I haven't been posting much lately, but if you follow this blog you know that I write about exhibitions I've seen. And for the past couple of years, I've been publishing occasional posts on women artists in my Mothers of Invention series. (I have one coming in June, another in July.) But this post is all about me. One of the great things about being at it for several decades is that now don't have to go looking for opportunities; invitations just arrive. This spring there have been a preponderance of invitations. Allow me to share a peek with you.
At Kenise Barnes Fine Art, Larchmont, N.Y.
June 8-July 27
Reception: Friday, June 8, 6:30 to 8:30; I'll be there
I'm delighted to be included in this show, which offers visual pleasure as its theme thanks to Kenise Barnes's unerringly elegant eye. Nine artists are included in the show, including Jackie Battenfield, Mary Judge, and me.
Read the online catalog here.
A chromatic selection of my Silk Road paintings for Crazy Beautiful, all 2018, encaustic on panel, 18 x 18 inches
Below: Some individual paintings for the show
Below: Some individual paintings for the show
Silk Road 410
Silk Road 415
Silk Road 412
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Three exhibitions in Provincetown, Massachusetts, to coincide with the International Encaustic Conference
May 25-June 24
Reception: June 1, begins at 7:00
This ambitious exhibition offers visitors an opportunity to examine a curated selection of 24 artists whose work in wax or encaustic is aligned along a spectrum of aesthetic inquiry. A full catalog, cover shown left, is available to purchase or to view online at no cost.
Installation, clockwise from top left: Silk Road 404, 401, 353, 402; all 2018 (except 353, 2017), encaustic on panel, 18 x 18 inches
Below: Some individual paintings in the show
Silk Road 401
Silk Road 404
Installation view by Susan Lasch Krevitt
Installation view by Susan Lasch Krevitt
. . . . . .
The Blues
Adam Peck Gallery
142 Commercial Street
142 Commercial Street
June 1-6
Opening: Friday, June 1, 6:00 to 10:00 p.m.
Every year Adam and Marian Peck organize a large show in their small gallery to coincide with the Conference. This year it's inspired by cobalt, cerulean, turquoise, and all the other hues that evoke jazz, evening, sadness,and the endless range of aquatic hues at the tip of Cape Cod.
Every year Adam and Marian Peck organize a large show in their small gallery to coincide with the Conference. This year it's inspired by cobalt, cerulean, turquoise, and all the other hues that evoke jazz, evening, sadness,and the endless range of aquatic hues at the tip of Cape Cod.
Silk Road 369, 2018, encaustic on panel, 12 x 12 inches
. . . . . .
Keep it 100
Curator: Winston Lee Mascarenhas
From the curator: "The contemporary vernacular of our theme is about
keeping it real . . . the invitational message thus being inclusive of varied
innovative, compelling, and unique artistic expressions."
Chromatic Geometry 26
These three paintings: 2015, encaustic on panel, 18 x 18 inches
These three paintings: 2015, encaustic on panel, 18 x 18 inches
Chromatic Geometry 27
Chromatic Geometry 30
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Osaka; traveling to Kyushu and Hiroshima
After a successful week in Osaka in early May, curator Shuhei Yamatani is taking his New York Art Lab--with artists such as Rene Lynch, Julian Jackson, and myself--on the road with additional stops in Japan, including Kyushu and Hiroshima. This year Yamatani selected a number of my unique digital prints to include in the show.
The prints, approximately 8 x 8-inch images on archival 11 x 8.5 paper, began as a serendipitous fluke when, in the process of printing a Silk Road image, my printer began to run out of ink. Since printers are programmed to print no matter what, some interesting things happened to the image. Read more about them here.
Silk Trail 298
Silk Trail 342
Silk Trail 345
Silk Trail 362
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Coming in August
Last year paintmaker David Coles and painter Louise Blyton curated Chromatopia: A History of Colour in Art for the Tacit Gallery in Melbourne, Australia. Since then Coles, the master paintmaker behind Langridge Oil Colours, has produced a book based on the research he did for the exhibition with images of work selected by Blyton.
Above: Installation shot from the 2017 exhibition, courtesy of the curators
Below: My Silk Road 207, 2014, encaustic on panel, 18 x 18 inches, seen on right wall of the installation above
Below: My Silk Road 207, 2014, encaustic on panel, 18 x 18 inches, seen on right wall of the installation above
I'll be back in touch in early September with another all-about-me post. I know it's a lot, but I hope you'll share this very full art year with me.
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