Friday, July 17, 2009

The Sheldon Art Galleries- Jane Birdsall-Lander


EXHIBITING GALLERY: The Sheldon Art Galleries

TITLE OF SHOW: The Language of Objects

OPENING DATE AND CLOSING DATE: September 25, 2009 - January 16, 2010

The Sheldon Art Galleries
3648 Washington Bvld.
St. Louis, Missouri  63108

Submitted by Artist: Jane Birdsall-Lander

Tell us a bit more about yourself; your location, professional affiliations, personal stuff…  

After enjoying the camaraderie of  neighboring artists on Washington Avenue for many years, I now work at home.  I thought I might not like this arrangement but timing is everything and the price is right.  With my kids out of the house there’s plenty of room for me here.  I have a studio on the third floor with a   basement shop that I share with my husband.  Since I also work in the non-profit community as an educational consultant and write interdisciplinary curricula (see www. stlpack.org and www.stlpack.org/ait) I have a second floor study filled with books where I have my computer.  While my children were young I compartmentalized my art making so that I’d be available to the family when I was home. While I still seek balance… now my life is all of one piece 

What is the source of your creativity?

I can’t remember a time when I wasn’t making things and trying to make sense of the world.  I spent a lot of time alone when I was a kid and I never got bored…sometimes I was lonely but then, for instance, I’d cut up the curtains in my room and make little flags out of them.  Each flag had a personality all its own and would be there in the next morning when I woke up.  This delighted me.  I was lucky.  In terms of art and intellect my parents believed in self-expression. 

How much of your creativity comes from within and how much comes from outside sources?

The energy that drives my desire to make things is like breathing for me-that is it just is; I can’t really turn off the switch.  I’m very much engaged with the physical world as well as with language and ideas, all of which informs my work.  When something triggers an ah-ha feeling I follow the cue.  Years ago I built a rock cairn in my backyard that I can see from my studio…it’s a touchstone for my mind’s eye. 



Could you do art without an audience?

If I couldn’t make art without an audience I wouldn’t still be making it. 

Did you chose or were you chosen to do art?

Neither.   I’ve always colored outside the lines and/or drawn my own lines.  This is literally true.  My Dad wouldn’t allow coloring books in the house and instead I was   given large rolls of shelf paper that I could do with as I pleased. At a very early age I was encouraged to take risks with whatever it was I thought to write, draw or to make with my hands. 
 

Define fiber art through your lens as an artist or audience member. 

I’m going to go out on a limb here.  First of all, it seems to me that the term fiber art is an unfortunate word choice.  It’s a term that at this point in time may be outdated and if a viewer, curator or artist insists upon labeling and categorizing in reference to materials then the term textile art is much more descriptive.  Admittedly I’m sensitive to language but let’s face it in 2009 the word fiberis most commonly associated with dietary issues.    Secondly, and more important, is the fact that in the contemporary art world there are no boundaries in terms of content, process or materials; pigeonholing artists and their artworks in terms of the materials chosen seems passé and perhaps not well considered.    

Rather than confining themselves to one technique or material many artists move fluidly from one medium to another their work driven by concepts.  Others stay with one material and/or technique but imbue their oeuvre with such internal originality that it redefines previously set limits for a particular medium.  It doesn’t matter what materials or techniques an artist uses so much as it matters whether the work has the intrinsic qualities that make it art rather than non art.  Period.  

Sam Gilliam is an artist who manipulated canvas to reconceptualize the traditional format of a painting.   The Geez Bend quilts are art.  No one has ever considered Christo to be a textile artist but rather an artist pure and simple. What about Sheila Hicks, Harmony Hammond, Eva Hesse, Nick Cave, Robert Rauschenberg, Lee Bontecou, Magdalena Abakanowicz, Kiki Smith, Claes Oldenburg, Polly Apfelbaum, Lenore Tawney and Wendell Castle; all are artists who have incorporated fabric into their art.



The Gallery at Innsbrook- Marjorie Hoeltzel


EXHIBITING GALLERY: The Gallery at Innsbrook
TITLE OF SHOW: INNOVATIONS IN TEXTILES 8 AT INNSBROOK: EIGHT ARTISTS INTERPRET NATURE IN TEXTILES AND FIBER
OPENING DATE AND CLOSING DATE: September 5th, from 10-12, closes on October 3rd
INVITATIONAL SHOW ORGANIZED BY: Marjorie Hoeltzel
PARTICIPATING ARTISTS: Dawn Ottensmeier, Pat Owoc, Luanne Rimel, Barbara Simon, Sun Smith Foret, Alana Tibbets, Barb Zappulla and Marjorie Hoeltzel

The Gallery at Innsbrook
(636)928-3366 ext. 214

Submitted by: Marjorie Hoeltzel
As the most senior member of the group of artists involved in INNOVATIONS IN TEXTILES 8 AT INNSBROOK: EIGHT ARTISTS INTERPRET NATURE IN TEXTILES AND FIBER, and having been a guest at Innsbrook many times, I was inspired to invite seven fine regional textile/fiber artists to exhibit in the beautiful Innsbrook Resort Conference Center Gallery. Some of these artists have been friends for decades, others I have been following more recently, but we have all witnessed the elevation of quilts, weaving, embroidery and other textiles from "handy crafts", to a recognized art form, as quilts became wall hangings, baskets and dolls became "sculpture" and collectors became aware of collecting this "new" art form.
I hoped to recognize myself as an artist when I was in my late fifties (three decades ago), having been recently widowed, with a burning desire to devote my time to following my passion for sewing and creating. Creating and sewing were nothing new, for this I had learned at my grandmother's knee, but with a new lifestyle confronting me, I went full steam ahead in the seventies and eighties, studying design independently with Leslie Laskey, Professor in Washington University School of Architecture, as well as many summer classes in Tennessee, North Carolina and Maine, refining my skills and broadening my knowledge.
But I feel I did not hit my stride as an artist until, in the early nineties, I was commissioned to do a huge commission (huge meaning 20' x 5') for a major corporation's headquarters. Also, in 1999, I was accepted in Quilt National, the quintessential biennial contemporary quilt show in Ohio. I can now call my self an ARTIST! Sharing studio space with Jane Sauer (a treasured friend from the 70's) for many years was also stimulating and encouraging.
For the past ten years, my favorite materials to work with have been recycled neckties. The source has become greater as men seem to be "dressing down", retiring or adopting new lifestyles, and my collection has increased so that I seem to have an unlimited supply to work with.
When an idea "strikes" my favorite environment for making art is too pull out the neckties from their baskets in colors relating to the image or pattern that is somehow magically surfacing, surrounding myself on the floor of my studio as if in a nest, and somehow, it's then the creative juices begin!
When you view the Innsbrook exhibit, you will see eight entirely different and personal interpretations of nature in fabric and fiber, and eight distinctly diverse techniques. I hope you enjoy it!

Thursday, July 16, 2009

Third Degree Glass Factory- Jennifer Weigel


EXHIBITING GALLERY:  Third Degree Glass Factory
TITLE OF SHOW: Common Threads: Fusion of Fiber and Glass
OPENING DATE AND CLOSING DATE:  September 18 - October 13, 2009
CURATOR OR JUROR:  Anne Murphy
SHORT BYLINE/ DESCRIPTION OF SHOW:  In a ground-breaking exhibit, glass artists Jessica Kopitske, Jeremy Lampe, Aaron Quigley, Libby Leuchtman, and Jim McKelvey and fiber artists Sandi Shapiro, Jennifer Weigel, and Denise Williams team up to create collaborative art works that bring glass and fiber together in innovative ways.  Artists will create works together through conceptualization, process, and experimentation.  Works will be installation, functional, and fine art with emphasis on texture and color.
Third Degree Glass Factory
5200 Delmar Bvld.
St. Louis, Missouri 63108

Submitted by fiber artist: Jennifer Weigel

•    Tell us a bit more about yourself: your location, professional affiliations, personal stuff…

I am a mixed media artist, living in Affton, Missouri with my husband, Charles Wilbur, and two cats, Samuel and Ginger.  I graduated with a Bachelor's of Fine Arts - Studio Art in Alternative Media from Webster University in 2002.  I am involved in a lot of art organizations and am especially active in the Women's Caucus for Art, although I have also been active in Art Saint Louis, the Columbia Art League in Columbia, MO, and Woman Made Gallery in Chicago, IL.

•    How do you go about creating a piece of work and what goes through your mind from start to finish?

Much of my work is conceptual in nature.  I get an idea I want to convey and then choose materials to suit.  As a result, I work in a wide variety of media including assemblage, drawing, fiber, jewelry, installation, painting, performance, video and more.  The pieces that I have been working on for the collaborative show at Third Degree Glass Factory are different in that they are much more process-oriented and involve the creation of freeform copper wire mesh forms that are then incorporated into glasswork.  I have especially enjoyed that my involvement ends only partly into the process; it has been exciting to see what Jes Kopitske has done with what I started.

•    What is the source of your creativity? How much is from within? How much comes from outside sources?

I have never been at a loss for ideas.  Those times when I am least productive are just those times when I am least self-confident, namely because I second-guess myself and don't think my ideas are worth pursuing.  Much of my work is cathartic and allows me to vent my grievances and frustrations.  I tend to absorb the everyday aspects of my life and then morph them into art, although much of my work is also informed by more formal research.  Anything is fair game - something I read in the paper, something I saw in the road, a conversation I overheard (or even one I participated in)...  My life is absorbed and then reformed into art.  And my art and my life blur together - I don't make many distinctions between the two.

•    Could you do your art without an audience? How important is feedback?

Much of my artwork is about communicating ideas, connecting with others and starting conversations, so it would be challenging to me not to show my work.  I don't always need people to bear witness, though, and those works created to work through personal issues are generally not shown.  However, some of my work, like the pieces I am creating for the show at Third Degree Glass, are meant to be more decorative and offer me a chance to focus on just making something beautiful.

•    What is your next project?

I have been creating several very different fiber-based and wall-hung works for a solo show at the Green Center in University City entitled Relics and Reliquaries.  This show will open Saturday, October 3 and runs through Oct. 31.  It will feature assemblages of found objects and some of my embellishments in window forms, as pictured.


Thursday, July 2, 2009

St. Louis Artists' Guild- Michael Aaron McAllister


EXHIBITING GALLERY: St. Louis Artists' Guild
TITLE OF SHOW: Presidents, Poets and Playwrights 
OPENING DATE AND CLOSING DATE: September 20th, 2009- November 7th, 2009
ARTIST: Michael Aaron McAllister
SHORT BYLINE/ DESCRIPTION OF SHOW: 
“If one is master of one thing and understands one thing well, one has at the same time, insight into and understanding of many things.”-Vincent Van Gogh
Amassed in this group are men and women who are joined by the connective tissue of “vision.”
Whether behind a desk in the oval office, poised over parchment with a quill, or preparing situations for the stage, each of these visionaries depicted here through strong character and indomitable will achieved feats as luminous as the sun.
Some served their country, carving out a better life for future generations. Others wrote sonnets or dramas that would endure and enlighten for centuries. It is my mission to ensure all will live in the pantheon of our consciousness.
Here presented to you are Emily Dickinson, FDR, Jackie Kennedy, Oscar Wilde and Samuel Beckett, et al. Each portrait is completed in tens-of-thousands of hand-embroidered stitches, beads and silk ribbon.
Michael Aaron McAllister is a professional quilter and artist. He has won awards for his portraits and exhibits nationally in both the fine arts field and quilting shows. See more of his work at www.michaelaaronmcallister.com

St. Louis Artists' Guild
Two Oak Knoll Park
St. Louis, Missouri 63105
314.727.6266
www.stlouisartistsguild.org
Submitted by: Michael Aaron McAllister

Tell us a bit more about yourself: your location, professional 

affiliations, personal stuff…


I live and keep a small cramped studio over looking the Gateway Arch in Downtown St. Louis. By day I am a librarian for the Upper School of a prep school here in Saint Louis…in Ladue. I have been happily married to my husband Bill for almost 13 years. We share two pugs and a black lab. We also like to see cities of the world by ocean liner. Cruising for me is very romantic…very 1932…very David Niven.


What first inspired you to become an artist?


I have always considered myself an artist. My first works were in Sesame Street coloring books. From those beginnings, embroidery was born.


What possession do you most cherish?


My most cherished possession is the needle which I began my embroidery career with.  I have stitched over 70 portraits with it. I have lost it dozens of times, have bent and re-straightened it, and have worn the chrome of its surface. When I give talks and demonstrations I take a “stunt needle”. THE needle never leaves my studio. I had a special velvet lined case created to house the needle, fitting some ancient holy relic.


What is a typical day for you?


My day begins at 3:30AM. I think it very important to give the best hours of the day to my portraiture than to someone else. I generally have three hours in the morning to work and two in the evening. I retire with the dogs around 7PM. The weekends afford me around 20-22 additional hours of uninterrupted, blissful work.


What music do you listen to?


I generally research other subjects while working in my studio. I devour audiobooks. Most of the books I read are history or biography. If not researching I will have a group of 3-5 movies that I watch over and over and over to foster a background white noise. 


When do you feel you hit your stride as an artist?


Either when a portrait is finished and I know it’s a “special” one or 

at the opening of an exhibition when a visitor speaks with me and conveys how one of my pieces recalls an event in their life.


What helps create a suitable environment for making art? 


Absolute order. My studio must be in place and tidy. I also have to have the dogs. Edith Wharton wrote her novels with “her dog’s heartbeat at her feet” and I completely agree with that. Being in my clean studio is a calming act…having my pugs there only furthers that.


What are your favorite materials to work with?


I can’t and will not work without DMC 6-Strand Embroidery floss. Call me a “Brandist”…but I will not work without it. DMC floss and unlimited and varied fabric supply is very important.


Where do you find materials to create with? Names of shops or 

internet sites…


The greatest place for me to buy fabric is www.hancocks-paducah.com I make a bi-yearly exodus to Paducah to replenish. I get my DMC floss at either Hobby Lobby or Michaels or in lots from eBay.


Name your top five: musicians, books, movies, websites, artists… 

(provide a link to websites or artists websites if at all possible)


Wolfgang Amadeus Mozart (Music)

Ella Fitzgerld (Music)

Gone with the Wind-Margaret Mitchell (Book)

A Moveable Feast-Ernest Hemingway (Book)

Now, Voyager (Movie)

Out of Africa (Movie)

John Singer Sargent (Artist)

Ingres (Artist)

Andy Warhol (Artist)

Walt Disney (Artist)


What are materials that illicit the most response from you in viewing work?


Materials I don’t respond to as much as work having a “time-intensive quality”. That is something I ALWAYS respond to. 


What is your next project?


I am currently finishing up work to mount a show at the Embroidery Guilds of America Museum in Louisville, KY. After that I plan to revisit the lives of British, French and Russian Royalty recreating their lives in millions of stitches and thousands of beads. 


Studio Shots: 

   

Wednesday, July 1, 2009

Main Street Gallery- Anita Bracalente

EXHIBITING GALLERY:  Main Street Gallery

TITLE OF SHOW: Innovations 8

OPENING DATE AND CLOSING DATE: September 4th, 2009 – October 3rd, 2009

CURATOR OR JUROR: Kathryn Stullken Hopkins

Main Street Gallery
239 North Main Street 
Edwardsville, Illinois 62025
618.655.9999

     

 

Submitted by: Anita Bracalente, Visual Artist

  • Tell us a bit more about yourself: your location, professional affiliations, personal stuff

I am a visual artist living in Bloomington, Indiana.  I call myself a visual artist as I work in many different mediums and cannot cast myself exclusively as a painter, textile artist, photographer or landscape designer.  I formally trained as a painter, but I soon worked in other mediums including stained glass and then returned to painting for 25 years.  Beading and specifically knitted beads came very much later.  I also do landscape design nearly full-time but the beading fulfills another need of making things.  At this time I do not paint, but I do a lot of photography.  I am also a writer and lecturer on landscape design and gardening.

  • Apart from creating things, what do you do?

There is not much I do that isn't creative, but I am a museum registrar, which gives me access to art all day long.  When I am not working in the studio,  I like to garden, swim, hike, and travel.  My photography comes into play when I am gardening, hiking and traveling.  I love to travel the world and I am usually visiting gardens and museums and other cultural events. Otherwise, I cook, but I think this is a very creative act.  I love musical events and it is there that I am only an audience participant.

  • What first inspired you to become an artist? 
  • I was 6 years old.  I was always drawing and painting, but one day I had some free time (in the first grade classroom) and I was drawing a horse.    In this drawing I added the horse's hock instead of drawing a straight leg with a hoof.  This pleased me very much.  When I came home that day I showed my mother my drawing and I announced that I was going to be an artist some day.  That was it and I never turned back. 

  • What is the source of your creativity? How much is from within? How much comes from outside sources?

The core of my creativity has always come from natural forms found in nature and architectural structures.  I particularly like the interaction between organic and geometric shapes played against each other added with contrasting colors, textures, patterns and the unraveling of patterns and structure.   

 

The element of time in landscape design is considered the “fourth dimension” and I like to allow time to cast changes on my perspectives as I work through a piece, whether it is a painting, a beaded work or a landscape design.  The important thing being that the final object must have a resonance of logic not generating from myself, but rather dictated from the internal logic of the piece.  In that respect I learn something new visually from each piece.  My creative ideas are generated from within as I internalize nature and architectural structures. The element of time becomes my external (re)source in the final resolution of a work.

 

  • What helps create a suitable environment for making art?

 

My total environment must suit me.  Our studio is a separate building from our house surrounded by the garden and although my work is portable, it is important that I have this space to go to.  This second story studio room is light filled.  It is essential to me that I cultivate beauty and live with beauty every day of the year.  We have a greenhouse which enables me to grow orchids and we have flowers 365 days of the year.  The garden has an extended bloom period 9- 10 months of the year.  The element of my personal environment is that I be surrounded by creative and intelligent people every day and that my life is filled with art and music daily.


 

Friday, June 19, 2009

Old Orchard Gallery- Becky Grass

Exhibiting Gallery: The Old Orchard Gallery
Title of Show: Fibra Vive
Opening and Closing Date: Sept 18th, 2009 - October 9th, 2009
Juror: Becky Grass
Show Description: Fibra Vive celebrates today's artist's personal interpretation of their "magical journey" through Latin America in their own work.  

The Old Orchard Gallery
39 S Old Orchard
Webster Groves, MO 63119
314.961.4433


Artist and Juror: Becky Grass

Apart from creating things, what do you do?

 

I am a new mother of twin boys, which is absorbing nearly all of my time and energy these days.  It is an exhilarating experience and is more satisfying than I could ever have imagined.  They have already completely changed my perspectives on so many levels.  I see the human experience through new eyes as I embark on this journey of motherhood and relive all of the simple wonders of the world.  My focus has changed as I learn to re-examine familiar things as a new experience and this really makes the subtle details of daily life beautiful and inspiring.

 

What is the source of your creativity? How much is from within? How much comes from outside sources?

 

I would have to say there is an even balance of sources that inspire me to create, from both within and outside sources. Daily life and routine have always been of great interest to me and now more than ever, home life.  Examining routines and patterns can be very inspiring for me as a weaver.  I am always trying to relate the patterns found in our modern world to the ancient traditions and thoughts of our ancestors.  The processes of weaving and creating cloth help me reach a place of mind that I feel keeps me in touch and in tune with this universal consciousness.

 

What are some of the things you do to keep yourself creative?

 

I am an avid music lover.  I play piano and guitar and find that sitting down and playing some music always gets those creative juices going for me.  Playing and listening to music always puts me in a new mindset and is a great mental warm up for getting to work in the studio.

 

Could you do your art without an audience? How important is feedback?

 

Although feedback can be a very important aspect of art making and many times integral to developing ideas and skills, I could most certainly make art without an audience.  In fact, I feel that my best work comes when I am relaxed and making work purely for my own enjoyment.  Not that it is always easy, but I feel that my ideas and voice are most clear when I am not concerned about how an audience will be interpreting the piece. 

 

What are your favorite materials to work with?

 

I love fine threads. They can be delicate, yet have the potential to become a robust fabric.  I also prefer to work with natural fibers.  Cotton and silk are most prevalent in my work.



Saturday, June 13, 2009

Duane Reed Gallery- Sun Smith Floret

EXHIBITING GALLERY: Duane Reed Gallery

TITLE OF SHOW: Silver Screen Quilts: Art about Movies

OPENING DATE AND CLOSING DATE: September 11th, 2009 - October 14th, 2009

SHORT BYLINE/ DESCRIPTION OF SHOW: Silver Screen Quilts are works of cloth, paint and mixed media referencing film and cinema.

Duane Reed Gallery
4729 McPherson 
St.  Louis, Missouri 63108
314.361.4100
http://www.rduanereedgallery.com

My art life started with knitting, dressing paper dolls, scarf dancing with my younger sister and playing outside in a mud hole with sister and brothers  when I was  about seven and lived in a suburb of New York City. My mother took me to pick out wallpaper at least twice a year. My grandfather was a professional millinary designer who painted in oils and cooked as his hobbies. He loved children, was the most joyful member of my family and had great influence on many aspects of my life. He would deeply appreciate the aesthetics of how I work and live now. My home overlooks the Mississippi River in Elsah, Illinois where I am currently collaborating with an artist friend, Eric Gray, on rock wall  sculptures for a large and just manageable flower and vegetable garden that is my main hobby. That and cooking for family and friends. I share a studio upstairs over the Sidney Street Cafe in Benton Park with Barbara Simon, an artist friend of thirty five+ years.



My professional life is made up of both art making and a private practice as a Psychotherapist. The two intertwine and reinforce each other. All of my current art is about movies and the people who create them. Movies are about behavior and how we interpret the world,  ourselves and others, cultures, politics, love, death, money, history, the future, etc.



The desire to enhance my home with self created objects inspired me to study art and design. Independent work for several years with Leslie Lasky led to a BFA in Art History and an MFA from Washington University.



All of my waking hours have to do with what ever finally ends up on a given piece. Relationships with other people and one's own thoughts can be visually depicted, every nuance of the changing hues of river and sky expand the pallet. Every object, be it sky scraper or chicken's egg, has  balance between form and function. Anything well made is inspiration. Working with textiles has much to do with time, hand stitches being tiny markers. Great films are constructed from a vast complexity of ideas and concrete actions. The subjectivity of film and its collaborative nature challenge me to feel aspects of the film in a new way that is yet recognizable to other viewers.



Is the body an object?  I think so. Aging as mine is, I cherish it and live to honor it and the mind and heart it contains. I respect it's exquisite complexity and vulnerability, it's mortality, it's containment of the myriad emotions that define us as humans. My body is very much an agent of my art making process and I am often literally covered up or surrounded by a work in process.

Sun Smith Floret