Not very good news, I’m afraid – I won’t be able to mount my scheduled show at Cooperative Gallery 213 in August, due to serious health issues.
I have lung cancer (which is ridiculous, since I haven’t smoked in 40-some years) and possibly another cancer as well. The lung cancer is a type that mostly non-smoking women get. I’m having tests, scans, and appointments, and then I’ll be starting chemo on Wednesday. Prognosis is not as good as it was at first – it’s farther along and more widely spread. So everything is up in the air right now: not only shows and exhibits but classes as well.
I have a loving and supportive husband, as well as the rest of my family and my friends. I’m not being too terribly private about this, but hope not to see it go around on social media.
All I ask now is your good and health-giving thoughts — and prayers, if you’re so inclined.
Sunday, November 26, 10 am – 2 pm, Monday, November 27, 4 – 7 pm, or by appointment
All work must be labeled and ready for hanging/display. Save time by completing your inventory and membership forms and bringing them to the gallery with your work. See Requirements below.
Artists’ Reception Gala
Thursday, November 30, 6 – 8 pm
Saturday, December 23, 4 – 6 pm (AFTER 4 pm show closing)
Thursday, December 28, 10 am – 2 pm
or by appointment
REQUIREMENTS: Labels, inventory
all works: (jewelry, ornaments, cards, miniature paintings, etc.): tag each item with price and an inventory number. Submit a Holiday Show inventory form including corresponding inventory numbers, media, description, and price: download forms at http://www.cooperativegallery,com, or pick up a participant kit at the Gallery during open hours.
wall-hung works: Limit 3 pieces 16 x 20 in. and above, or 5-6 pieces smaller, with two labels attached. Label 1 will be left on the work, and Label 2 will be displayed with the work. Use 14-pt. Arial or Helvetica font, appx. 2 x 3.5” label, listing Title, Medium, Artist Name, and Price.
$35 annual Supporting Membership (if not already a member)
“Forces of Nature,” my show at Cooperative Gallery 213 with Chuck Haupt, closed on April 29, after a successful run. I have to extend great thanks to Chuck for designing the show card and the back wall, aiming the lights, and being generally proactive and supportive while I was distracted by my mother’s recent death and the need to finish the last two paintings for my half of the show. (Valley Watcher was still a bit wet when I hung it…)
Prior to the opening, Chuck and I went through two TV interviews and a radio interview. I’m learning how to do those, I think — ask for questions in advance, mentally prepare answers, and make sure the camera angle is flattering — be physically demonstrative, too — but it’s a process.
The Thursday opening was lovely, despite yucky weather — so many old friends and new! My dad came, with a family friend, and I so enjoyed introducing him to various artist friends. My sweetie did his usual splendid job with the food. On the following night, Binghamton’s
First Friday Art Walk/Event, a Facebook artist friend, the talented Robert Hoover (who I’d met only once before in person), showed up early with a special starburst nametag for me to wear… and then wept openly in front of River Watcher.
I’ve left the palm tree I bought for the show for the next Cooperative Gallery 213 exhibitors — Bill Gorman and Geof Gould — to use in their show, which promises to be great.
Moon Watcher – 30 x 40 in., oil on canvas
River Watcher: oil on canvas, 30 x 40 in.
Demeter Study – oil on canvas, 20 x 16 in.
Woods Watcher: oil on canvas, 24 x 36 in.
Kwan Yin and Chrysanthemums – oil on canvas, 20 x 16 in.
City Watcher – oil on canvas, 40 x 30 in.
Winter Solstice – oil on canvas, 30 x 24 in.
Valley Watcher (after Rinehart) – oil on canvas, 48 x 30 in.
Night Watcher – 40 x 30 in., oil on canvas
Owl and Stone Goddess – 24 x 24 in., colored pencil on painted hardboard
“Look deep into nature, and then you will understand everything better.” – Albert Einstein
On Thursday, April 6, and First Friday, April 7, 2017, Cooperative Gallery 213 will open “Forces of Nature,” a dual exhibit by Glenda Blake and Chuck Haupt. The exhibit, running through April 30, includes photos of nature across two continents by Chuck Haupt, and paintings / drawings by Glenda Blake of allegorical figures in natural settings. An opening reception at the gallery, public welcome, is planned for Thursday,April 6, 6-9:00 p.m.
Blake says: “My part of this exhibit is made up largely of pieces from my ongoing “Watchers” series. It’s a concept I picked up somewhere in my youthful reading — ancient religious or allegorical symbols or minor deities, observing us as we pass unknowing along their hidden paths. Humanoid objects in incongruous settings often strike me as dispassionate observers of the joys and disasters of our world. There is something in them that is positive — neither hopeful nor despairing, but also not clinging to outcomes, and open to whatever comes. I don’t normally explain my work. I can only let whatever is in me manifest itself, with little or no conscious input from me. After many years as a rational planner and designer of publications, I find this a difficult but rewarding lesson. I’m dedicating this show to the memory of my mother, Beatrice Knoeller Blake, who died on February 22, at the age of 88.” Blake is an award-winning and juried artist who has shown her work throughout the Northeast and the Mid-Atlantic regions. She also shows her work at the Circle Gallery in Annapolis, MD.
Haupt says: “Photographing nature has become my passion after spending 36 years as a photojournalist, telling people’s stories visually. Photography is just an extension of my personality. I look for moments happening in front of me that resonate for me. Photography freezes moments in time, forever. The camera alone does not make the picture; I make it, using my eyes, emotions and heart.”
On photographing in black and white: “I like being able to strip away the colors, which I feel enables the viewer to more easily get to the heart of the image — to not be distracted by the colors we all see in everyday life.”
Haupt and Blake have both been exhibiting members of Cooperative Gallery 213 since 2015
Cooperative Gallery 213, a popular stop on the First Friday Art Walk, is located on Artists’ Row / State of the Art, at 213 State Street in Binghamton. The gallery is open on First Fridays 3-9:00 p.m. and regularly on Fridays 3-6:00 p.m., and Saturdays noon – 4:00 p.m. Sign up for our weekly e-newsletter on our website at www.cooperativegallery.com or on our Facebook page, Cooperative Gallery 213.
Sweetie and I shipped off this 30 x 48 in. painting today, via UPS and bound for the Maryland Federation of Art’s Circle Gallery in Annapolis, Maryland. Sweetie designed and built the 40-pound crate, and it was perfect — made to UPS and Circle Gallery specifications, puncture-proof, and designed to keep the painting from moving or directly contacting the crate. The shipping cost was surprisingly low.
If my hard drive hadn’t gone belly-up a month ago, I could quote from the acceptance email that said how many hundreds of artists submitted work for this show, but it was several hundred and Beethoven Oaks was one of 68 selected, so I’m thrilled. We have friends and family in the DC area, so we’ll make a pleasure trip around the opening reception in November. Funny thing, though — someone sent Sweetie a link to the show’s Call for Artists, to pass on to me… and we can’t remember who it was. Some messenger of the gods…
And while we were at UPS, we met a re-emerging artist, the woman behind the counter in the shipping office, who’d like to take my painting class. You just never know.
I still haven’t figured out how to show a progressing project with alerts to my followers, so I’m continuing to post progressives on my professional Facebook page. But here’s the whole progression (below) of the first of my “Watchers” series. I’m pretty happy with the way it’s turned out, and I’ve submitted it for the Arnot Regional.
So, what is a Watcher? It’s a concept I picked up somewhere in my youthful reading — Watchers were pagan religious symbols, or figurines, or minor deities, ensconced or trapped in tree trunks along hidden paths. The idea took root in my mind, and when in middle age I lived in the back hills of northern Pennsylvania, there were a couple of standing tree stumps along the road that I mentally christened “the Watchers” — they seemed alert, attentive. Statuary sometimes strikes me that way, especially in incongruous or unexpected settings. And then I ran across a mannequin head in an Etsy shop that triggered the “Watcher” alert in me. With permission from the generous shop owner, I’ve commenced a series of paintings based on her mannequin (this one), as well as more statuary, mannequins, and other humanoid objects as they dispassionately observe the impending disasters of our world. There is something in them that is positive — not hopeful, not despairing — but also not clinging, and open to whatever comes.
I don’t normally explain my work and motivation like this, but this piece comes from deep within me. And that I can’t explain. I can only let whatever is in me manifest itself in my work, with little or no conscious input from me. As I tell my painting students, don’t put any effort into expressing yourself or your emotions — that will happen despite your best efforts, and it’ll be more genuine if you just let it happen while you’re concentrating on other things. After so many years as a rational planner and designer of publications, I myself find this a hard lesson.
Click in any of the tiled photos below, to switch to a slide show of progressives. To exit the slide show, click the small X in the upper left corner.
Yes, it’s true — I do sell things from time to time. And what better time than the winter holidays?
This year I have earrings and art cards for sale at Old Barn Hollow — my earrings are made from vintage jewelry I pick up at flea markets, antique/junque stores, and yard sales, along with some new parts, and exclusively new earwires in gold- or silver-coated nickel-free brass. I love making these little sculptural pieces. Because many of the components I use are random vintage, I can’t guarantee what types of stone, metal, ceramic, resin, or glass they may be composed of. I make my best educated guess, and you may do the same.
My art cards are high-quality reproductions of both seasonal and non-seasonal artworks by me, on 5×7″ blank-inside cards. (For more selections and higher quantities, see my Etsy shop. )
And I have more earrings for sale — as well as artwork — at Cooperative Gallery 213. What a wonderland of unique arts and crafts this Members’ Holiday Show is!
Thurs., Dec 3 Gala Opening reception, 6-8 p.m. Sat., Dec 12 Artist tour with MaryRose, 2 p.m. Artists will be introduced & are invited to make a statement about their work Sun., Dec. 13 Holiday Brunch, 11 a.m.-2 p.m. Sat., Dec. 19 Musical Performance by Doug & Eamonn Hubert, 1 p.m.
Storytime with actress Janet Normile, 2 p.m.
Wow — I won the People’s Choice Award at Binghamton’s Rude and Bold Women show last week! It was a strong and beautiful show, and I’m so honored. My artist-friend and sometime painting student Rae Doyle-Freeman was a runner-up with her powerful sculptural papier-mâché piece, “On Her Aching Bones, Did Empires Rise.”
The People’s Choice is the only award of the show, determined by votes cast by attendees.
The Tuesday before, I got up at ugly-o’clock in the morning to board a 6:10 a.m. Megabus to NYC with artist-friend Harriet and her friend Jo from farther upstate (also an artist), to see Sargent: Portraits of Artists and Friends at the Metropolitan Museum of Art. Fabulous time — took the bus four hours to the Port Authority bus terminal, and then we took more than an hour to to get to the MMA on foot and by city bus, but what a stunner of a show. I knew many of the works from books — had seen one or two in person before — but there is NOTHING like coming face to face with the actual piece.
Gradually we took in and discussed, piece by piece, most of the show (gathering a small, attentive audience as we moved along!), took a lunch break when we were exhausted, then — like kids back to the pool — went back for more Sargent. Harriet and I lost Jo in the Post-Impressionist galleries, but I was glad to be forced through them in our search for her. I could live in the MMA. Another long trip back to another long bus-ride… so-o-o tired! But so worth it to experience great art, especially with friends who experience it in the same way.
The week before that, after seeing my painting, In His Limbs and Joints, installed in my cousin’s lovely home in Annapolis (such a thrill to see it hanging in their amazing art collection!) I got a look at the show, Gustave Caillebotte: The Painter’s Eye, at the National Gallery of Art, while sweetie and I were in the DC area. Caillebotte wasn’t a name I was familiar with — he was contemporary with Degas, and although more conservative, was equally experimental in his less flamboyant way — but I did know some of the work. And it was sublime. I’m slowly working my way through the show catalog, which we bought on the way out. (I neglected to obtain the Sargent catalog — the photography was such a disappointment after seeing all of the actual pieces — but I hope to soon.)
Yes, I survived. The sleepless nights beforehand, the shaking hands, the matting, the framing, pulling my back at the mat cutter. The transport, the hanging and arranging and re-hanging. The oppressive humidity. The transport and arrangement of the tons of food (with my sweetie, who not only framed my paintings beforehand, but provided first-rate food — which we will be eating for weeks, if not months — for the Thursday night opening reception).
And yes — I survived the publicity, the newspaper profile, the exhibit announcements, the interview for local TV, the praise, the hugs, well-wishes, and compliments from old friends and from family, meeting new admirers, answering the questions, discussions of artistic techniques, the help and support of my co-exhibitor and my other Cooperative Gallery 213 colleagues, and all the other great and nerve-wracking stuff.
And we packed up the remaining food, and cleaned up the gallery, and came home, and I read a glowing write-up of my work in the Triple Cities Carousel, had a couple of glasses of wine with my sweetie, and slept soundly with a profound sense of relief. Tonight is First Friday — the crowds may easily be larger, the action more hectic, but I survived the opening. Thank you to all.
Click in any of the tiled photos below, to switch to a slide show of the painting series. To exit the slide show, click the small X in the upper left corner.
All Who Saw Him – 24 x 36 in., oil on canvas
At Last Only Here – 24 x 36 in., oil on canvas
Measured and Beautiful Motion – 24 x 36 in., oil on canvas
The Curious Sympathy – 24 x 36 in., oil on canvas
In His Limbs and Joints – 24 x 36 in., oil on canvas (Private collection, not available for exhibit)
Pause, Listen, and Count – 24 x 36 in., oil on canvas