Maui, as always, was and is beautiful, from the moment you get off the plane and walk into the moist, fragrant air, combined with the quality of light, color, and space. As a visual artist, it is almost too easy to see beauty everywhere you turn, but of course easy is deceptive and there are many challenges to making art that is more than pretty pictures. Continue reading →
The Art Institute of Chicago – October 2017, part 2
This is the final installment about recent visits to exhibitions in the Chicago area earlier this month, seeing great shows, some now closed, and seeing others that continue into the new year. In my last post we left off on The Nichols Bridgeway, over Monroe as we were about to enter the Art Institute to see a show that was just opening to the public that day, and runs through January 15, 2018.
Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test
This exhibition, one hundred years after the Revolution of 1917, presents a Continue reading →
Chicago Architecture Biennial, 2017. Frank Lloyd Wright & Johnson Family, Racine, WI
If you read my previous post you remember I mentioned a couple shows that were just ending at The Art Institute; we saw some favorites that are usually on view, and mentioned others that continue through early January 2018. Of course, there is much more to see and experience in this great, beautiful Continue reading →
The Art Institute of Chicago – October 2017
As I’ve written before, there is always something good, something exciting, something sublime, something challenging, to see at The Art Institute of Chicago. Since there is such a wealth of riches, Continue reading →
Fifty Years Ago – June 1967
Yes, it was fifty years ago, if not on this exact day, it was in this month during June 1967 that this picture was taken.
I had just made the lithograph shown in the photo, two states of its progress. It takes its title “Twentieth Century Fox with a Fantastic Plastic Four Speed Box” from a mash-up of music, pop, and car culture, and was the last print I made in California. It was hand drawn on stone, bleed printed with two transparent colors over black, on 15” x 11” Rives BFK in an edition of 20. Continue reading →