In My House @ Duncan McClellan Glass

 The Duncan McClellan Glass Gallery is rapidly changing. The number of artists whose work is being carried has soared, as has the range of work shown. The cavernous space, once largely empty, is now packed. For this show, DMG brought in custom furniture.

Catherine Woods, "Dichroic 1"

 

 The emphasis is still on high-quality glass, as in the piece on the right by Catherine Woods, made of dichroic glass.

Catherine Woods, "Happy Orange Ring"

 On the left is another piece by Catherine Woods titled "Happy Orange Ring", made of fused and slumped glass. Delightfully asymmetrical, a highly decorative and bright abstract.

Scott Coulter, "Obstructed View"

 Featured artist Scott Coulter showed acrylic landscape paintings that have partitions & sub-frames, sometimes disjointed, as in the case of "Obstructed View".

The effect is very similar to that of a highly ordered photographic collage, with notable differences, like the shading below some of the subframes gives the illusion of stacking, or 3-D. The eye keeps trying to unify the visual field, which resists its efforts because of the smaller images and individual perspectives within the picture.

 The gallery had a lot of custom furniture on display like this beautifully crafted desk. There was also a stand with glass decorative doorknobs which were really pretty. Accents that can make a house interior stand out.

 Spath.oSe [Link] creative team of Scott Durfee and George Medeiros continue to amaze with the continuing evolution of their sculptural art purses (or is it purse art?). This new line has more earth tones, is frankly, more wearable, and thematic. They also have made exquisite lamps. One can see historical and cultural influences throughout their work. When one is done wearing these purses, they can be placed in their own niche or stand as art works.

DMG Gallery view.

The mainstay of Duncan McClellan is glass art of many forms and varieties, from all over the world. The main gallery is an experience to be savored, one of the best of its kind St. Pete has to offer, with work to grace any home or glass collector.

Work by Duncan McCLellan

 Congratulations to all the artists and to Duncan McClellan for a good show.














In My House Reception @ Duncan McClellan Glass - Functional objects, hyperreal paintings, all in a unique setting, beautifully hosted by DMG and his staff. This is a great event. 2342 Emerson Ave. S. St. Pete

This Shopping Weekend, Nov. 25th-27th.

[This is a sparse weekend arts-wise. Between the stupor of Thanksgiving, and glazes of Black Friday and Cyber-Monday, plus the Christmas Countdown, it's a good weekend to take in a Museum show]

Tampa Museum of Art (TMA) - Realism, Selections from the Martin Z. Margulies Collection, through Dec. 31st. No Limits, Videos from artist Janet Biggs. Hours: Mon-Thurs., 11AM - 7 PM. Until 8 PM Fridays. Closed on Thanksgiving. Art on the House - The TMA is free on Friday evenings, from 4-8 PM. Otherwise, it's $10.00 Admission. 120 Gasparilla Plaza, Downtown Tampa.
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Ringling Museum of Art - Featuring 20th Century Abstract Art from the Ringling Collection; The Amazing American Circus Poster, from the Strobridge Lithographic Company; Josef Albers Colors (this alone is well worth the drive to Sarasota). at 5401 Bay Shore Road, Sarasota. Closed on Thanksgiving.
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Museum of Fine Arts, St. Pete - Forever in a Moment, 19th century Photographs of Egypt. Story and Symbol, 17th century paintings from Northern Europe. The NY School, from the Gottay Collection. Closed on Thanksgiving. Hrs. Monday-Saturday, 10 AM - 5 PM. Noon-5 PM Sunday. Admission $17.00
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Florida Museum of Photographic Arts (FMoPA) - Celebrations of the Body, male nudes by Dianora Nicco, and Bud Lee's America, outstanding photographs by a photographer that lives here.
Closed Thanksgiving. Hours: 10 AM - 5 PM, Tuesday, Thursday and Saturday. Noon-8 PM Friday, and Noon-5 PM Sunday. Admission is $6.00, FMoPA is at 200 N Tampa in Downtown Tampa.
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(Post still in Progress)

Serious Shit @ Pale Horse

Pale Horse, interior view.

Pale Horse is a design Studio on the 600 block of Central Avenue in St.Pete owned & run by Chris Parks, who goes by that name as an artist. Once every few months he has a one-evening show, a dazzling suite of works, then it's back to waiting for the next one. Chris's work is graphic, and his hand only touches the mouse that creates it. One thing about his work that stands out besides its creativity and other things, is its consummate attention to craft and detail.




This show was titled "Serious Shit", Showing Pale Horse, Embear and Horsebite.

Pale Horse, "Mushroom Cult and the Holy Grail"

[Please forgive the reflections around the central figure's face] In Pale Horse's "Mushroom Cult and the Holy Grail", we see a triptych, looking almost like the portable altarpieces that Catholic priests carried around in their circuits.

They preached in many poor places where there were empty churches, or no churches at all. They would stop, say Mass, baptize all who had been born, marry those who had shacked up, and bless those that had died since the last time they'd been there. An old-school version of one-stop service.

In the center panel is Pope Ratzinger. He is sporting a third eye. To the viewer's right is the Holy Grail, but look closer: It is a mushroom with its cap inverted and turned out. The panel to the left shows a Trinity of mushrooms, and the center one has the crossmember of the Holy Cross. Note the formal progression left to right: The trio of mushrooms. Note the inescapable similarity between the red cap of that mushroom and the Pope's cape and vestments. He is the embodiment of the mushroom. On the right panel, the form is inverted, becoming a receptacle. This is not by coincidence. I have noticed for some time that the artist is gnowledgeable and fluent in mythologies of many kinds, and in detail. For those who want to learn more about what is going on with this art work I suggest reading this [Link].

Works by Embear

There were several works by Chris' assistant, whose nom de guerre is Embear. These were small (maybe 8x8"?) utra-clean graphic vignettes of childhood signifiers coupled with naughty sexual forms. Look closely: These are incredibly funny, silly and good natured. They thread the edge, but don't go over the line. They also explore the sexual tensions in our lives in a gentle and accepting manner.

I had the pleasure of speaking with Embear at the show. She told me these images stem from illustrations and advertisements in magazines from the 50's & 60's that she would read and draw from at her granmother's house.

One of the things that impressed me about her work is the uncanny chromatic consistency in the series. Ember knows her color, and modulates it as carefully, if not more so, than the content in these images. I look forward to seeing more of her work.


Congratulations to the three artists and to Pale Horse in its Gallery guise, for another brief and shining glimpse of a show.

Bitchin' @ Blue Lucy

Laura Spencer, "It's morning"

Bitchin' is an all-woman show at Blue Lucy, running through 12/10/11 at 653 Central Ave., St Pete. The show includes work from Cat Mankus, Anna Sauer, Jill Trilling, Mishou Sanchez, Missy Roll, Andrea Pawlisz, Calan Ree, Rachel Weirich, Julie Dye, Svetlana Kepeshinkas, and P$ynner.

Laura is an illustrator and much more. This somewhat skeletal figure, looking like a frame from a graphic novel, realistically conveys the point that tomorrow (almost) always comes. For more of Laura Spencer's work, see here: [Link]

Julie Dye, "Life"

"Life", by Julie Dye, consists of a book with its pages cut up into a flower, with "petals", falling from it, all in a wooden box. The ephemerality of life and its narrative nature are emphasized. I found this work a good idea, but a little too symmetrical. Julie is a paper artist and crafter. See more here [Link].

Svetlana Kepezhinskas, "Toxicity"

A painting of a head, with the top in a brain-pink explosion, with octopus tentacles reaching out from the mist. Looks like a reaction to modern living. There are some graffiti influences here. It's a mixed media work with wood, paint, and some bits of grass(or straw) hanging from it. See more of Svetlana'swork here: [Link]

I've been following Psynner's work for a long time. Here is "Pixie and Bunny", two dolls in a 2D environment, all in a box. Like a lot of Psynner's work, this has an amped-up,hyperreal look to it, and readily falls into the nucleus around which many narratives may be spun, although it may be part ot a specific one. More of P$ynner'swork here: [Link].

Rachel Weirich, "And yet not really inviting after all

A visually attractive bra and panties with sharp pins sticking out of them. This feminist parable on the laws of attraction, particularly seeing and touching, is titled: "And yet not really inviting after all". I'm pretty sure that I saw other work by Rachel along these lines at Florida Craftsmen earlier this year.

Calan Ree, "Muse"

"Muse", by Calan Ree, a sculpture made of clay and mixed media. A figure, looking pregnant, with the belly cut away to reveal a honeycomb. The Muse-artist relationship is not a 1:1 type of thing. Muses inspire communities of artists, directly and indirectly. The honeycomb brings to mind the nurturing honey and hive or community. This is a very strong art object. I spoke with a gallery owner a day after the opening, who justifiably raved at length about it.

[Link]


Congratulations to all the artists and Chad and Phillip of Blue Lucy for the show.

Oh, Be Still: Five Perspectives on the Tableau @ Donna Gordon Gallery & Studio

Tableau is a word for tabletop paintings. It is a time-honored art form going back hundreds of years. Normally, it consists of a still-life on a table. For her Fall Show, Donna Gordon Gallery & Studio (DGG&S) is showing the work of five artists: John Bayalis, Marta Crawford, Rick Reeves, John Rizotto, and Ann Sklar.

John Bayalis, "Vacation's End"

This watercolor by John Bayalis is a virtuoso piece, with all the varieties of the play of light on and through various surfaces. Its luminosity initially overwhelms the rest of the image. It's about morning, and the beginning of a new day, in this case, the last day of vacation. In the tradition of tableaux, there's a bit of a cornucopia, with flowers, the pears limned by the light skimming over the table. The coffee cups waiting to be filled, people to come to the breakfast table, and the flowers, in the vase and the cups. The magazine harkens back to another time.

Rick Reeves, Fruit and Shell

Rick Reeves, whom I've met at DGG&S, is primarily an historical painter specializing in Civil War scenes, but he is also a still-life painter. This work, painted in alkyd, and from a distance to the table, has signifiers from the most classic era of tableaux, meshing with Floridian elements. The flower looks like an orchid... the many shells evoke the sea...there's a cut-up melon on the left, and oranges, whole and halved. The latter were a staple of Dutch still-life paintings from the 1600's and earlier. 

Ann Sklar, "Orange Thread"

 This acrylic abstract still life by Ann Sklar is at the other end of the tabletop world. Very conceptual, and an absolute standout in terms of color. Looking a bit like a color-field painting, the chromatic intelligence in this painting is breath-taking. 


Congratulations to the five artists and to Donna Gordon for a fine show.

Donna Gordon, "Leap!"

This isn't part of the show, but it merits mention. It is the latest bronze sculpture by Donna Gordon of a figure of a man taking a daring jump. This is the kind of piece that must be seen in person to be appreciated. It has a classical aura to it, with force, and an ethereal lightness that sings out for the viewer to dare and reach in their own lives. Beautiful.

The Gallery is at 625 Central Avenue, St. Pete.

Social Distortion @ C.Emerson Fine Arts

CEFA, main gallery view

Lori Johns, owner and director of C. Emerson Fine Arts (CEFA), defines this show's title as: “an insightful visual journey into the changes people undergo due to the sociological impact of culture in this country and in particular one artist’s immigrant perspective.”

W. Hutton, "A Poor Master"

On the left is "A Poor Master", by W.Hutton. It is a mixed media work on wood. There's some folk art in here, of the kind one might see in the American South. The artist chose to work in this style. Note how differently the frame is painted. In spite of its first-glance apparent simplicity, this is a complex work, nucleated around the idea of serving Mammon, and the human costs of that. The artist has personally witnessed part of the conflagration of lives and people's futures that were turned to ashes with the current economic disaster. This work is among other things, a capsule of the times, insight into what money is, and a warning.  The dollar sign's color speaks of emotion and glows like a neon sign. The tentacles or rays emanating from it reach out, penetrating the darkness. Words sequentially reshape the image as you read, in a similar manner to the changes that people undergo due to the shifts in  their culture.

Thought Coalition, "Untitled"

This used to be a tabletop in a studio at Ringling. Students there used it to prime their surfaces, leaving preambles to paintings. Later it was removed and destined to be painted on, but ended up in a hangout where people were encouraged to draw on it. Norbert Dirr, of Thought Coalition, who shepherded this thing through its paces, saw that it had become a collective work on its own right.
  This is one of those works that de-and-reconstructs itself as viewing distance varies. More artifact than art, like graffiti from a lost civilization. Up close it looks a little like a conceptual/cultural time-map, dense with overlays that alter readings depending on the layer one starts from and where on the piece one decides to enter.
[Link]

Rebecca Skelton, "Body Image"

There are several drawings in this show by Rebecca Skelton. On the left is "Body Image". A female nude takes up half of a male onlooker's gaze. Her head even with where the man's right eye would be. The tidal pull between the feminine sight and the male gaze. Look again. There is a secondary nude draped across the male face staring back.

Rebecca Skelton, "Breech"

In these drawings, we find conglomerates of figures, exaggerated -- or missing -- body parts. Limbs, mouths, etc. emphasize or de-emphasize expressive potential of the figures in ways that are familiar to most viewers. We may have never literally looked like that, but we've felt that way, or made others do so. They are like meeting an intimate stranger.

  Intensely human, and expertly rendered, Skelton guides but does not coddle us through the shoals of memory and experience.

Justin Nelson, "Sever the Head, Kill the Beast"

On the right we have Justin Nelson's "Sever the Head, Kill the Beast". Acrylic and ink on paper, it is a human figure appearing to be covered in leaves in an artichoke like manner. The effect is one of accretion, or layers, and it also brings to mind the mythologically ubiquitous Green Man [Link]. In the tale, he challenges Sir Gawain to a strange duel: To behead each other. Sir G. goes first, beheading the Green Man (GM), who picks up his head and saunters off until their appointment for part II, wherein it's Sir G's turn. I won't spoil that story by divulging the ending. This man has an uncovered hand which is placed over his heart. His severed head hovers over the neck, and if you look, you can see growth rings in red around the center, just like a tree. The artist says the works from this series are inspired by photographs taken in his travels.

Joe Walles, "Internalized"

Joe Walles works in the classic idiom of the street photographer, incisively and fast. This is the result of decades of experience, a mature vision, specialized equipment, honed reflexes and the insight to project into the future, because in photography, if you see a fluid situation in the viewfinder, it is already prolog. Walles' work is evolved from that of the 1950's in many ways. One of them is that he is not simply fixated in the Decisive Moment, but is fluent in the "in-between" moments that make for a much richer expressive spectrum. "Internalized" is one of those moments. A young man in motion(and Walles has no problems working at the edge of coherence with motion blur), lost in a personal reverie, flits by, looking like  Fallen Angel trying to find his way home.

Yanuary Irasema Navarro, "Keys"

  Yanuary Irasema Navarro is the artist mentioned in the beginning paragraph as the artist with the immigrant's perspective. She describes this work as "imaginationscapes".  In her work titled "Keys", we see a surreal mosaic of independent landscapes, each with its own perspective. The effect is multidimensional, in time, but also outside of time, through the lens of memory. The narrative aspect gives it the feel of medieval paintings where a Gospel story is told in several unframed vignettes in one painting. Of course, the viewers back then were very well acquainted with the stories depicted, giving them insight into the order of reading the images, insights into their meaning, etc. Here, we have no such luxuries, and the feel of it is that of an illustrated myth. As a fellow immigrant, I can empathize with this.

Congratulations to the artists, Lori Johns and CEFA for putting on a very good show.

--- Luis

C. Emerson FIne Arts
907 Central Ave  St. Petersburg, FL 33705-1646

(727) 898-6068

Expressions in Form: Josh De Weese @ Mindy Solomon Gallery

Josh DeWeese, Baskets #1 and #4

In ceramics, there is a continuum between functional and non-functional work, meaning the difference between things people can actually use in their everyday lives or special occasions. Josh DeWeese's smaller works, though heavily stylized, are designed and created to still be functional. On the left are two examples, "Basket #1" in the foreground, and "Basket #4" in back. They're made of wood-fired clay, with salt-soda glaze like a lot of his work.
 The glazes have both overt and subtle qualities to them. Formally, they're organic and highly individuated. On the piece in front, we can see some drawn elements in the creases and a small spiral on the right side. DeWeese comes from a family of artists, a household where, as he described, everyone had their drawing notebooks, and drew frequently, and I suspect, very well. Regarding these baskets, which stand about 27" tall, they are intended to be functional as vases for flowers, though in the absence of the latter, those beautiful lyrically arcing handles complete the piece perfectly. In their formal complexity, they seem almost weightless, as if they could float away from the main of the pieces.

Josh DeWeese, "Jar #5, 2011"

 On the larger (This jar is 25" tall)  jars, like "Jar #5 2011" , the drawing is easier to see. Josh says they are views of his studio, or from his studio, so they are self-referential, scribed with images from where they were created. Imagine a human tattooed with the room or location where they were conceived. It is also an analog to a memory from the artist. Visual in more than the formal physicality of the clay and the color and form of the glazes, it reminds me of an inverse cyclorama in miniature, in this case, going well beyond the encoding of process in an artifact, to a depiction of the place where it was made. The effect is simultaneously multidimensional, one that to be appreciated, almost demands a rotating mount, something MSG has provided so the viewer can appreciate the entire piece without having to walk around it.

 The jars are made in two pieces, as the artist described, "like two bowls on top of each other, then finished.

Josh DeWeese, two jars.

Here are two other jars. Note that the drawings being on a 360-degree round surface have no beginning or end. Note that some pieces look far more controlled than others. This is not by accident. A lot of ceramicists obsess on control, but Josh likes to introduce the spontaneity of randomness into the work. The wet-paint look and some of the drawings have influences from Abstract Expressionism, and indirectly, Peter Voulkos [Link]. The glazes can vary from the inlaid-wood look of the piece  on the right above, to the riot of form and color in "Jar #5" shown earlier. Keep in mind that introducing some chaos into the glazes is a conscious decision. Josh told me to remember that with his work, "it all comes through the hands".

Josh DeWeese, "Covered Jar #1"

 Josh reports being influenced by Asian ceramics, specifically Korean Puncheong Ware, Japanese Oribe (examples piectured above) and Shino Ware. In some pieces, this is more evident than in others.

Josh DeWeese, "Large Platter #2"

 Josh's oeuvre involves much more than what I have delved into so far. There are large platters like this one, where the Abstract Expressionism comes through strongly. 


Congratulations to Josh DeWeese and Mindy Solomon for a memorable show. A special nod to Mindy Solomon Gallery for the emphasis on first-rate ceramics. It's a great opportunity for collectors and art enthusiasts alike.




Josh DeWeese "Expressions in Form"
November 12—December 24, 2011






--- Luis


Ps. Don't forget to look inside the jars...

 

 

Josh DeWeese jar, interior view

P.s.s. Always peek into the bathroom gallery at MSG...

Mindy Solomon installation, "Two Pots"

The Good Folk Show @ Creative Clay

Creative Clay Gallery & Studio

Creative Clay has been actualizing the potentials of local artists with developmental, physical and/or emotional disabilities for sixteen years. Their members' works are shown in their own gallery at 1124 Central Ave., St Pete, and in other venues throughout the city. I went to the closing reception of their "Good Folk" show, with a focus on Folk Art, and here are a few highlights...

Creative Clay, view of Gallery

Chris F., "Duke Ellington"

On the right is a painting by Chris F. titled "Duke Ellington". Note the details in the clothing, and articulation of color between the pictorial elements.

These two paintings are by Chris F and Beau Smith. On the left is "Chris as President", on the right is Beau as Vice President. Like most of us, they look a little shell-shocked in office.

Anonymous, "Portrait of a curator

So many of these portraits are emotionally expressive in a naive, yet direct and connected manner. The colors here are excellent, and the depiction of the works behind the figure hanging on the pegboard are wonderful and accurate in an abstracted way to what's in the studio section.

Art hanging from the pegboard in the studio area at Creative Clay.

This small gem caught my eye. The signature is "Thor", but no tag or title was provided. It looks like a skyline, with colors that are remarkable.

This is a large painting by Lawrence that is hanging in the gallery area. The expression of the figure, the attention to clothing, the folds in her skirt are all quite good.


Congratulations to the members of Creative Clay, all who work there, and a special note of thanks to Marci Davidson. This Gallery/Studio is a first-rate community asset.

A Tale of Two Cities: A short conversation on the 600 block

While making the rounds during the 2nd Saturday Art Walk in St. Pete, I ran into an artist, who like many of us, rarely crosses the Bay. We ran into each other outside Blue Lucy, and she was a little bewildered with all the arts-centered action and street life on the 600 block that evening. "Why doesn't Tampa have anything like this?", she asked.

It is a good question. Tampa has around one-third more people, but St. Pete clearly has more arts venues and events. As an arts blogger, I spend a majority of my time reporting from there, though I live in Tampa. The 600 block renaissance was a collaborative community effort that has brought life to a section of the city that was lifeless, derelict, boarded-up shops turning it into an arts district. I do not want to give the false impression that it has been a complete success. It has had growing pains, and a fairly high rate of turnover as it grows and evolves, but the change in the area has been positive and considerable, on both sides of the street.

It is not hard to envision the art and artists of the 600 block repeatedly attracting people to the area eventually resulting in more businesses moving in, perhaps eventually including residential development more retail, etc. It happened in South Beach, Soho (NYC), and yes, in Ybor, sort of.

Tampa could do this. It happened naturally, no thanks to anyone save the artists, in Ybor, and the City's response, incredibly, was to issue a huge number of liquor licenses and the landlords drove out the very artists who made this possible. What happened was an arts debacle. So many of our best and brightest left, not just Ybor, but the city. What made the area attractive was ripped out and discarded. Momentum brought development in afterward, but the spark was largely gone. One of the last bastions of that era resides in HCC's Ybor Campus. The efforts of the Old Guard, people like David Audet and others have kept that flame alive. On the public side, the Ybor Artists' Association under Moira Shiver, its member artists and galleries have brought in new blood, and are doing a great job and gaining ground forging alliances with businesses and institutions that understand the values of the arts. It's happening also in Seminole Heights, where Tempus Projects and several arts & antique stores have established a growing presence, and along with a few restaurants, are bringing people to the area.  

We have community builders in our midst, who are working miracles with next to nothing, but the question is why nothing? St Pete stepped in, and so can Tampa.

Why doesn't Tampa do this? It is no secret that companies looking to move, bringing jobs with them, consider the arts as a primary factor, along with other aspects of the quality of life. The city surely knows its citizen's lives would be enhanced by increasing the profile of the arts, and the commerce they bring.

I know, the economy's floundering. Revenues are down, people out of work, cutbacks abound, everyone is clutching their piece of the pie and in denial over lowered expectations, but it is precisely at times like this that visionaries do not fold up, but launch. Tampa needs a coalition of Politicians, artists, activists for the arts, developers and lay people to show love for its people and their future. We can do this.

--- Luis

First visit: Oleson Gallery

Oleson Gallery, exterior view

 Last Saturday, on a busy St. Pete Saturday night Artwalk, I chanced into the recently-opened Oleson gallery, next to the State Theater. It is a so-called "vanity" gallery, in that is carries mainly the work of its owner, the artist James Oleson. He also had a video installation running with poems by his wife.

James Oleson, "Public Market"

Oleson works with a variety of media. In "Public Market", we see a multi-media work involving painting, collage and stressed metal. There's an image of a grimacing, threatening dog, with the word "Market" below him, and below that the word "Win". Not a friendly market, and the stressed metal on which it lies, with its rusty, deep scratches implies that it's been this way for some time. This work is about five feet tall.

James Oleson, "Holes III"

Another multimedia work, in "Holes, III", we see through a porthole cut into a stressed metal panel, with bolts through it, a painted blue elephant's head. The creature's face looks nostalgic/wistful. Looking through this hole one impression is that of being distant from nature, and that it is stressed, like the metal and contained.

Work by James Oleson

On the right is a painting by the artist of two fish with cat faces. This is maybe 30x40", with beautifully modulated color and form.





" I visualize the objects floating in the air waiting for their chance to twist and dive into the sculptures not yet born, that constantly swim in my mind."

   [From the artists' statement at the MAC site]

The artist Oleson with "Monkey Shines"

Here's the artist with one of his works. Note the recurring natural, constrained view of Nature. James teaches at the Morean Arts Center.

Congratulations to Oleson on his new gallery, which is located at 685 Central Ave. St Pete. The artist can be reached at 727.600.4953 or olesongallery@gmail.com

This Twilight Weekend, Nov. 18th-20th.

Bud Lee's America @ Florida Museum of Photographic Arts -  Bud Lee, photographer extraordinaire -- with two LIFE magazine covers -- arts activist, and one of the best things to ever happen to Tampa, will be showing his photographs at the Florida Museum of Photographic Arts, opening Thursday (today) Nov. 17th., from 6-8 PM. 200 N. Tampa St. Tampa. $6.00 admission. 10 AM to 5 PM, Tuesday - Saturday.
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Pulchritudinous @ West Tampa Arts Center (WTAC)- WTAC's first event of its 2010-2011 season is "Pulchritudinous", which explores the idea of beauty from many angles. Opening reception is Friday, Nov. 18th, at 7:00 PM. Runs through Dec 3. 1906 Armenia Ave., Tampa. Welcome back, WTAC! Free.
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 The Intimate Order, Bryan Taylor Woodcuts @ Tempus Projects - Opens Friday, Nov 18th. 7-11 PM. Runs through Dec 4th. 5132 N. Florida Ave. Tampa. Free.
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Cosmopolitan, a Square One Event @ The Ritz, and other venues - Okesene Tilo and his crew at Square One step up and present a two day event. Friday, Nov 18th, there will be an Arts Walk with shows at The Bricks, Ybor Art Colony, The Stone Soup Company, Collage Ybor, Singing Stone, Tres Amici @ The Bunker, Hoffman Porges Gallery, and Sunday's Fine Dining.  7-11 PM.

Saturday, Nov 19th, Square One will shine at the Ritz, with 75 artists, and performances, fashion, etc. These are always first-rate parties, beautifully produced and with extreme attention to detail. 7-midnight. $5 admission. The Ritz is at 1503 E. Seventh Avenue, Ybor City, Tampa.
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Photography Field Trip - Sacred Lands with Suzanne Williamson

Saturday, November 19, 2011, 10 - 4 pm

http://www.moreanartscenter.org/education_classes/class.php?id=741

 

Field trip to a mound site with Suzanne Williamson

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Rocky Bridges @ Salt Creek - Sculptor Rocky Bridges will be having a one-man show at Salt Creek Arworks starting Friday, Nov 18th. 6-9 PM. Runs through Dec 24th. 1600 4th St S. St Pete.

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Occupy Your Art @ Czar - OWS Arts & Culture is having a fundraiser at Czar on Saturday, Nov 19th at 8:00 PM. A wild fashion money-clothing show and three bands are scheduled.

***Map to Czar: http://maps.google.com/maps?hl=en&tab=wl  Address: 1420 E. 7th Ave Ybor city.

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Michael Peart Sculptures @ Rob Davidson Fine Arts - Michael Peart is showing his metal sculptures based on a myth (see guest blog post directly below this one) on Saturday, Nov 19th. Opening is at 6:00 PM, 1100 First Ave. North, St Pete.
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Faces of Hope, the Forgotten Children of Peru - Work by Danielle Grams, based on a Foundation in Lima that cares for dozens of sick kids for free. The Founder of El Hogar, Dr. Lazzara, will be there, as well as one patient. Opens Friday, Nov. 18th, 6-8 PM. Traditional Peruvian food will be provided. Centre Gallery, Phyllis B. Marshall Center, USF-Tampa Campus. Tampa. Free, but please make a donation, if you can, to this worthy enterprise.
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Faces of Deck & The Hang Ten Art Show @ The Bricks - Two shows at this hipster enclave this weekend. The first consists of 50 skateboard decks on which the artist has done his work, the second, is in conjunction with the Square One event at the Ritz. Saturday, Nov 19th, at 1327 Seventh Ave. Ybor City, Tampa.
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(this post is in progress. More to come today...)

Michael Peart Sculptures @ Davidson Fine Arts

[Here's a guest blog from Michael Peart and Lucy Sophia, a metal sculptor who is having a show this Saturday November 19th, at Rob Davidson Fine Arts, 1100 1st Ave. North, St Pete]

Michael Peart... realizing my destiny for metal is the only thing that powers my drive.  Nothing else comes as natural to me, than working with metal.  I see the whole world through a metal lens.

I am inspired by the magnificent decaying architectures of Spain by Antonio Gaudi 1879-1949.  I can only hope to capture the natural grace, beauty and colors of his creations in my metal color finishes.  Gaudi's work was the muse behind the concept of Priscilla's castle.

Expression of my visions to others...through words has always been my struggle.

The story of Priscilla allows me to channel deep inside my soul to fuse fantasy and modern life together to create Priscilla's collections.

The story is told within the work.  Every piece of her collection has a story behind it.  They all had a special purpose and function that reveals a little of Priscilla's personality.  She had a special connection with all of her collections.  I invite you to interpret my work for yourself and make your own connection.  I think we all have a little Priscilla deep down in our souls.

This Art Exhibition will be the first showing (part one) of 4 art exhibitions.  Someday we can sit down over a cup of coffee and talk about it.

The story begins...

Priscilla was a beautiful, effervescent goddess with an irresistible charm that she used to get whatever she wanted.  Men were mesmerized by her beauty.  They would bring her exotic gifts from all over the world.  But Priscilla's favorite gifts were unique furniture and artwork made by a famous skilled metal craftsman.  Many where impressed by Priscilla's beauty and charm, yet she had a personality trait that most people inevitably found impossible to tolerate.  She was obsessed with domination.  Everything she saw and liked, she had to have, and she would stop at nothing to get what she wanted.  This obsession soon led to her banishment from the town.

The townsmen knew that Priscilla would not leave without a fight.  They decided to build her a beautiful steel castle so deep in the forest and high in the mountains that it would never be found.  The castle was made from steel because they knew that Priscilla had a strong fondness for steel and because it would last and be strong enough to keep Priscilla inside and away from the town forever.  They told Priscilla that it was a Colorful Steel Castle, designed especially for her and created with all her favorite colors.  What they did not tell her was that this Steel Castle would also be her tomb.

Finally, the steel castle was complete.  The townsmen came and delivered the news to Priscilla.  They told her it was a surprise and blindfolded her while escorting her to the castle.  After a long day's journey, they reached the castle and her blindfold was removed.  Priscilla gasped in shock, mesmerized and speechless at the enchanting vision before her.  Never before had her eyes seen something so magnificent.  “This is a fairytale!” she exclaimed loudly.  "This is an absolute, brilliant fairytale!"

To find out what happens next... please join us at Artful Living Gallery on 19 Nov 11 at 6 pm.