In Wonderland: Women Surrealists at LACMA

This looks like it will be a great show!  In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States

Frida Kahlo, Autorretrato con collar de espinas y colibri (Self Portrait with Thorn Necklace and Hummingbird), 1940, Oil on canvas, Canvas: 30 x 24 in
The Mountain Helen Lundeberg c. 1933 Oil on Celotex Canvas: 48 x 54 in. Framed: 58 x 64 in.


The exhibition includes works in a variety of media dating from 1931 to 1968, and some later examples that demonstrate Surrealism’s influence on the feminist movement. Iconic figures such as Louise Bourgeois, Leonora Carrington, Frida Kahlo, Lee Miller, Kay Sage, Dorothea Tanning, and Remedios Varo are represented, along with lesser known or newly discovered practitioners.

January 29, 2012–May 6, 2012

The Working Proof

I have a print edition up on the Working Proof.  They are a great resource for great print editions by artists.  Each artists print is paired with a charity. See my print “Ozz” here. Its an edition of 50 prints for $30 each! They release a new print once a week, on Tuesdays at 1:30 pm, EST.

“Ozz”, Digital Print, 11″ x 8.5″


Velvets 1974-1982

Peter Alexander, Dorado, 1982, 94 x 115″, Acrylic & Fabric Collage on Velvet

When one thinks of paintings on black velvet they are most likely to envision a kitschy idyllic landscape or portrait of Elvis collecting dust in a thrift shop and not in a contemporary gallery.   Perhaps because of this common predisposition, I was struck by the mixed media acrylic paintings and fabric collage on velvet by Peter Alexander.  Which are on view at Craig Kull Gallery in Santa Monica as part of the city wide Pacific Standard Time Art in L.A. 1945-1980 exhibits.  Alexander’s Velvets are instead a  spectacular mix a science fiction space odyssey especially when viewed from a distance. Up close there is a quirky costumed or Muppet-like puppet assemblage of collaged patchy fabrics, exposed stitching, and glitter glue.  Large in size, they embody the space of a classic Ab-Ex painting, but physically are more akin to a folk art quilt hanging on a wall.  I found Alexander’s Velvets a delightful mix of the language of abstract spatial paintings and the two-dimensionality of fabric collage.

“Vermeer Studio”

great light!
perfect scale painting storage

Happy Birthday to me, the new studio is finally all set up. My husband helped me  convert the utility/laundry room of our bungalow into a small sunny studio.  I think it sort of looks like a Vermeer interiorwith the checkered floor and window panes.

Vermeer, Lady Writing a Letter with her Maid c. 1670 Oil on Panel 72.2X59.7cm National Gallery of Ireland, Dublin


Hello Santa Monica

Santa Monica Pier 1910







We drove route 66 all the way across the country from Texas to Santa Monica, California last week. It was an epic moving trip, the car was loaded with cats, clothes, art materials, and more. Along the way I finally saw Cadillac Ranch in Amarillo too. I can’t wait to set up my new studio but until then enjoying exploring Santa Monica and Venice as well as hitting the beach.

Cadillac Ranch Via Route 66

On the moving road-trip to L.A. we passed through Amarillo, Texas home of infamous Cadillac Ranch.  Cadillac Ranch is a site specific artwork located on the property of art patron and Texan millionaire Stanley Marsh 3, in Amarillo Texas. The piece was created in 1974 by the San Francisco and Houston based art collective Ant Farm. by artists, Doug Michels, Hudson Marquez, and Chip Lord

The experimental art collective Ant Farm was active 1968-1978, using architecture, performance, and media art, many of their projects reached out to the public and not only the art world.

Cadillac Ranch is comprised of ten classic Cadillac cars buried nose down in a dusty wheat field.  Situated off historic Route 66 the art work could be thought of as a site specific ready made, that questions the division between what is a site specific artwork or a roadside attraction?

The site itself becomes a major influence and factor to the work.  Unlike contemporaneous artists working in an expanded field in the remote locations in America, Cadillac Ranch was only a few steps a off a popular highway, not requiring an difficult journey to be viewed and experienced.

The piece was inspired by the evolution of the Cadillac and it’s iconic tail-fin design.  The ten cars are buried nose in the dirt with their tail-fins shining in the sun.  The tail-fins were the most important element of the cars for the artists.  They represented the passing of time of the commercialized form.  Over the years of the Cadillac production the design morphed and  Ant Farm envisioned their roadside sculpture as a monument to the rise and fall of the tail-fin starting in 1948 with the lead car and ending in 1964.

New York Gallery Trip

Women Painting Show
Women Painting Show
Women Painting Show
Women Painting Show
East Village
East Village
Kara Walker East Village

On my NYC Grant trip to Guerra Paint Shop and the Alan Shield’s Retrospective I also had time to check out a few other shows at museums and galleries to round out my trip.  Highlights included a painting show in Chelsea of only contemporary female painters.  I also saw many of the new galleries that have sprung up in the last few years on the Lower East Side, Kara Walker new video work, Lynda Benglis’s show at the New Museum, Alexander McQueen’s retrospective and Richard Serra’s oil stick works on paper and linen at the Metropolitan and that was about all I had time to see!  It was lively colourful trip a wonderful end to my graduate studies and beginning of summer.