum and a manager at a pop-up exhibition in San Francisco, she knew she wanted to pursue a career in the arts that involved serving the community. In her free time, Nisa enjoys oil painting, drawing and watching films.
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Q. What do you find most inspiring about working in studio art?
When you know you have a tiny part in making someone feel good it is extremely gratifying. Working in Studio Art is a privilege, being surrounded by so much creative energy, seeing people’s artistic process evolve and so many different types of art being made all the time. Then the cherry on top is having the ability to get your hands dirty as well by taking a class or workshop!
Q. Tell us about your personal art practice? What artists and styles inspire you?
My mom is a teaching and practicing artist, so I had a blessed childhood filled with learning various art techniques and exploring mediums from her as well as from many other artists in the San Antonio community. In high school, I was introduced to oil painting by participating in a teen intensive program started by my mom and local artist, Rainey Rodriguez, and after struggling and I almost giving up I found my groove and I eventually fell in love with oil painting. I moved back to Texas after going to college in DC and picked up oil painting again by taking weekly classes with Rainy. I am inspired by vintage black glamour, social justice and inclusive feminism. I tend to make a lot of mood/inspiration boards before starting any artistic project no matter the medium I am working with at the time. Currently, I am working on a series of oil paintings and illustrations based off old Jet magazine covers.
Q. What do you like to do when you’re not at the Art Center?
A. Working on my art, reading a good book, exploring the Bay Area and watching a movie or tv show!
Q. What’s on your bucket list?
A. To start an artistic business with my mom, learn how to make neon signs and travel to as many places as possible.
Q. If you could meet one artist, living or not, who would it be and why?
A. This is a very hard question to answer because there are too many artists I would like to meet. If I had to choose I think it would be RuPaul because he uses his entire body and personality as his canvas and also uses his platform to give back, promote artistic expression and self-love.
A native of the Central Coast, Anna has lived all around the Bay Area since attending Sonoma State University for her BA in Art History. In that time, she has worked for several nonprofit arts organizations in the areas of exhibition, fundraising, operations and education programming, and completed a Museum Studies graduate program at John F. Kennedy University in Berkeley.
A serial dabbler in many art media including ceramics, bronze foundry, steel sculpture and printmaking, her most recent works combine mixed water-based media, sculpture and found objects. Anna is excited to add more skills to her toolkit through taking classes at the RAC!
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Q. What do you find most inspiring about working in studio art?
A. The best part about this job is seeing students learn and build their skills, and then seeing the amazing work they create with those skills. I am continually inspired by their creativity, ingenuity and passion. Don’t be surprised to see me pop my head into the classroom – it’s the best part of my day!
Q. Tell us about your personal art practice? What artists and styles inspire you?
A. I’ve worked with a lot of different media, depending on what I have access to at the time. I was wholly devoted to sculpture in college, but since then, until starting here at the RAC, I haven’t had access to the equipment and studio space to do it. Because of this, I shifted towards working on 2-D surfaces, which are a lot easier to manage on the kitchen table. I credit Stella Zhang, an artist I used to work with at another organization, for introducing me to the idea of using cheap, hardware-store materials in fine art. Now I buy the extra-large tubs of spackle. I’m most inspired by the weather-worn surfaces I see in the old parts of cities, and the surprising forms of biology under the microscope. My most jaw-dropping moment was seeing Jay De Feo’s “The Rose” at the SFMOMA.
Q. What do you like to do when you’re not at the Art Center?
A. We just bought a fixer-upper house in Vallejo, so most of my time outside of the RAC is devoted to that project. Plumbing for Dummies is my bedtime reading. We do also try to make a little time each week to explore somewhere we haven’t been in the Bay Area. We’re new to the East Bay, so the list is long!
Q. What’s on your bucket list?
A. One of these days, I am going to properly learn to play my bass guitar.
Q. If you could meet one artist, living or not, who would it be and why?
A. I learned the hard way that you should never meet your heroes, but I’d take that risk for David Bowie.
The Art Center will be closed to the general public from Saturday, December 23 until Tuesday, January 2, 2018. Our administrative offices will reopen on Tuesday, January 2, 2018.
Studio Art classes will resume on Monday, January 8. You can register online for Winter classes here: http://richmondartcenter.org/class-catalog/
Are you a painter, weaver, printmaker? A metalsmith, illustrator, ceramicist?
Make an end-of-year donation to directly support your favorite Studio Arts program at the Art Center.
Thank you for all you do! Your programs have inspired and enriched my life. ~ Jeanne H.
Each year, thousands of students deepen their creative experience through our Studio Arts program. We offer courses that encourage our students to express themselves and their ideas, where they can discover unknown talents and learn new skills.
Keeping our studios maintained is a year-round operation here at the RAC. If you have enjoyed and benefitted from the incredible teachers and classes here, please consider making a donation to support your favorite studio.
We’ll make sure your money goes to support your area of interest. Just indicate in the Comment field where we should direct your money and benefit your favorite Studio program.
Thank you for your commitment to and generosity in keeping the Studio Arts alive and well in the Bay Area!
Nisa is a Texas native who recently relocated to the Bay Area. Raised in a very artistic household, she is the daughter of a Jazz musician turned videographer and an Assistant Young Artist Director at a nonprofit that provides studio art programming to the San Antonio community. Nisa has a BA in Film and Media Arts from American University in Washington D.C. 
A native of the Central Coast, Anna has lived all around the Bay Area since attending Sonoma State University for her BA in Art History. In that time, she has worked for several nonprofit arts organizations in the areas of exhibition, fundraising, operations and education programming, and completed a Museum Studies graduate program at John F. Kennedy University in Berkeley. 
