Beethoven Oaks in “Strokes of Genius,” at the Maryland Federation of Art

Unlikely Dance: Beethoven Oaks - 30 x 48 in., oils on canvas
Unlikely Dance: Beethoven Oaks – 30 x 48 in., oils on canvas

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.

The Body Electric opens July 2 at Cooperative Gallery 213, with London & Beyond

At Last Only Here, oil on canvas, 24 x 36 in.
At Last Only Here, oil on canvas, 24 x 36 in. (© Glenda Blake 2015)

This July, Cooperative Gallery 213, 213 State St. in Binghamton, NY, opens a dual exhibit by Glenda Blake and Chuck Haupt, titled respectively, The Body Electric and London & Beyond. The exhibit runs July 2-25, beginning Thursday, July 2, 6-9 p.m. with a reception, open to the public, at the gallery. The show will also be on display for the First Friday Art Walk from 3- 9 pm. Both artists will talk about their work in a public presentation on Third Thursday, July 16, 7 pm at the gallery.

Glenda Blake is a painter in oils whose realist/impressionist work frequently incorporates dramatically lit dancing figures. The Body Electric, her new work, celebrates the beauty of the human body with a series of nude figures seen from the back and side in dark studio interiors, in ambiguous dance-like postures. The series has its inspiration in the 1855 Walt Whitman poem of the same name, and exhibits a 19th-century-like sensibility.

“I make art to make marks,” Blake says, “and to search those marks for meaning. I make art to reveal to both myself and others the often unnoticed piquancy of the world around us.” She has exhibited her work in juried shows throughout the Northeast and New England. In 2013 she was awarded a grant from the Community Foundation for South Central New York for her ground-breaking series of paintings, “Unlikely Dance.” Visit her website at www.glendablake.com.

Windsor Sentry, © Chuck Haupt
Windsor Sentry, Chuck Haupt

Chuck Haupt is a photographer whose work as a photojournalist graced the Binghamton Press & Sun Bulletin for 30 years. His black and white photography in London & Beyond leads the viewer on a profound visual journey. “Photography freezes moments in time, forever,” he says. “The camera alone does not make the picture; I make it, using my eyes, emotions, and heart.” His website is www.chuckhaupt.com.

Cooperative Gallery 213, a popular stop on the First Friday Art Walk, is located at 213 State Street in Binghamton, and is open on both First Fridays 3-9 p.m. and regularly Fridays 3-6 p.m. and Saturdays 12-4 p.m. Follow the gallery on Facebook at Cooperative Gallery 213; find out more and sign up for the weekly e-newsletter at www.cooperativegallery.com or our Facebook page Cooperative Gallery 213.

Now showing at the Lost Dog Cafe

Three Musicians -- oils on canvas, 16 x 20 in.
Three Musicians — oils on canvas, 16 x 20 in.

It’s been a couple of years since I last showed at the Lost Dog Cafe in Binghamton, NY. Although it’s awkward for people to look at the art when there are diners at the tables (and there are always diners at the tables in the Lost Dog!), it’s a lovely space, with three distinct exhibit areas, each with a nice hanging system. So this morning I parked my car full of art in front of their door, hauled my goods in, and set to work. This is the last time I’ll exhibit my Unlikely Dance series for a while, I think. But it looks wonderful in the Lost Dog space, as I knew it would, along with a couple of studies for the series and two new dance-themed pieces — The Grove and Three Musicians.

This First Friday night I’ll be in the Lost Dog Lounge holding forth at Meet the Artist (or so I imagine; this will be my very first Meet experience). And this month I’ll have a good excuse to have lunch and perhaps a dinner at the Dog — yummy!

I also have a few pieces in a November group show with the Fine Arts Society of the Southern Tier, at the Krembs Gallery, UHS/Binghamton General Hospital, not shown here.

 

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My work and words, featured in my favorite art supply catalog!

DickBlick2014-15-p17

Well, hot-diggety — my artwork and my endorsement are featured in the new 2014-2015 annual Blick Studio catalog! One of my other pieces was shown, without endorsement, in the Spring 2014 catalog supplement — not too shabby either — but this one’s quite a thrill. Featured is Unlikely Dance: Golden Clouds (30 x 48 in., oil on canvas), and yes, it WAS painted with Blick Oil Colors. I’ve always loved Blick — have dealt with them both personally and professionally for nearly forty years — but now more than ever! Looking forward to receiving it in the mail. (You can request one for yourself, here.)

Blick_spring2014-p68
My painting Morris Dance: Half-Gyp (20 x 16 in., oil on canvas) was shown, without endorsement, in the framing and matting section of the Spring 2014 Blick Studio catalog supplement — not too shabby either!

Coming up in August!

Stillness and Motion
Apples in a White Bowl, by Mary Robertson – 30 x 24 in., oils on canvas
Unlikely Dance: Beethoven Oaks, by Glenda Blake – 48 x 30 in., oils on canvas

Throughout the month of August 2014 the Broome County Public Library presents “Stillness and Motion,” a joint exhibit of still life and dance paintings by artists Glenda Blake and Mary Robertson.

Artist and designer Glenda Blake received a grant from the Community Foundation for South Central New York’s Artist Fund for the series Unlikely Dance, featured in “Stillness and Motion.” She began painting as a teenager, and, after a hiatus of thirty-plus years, resumed under the guidance of New England impressionist June Latti. Traditional dance is a frequent subject of her work in both oils and colored pencil. She has exhibited throughout the Northeast, and is currently teaching oil painting at Your Home Public Library in Johnson City, NY (July 28-August 25).

Taking up painting later in life, award-winning fine artist Mary Robertson has been painting for over thirty-five years now, studying locally with both William Grausgruber and the late Michael Tanzer, and teaching her own workshops on painting. Oils are her primary medium, along with watercolor and acrylic, and still life a favorite subject. Mary was Artist-in-Residence at Riverfront Antiques in Binghamton, NY.

Both artists have exhibited their work with the Fine Arts Society of the Southern Tier, at the Community Foundation for South Central New York, and at the Broome County Arts Council as well as in other regional venues. Their common ground is a love of clear colors and dramatic light.

An emerging new process, and The Joy of Dancing

KwanYin and Chrysanthemums, 20x16 in., oils on canvas
KwanYin and Chrysanthemums, 20×16 in., oils on canvas

Two weeks and two days ago I had eye-muscle surgery. Nothing scarier for an artist than eye surgery, except maybe encroaching blindness. I’ve had this wonky left eye, which tracked upward and to the left of my right eye, since I was a kid. All along there were murmurings about the possibility of corrective surgery, but as time went on either the opthamologist was discouraging it or I was avoiding it. Prism arrangements in my glasses lenses brought the disparate images together, until recently. My optometrist encouraged me to see a specialist about the surgery — for real — because the maxxed-out prisms were no longer adequate to the task and he was concerned that my right eye would lose sight to the dominant and errant left. I’d already lost some depth perception, and had a growing cataract in the right eye. So I did it. Quite a do, and I’m still recovering. My eye is still not tracking quite properly all the time, but the surgeon said it would take six weeks to heal so I’m still hoping it’ll all straighten out. Meanwhile the cataract in the right eye has grown significantly in density, so that’s scheduled for surgery in May.

Hasn’t stopped me from painting, however — in fact, I’ve been quite productive. In my last post I talked about a paint-together still life session with Mary Robertson and Jan Wood (just before my surgery), and I’ve finished the painting I started that day, Kwan Yin and Chrysanthemums. Using a process new to me, I painted in semi-transparent glazes (mixed colors thinned with oil/resin medium) over my initial underpainting, saving the lightest lights and darkest darks for last. I love the result. So I started another — Henry and Rebecca — and have worked on a couple of earlier underpainted pieces, Demeter and Rebecca.

Demeter 04 -- almost finished!
Demeter 04 — almost finished!

 

Rebecca 03 -- progress!
Rebecca 03 — progress!

 

Henry and Rebecca 02 -- first color glazes
Henry and Rebecca 02 — first color glazes

These last two had given me problems due to my use of Turpenoid Natural for thinning the paint in the underpainting, but they did finally dry and I’m quite pleased with their progress. I’m close to finishing Demeter, thanks to a lovely paint-together session at Mary’s studio today.

This painting in transparent layers over a show-through underpainting has intrigued me for some time, and although I’d tried it before, to a limited extent, I’m finding it really freeing as an overall technique, That, plus saving the lightest lights and darkest darks for last — a lesson from John Singer Sargent — and I’m in a whole different ballfield than before: one I like a lot.

Meanwhile, my first long drive alone since surgery was the hundred-mile trip to Ithaca and back, to help take down the Joy of Dancing exhibit at the Tompkins County Public Library, where my Unlikely Dance series was the cornerstone. What a wonderful space, and wonderful show. My thanks once again to Sally Grubb, Scottish Country and contra dancer, exhibit coordinator at TCPL, and curator of this show. I got some photos before we disassembled it. A wonderful review of the show is here.

Yuletide is coming on…

Our Yule tree
Our Yule tree, with its growing collection of birds in the branches

After a wonderful closing reception on December 6, I’ve taken down Unlikely Dance at the Broome County Arts Council gallery space — leaving two studies that were sold — and the six paintings are back in my studio for a couple of weeks before going to Ithaca for

GoldenClouds: Study 1
GoldenClouds: Study 1 – sold
Golden Clouds: Study 2
Golden Clouds: Study 2 – sold

three months for a small-group show called “For the Joy of Dance,” at the Tompkins County Public Library. (The opening reception for that show will be in February, though it’ll be on view January through March.) It’s like having old friends come home, only to leave again.

RiverRead show
My show at RiverRead Books

Meanwhile, my smaller dance series is hanging, in part, in the lovely RiverRead Books shop in downtown Binghamton, That show includes a series of large heads of dancers wearing floral crowns, which I’ve never shown before. The opening was quiet, but the music of Idlewild was full of life.

And I’m offering earrings and cards for sale at Old Barn Hollow Local Food and Artisan Market.

GreenBoat Gallery earrings
GreenBoat Gallery earrings

The tree is up, in our front room, the cards are mailed, and shopping looms; as I did last year, I’ll go to Boscov’s, the local Pennsylvania-based old-fashioned department store which anchors Binghamton’s downtown shopping district, with possible side trips to RiverRead and Tom’s Coffee, Cards, and Gifts. And it looks like we’ll have a record number of family coming to our house for Christmas dinner 2013 — eighteen at last count!

Yulecard 2013
Wings of Desire / Snowy Rooftops, Johnson City NY – our holiday card this year — next year I’ll sell them

To Be Published… Soon!

Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas
Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas. It will be in my December show at RiverRead Books, 5 Court St., Binghamton

Through entirely separate channels, my work is soon to be published in two different commercial venues.

Vestal Life Magazine
Vestal Life Magazine

The first is Vestal Life, a full-color ad-supported magazine put out by a Philadelphia-area publisher.

Their publication manager called the Broome County Arts Council, who suggested a story on my Unlikely Dance project and the exhibit in the gallery space there — so I’ve sent a write-up and photos to VL for the December issue. (What a great support system BCAC is for their members.)

Sample page from Dick Blick
Sample page from a Blick catalog — this is a treatment similar to what I’ll get in the spring catalog.

Then the creative director for Dick Blick, my longtime favorite mail-order and web-based art supplier, emailed in response to some sort of survey form I’d filled out; in return for an endorsement of their house-brand oil paints (which I use, and ARE great — no problem with that endorsement) my words, artwork, name, and website address will be shown in conjunction with some of their products in their spring catalog supplement. (She requested specific images she’d found on my Fine Art America site.) How cool is THAT?! Very exciting!

Completed Unlikely Dance series premieres at the Broome County Arts Council

Unlikely Dance at BCAC
Unlikely Dance, hung in the small gallery at the Broome County Arts Council

In the days leading up to it, I wasn’t sure I could pull it off, either artistically or socially. I had six large paintings to show for a year and a half of work, but they seemed dwarfed by even the smaller gallery at the Broome County Arts Council. Due to personnel changes at the BCAC I was hanging the show myself, but suddenly felt unequal to the task. Earlier there had been scheduling and communications misunderstandings. And I’m not good at schmoozing. In short, I succeeded in making myself crazy-anxious about November First Friday’s BCAC opening night of Unlikely Dance.

But now November 1 has come and gone, and the opening came off beautifully — well attended despite the many other Binghamton First Friday events happening all over town, fun, and yes, I believe I was reasonably socially adept. There were old friends, newer friends, Facebook followers, family members, the director of the funding foundation, and some simply interested people I’d never met before; there were dancers who’d been my models, dancers who knew my models, a high school friend/classmate I hadn’t seen since then, models I’ve drawn at the Windsor figure drawing sessions, supportive artist friends, and my GP doc.

Ballyclare dancers at the opening
Several of the Ballyclare Irish Dancers showed up, and wanted a photo with “their” painting. Photo courtesy of Sharon Ball / BCAC
My husband Leo heeded my call for chips and salsa and showed up in the nick of time to save the day, keeping the food table from going bare (those incredible cookies from the Gallaghers went REALLY fast!).

That morning I’d managed to edit and upload high-res photos of each of the paintings so they were available as prints and cards on my Fine Art America site, and then to put together a handout flyer about myself and the grant, including a hard-copy order form for people not comfortable with shopping online. (I encourage you to order directly from Fine Art America.)

At the suggestion of BCAC director Sharon Ball, I’d matted, framed, and hung some studies for the paintings, and they not only filled out the space but seemed to truly interest onlookers, and sparked a lot of conversation. In fact, one of the small studies is already sold — to a morris dance and Facebook friend who’s been a great support throughout this process. And he made sure to tell me EXACTLY what he liked about each painting. In fact, I was surprised and pleased by the number of people who felt compelled to lead me to their favorite pieces and tell me just what they liked about them. I have always avoided the artists at solo openings — not sure why, but I think I’m afraid I’ll over-participate, or talk about myself rather than their shows — but from now on I’ll try not to draw back like that. I love talking about my work, and I must assume other artists do too.

And did I mention the ego/approval rush of the whole thing? And the ribbon-tied garlic bouquet? And the date-night out afterwards with my sweetie? Yeah, those were really good too.

Next up: two or three new, smaller dance paintings — the start of a new, unfunded series on a recent English Country dance — to round out my December show at RiverRead Books. Then, in January, Unlikely Dance moves on to Ithaca, and from there to the Community Foundation for South Central New York.
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The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York, facilitated by the Broome County Arts Council.