Larry Welo & Talk in the M.U.D.

Our Maggie’s Matt was describing to me a business trip that took him from Brooklyn N.Y., where he and Maggie live, to San Francisco. In terms shaded by an unspoken sense of the irretrievable nature of the past, this transplanted Midwesterner recounted his feelings as he flew over Iowa at 35,000 feet and 700 m.p.h.

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The Faraway Look, Looking Glass, and Lane / All intaglio etchings / Larry Welo

Preparing a birthday package for Maggie this past week, I recalled Matt’s words, and thought that it’s a wonderful thing that futures are bright, and our children are finding theirs in places that we love to visit. It was the awareness that the world continues to hold people most dear to us in the face of the sometime- loneliness of new places that I wanted my package to carry to Maggie. I chose an etching by Wisconsin artist, Larry Welo. The printmaker’s deft use of metaphor couches a poetic power in familiar views of the landscape- “The Faraway Look” shows a single, farmhouse hugging the horizon of a composition that broods in a palette of blues. A path leads into the sun-dappled depths of “Looking Glass”. In his newest piece, “Lane”, space beckons the viewer to pause and venture down a woodland path. Welo finds, in each of these, significance in the commonplace. Wrapping up “East of the Sun” for my gift, I felt that the bird’s eye view of the ordered patterns of farmland with a distant, glowing horizon was perfect for my Iowa girl in Brooklyn, New York.

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East of the Sun / Intaglio etching / Larry Welo

These are among the images that Larry delivered recently. At that time, we spoke about his discovery of a new Japanese paper that prints the subtlest traces of ink on an etched plate. Larry will be the featured artist on November 5 in our “Talk in the M.U.D.” series.

Talk in the M.U.D. (Talks with artists in the Marion Uptown District) begins this Thursday at 6:30 with sumi-e painter, Karen Kurka Jensen.

Miss Myers, Kimberlee Rocca, and foil stamping

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Miss Myers

It’s a little intimidating when a person is described as an “institution”. Mental images of bricks, mortar and imposing classical columns spring readily to mind. But, in fact, Professor Virginia Myers IS an institution in the printmaking department at the University of Iowa. “Miss Myers”, as she has been known to generations of Iowa art students, is a solicitous, sensitive teacher who can, and does, answer just about any question about intaglio printmaking. She also invented the “Iowa Foil Printer” which allows artists to integrate reflective, colored foils with other mono-printing processes.

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Duplicity, Destiny Way, and Glory Byway / Foil Stamping / Kimberlee Rocca

My own training as an intaglio printmaker has fostered an admittedly myopic, coloristic prejudice- I have ever been mistrustful of the seduction of color at the expense of strong drawing. The work of Kimberlee Rocca, however, uses foil-stamping techniques with such compositional authority. Abstracted forms of vibrant color dynamically interact in her joyously expressive pieces. Miss Myers’ “Iowa Foil Printer” has landed in the hands of a capable, young woman exploring the breadth of the foil printer’s visual power.

Kimberlee is among the artists whom we will feature in the Metro Area Gallery Tour on Friday, October 2nd. Mark your calendars!

Impressionism…and Sharon Burns-Knutson

“Impressionism as a technique devoted to capturing the effects of light out of doors is exemplified most purely in the painting of Claude Monet, who forced it to its limits, and then beyond.” John Canaday

Recognizing the stylistic differences amongst the painters who since 1874 when they were first ridiculed by critics as “Impressionists”, was a daunting task to me as a young art major. All those pastel colored landscapes with women drifting through them in gauzy white dresses- honestly, my first response was, “Who cares?” But, I did come to care, and be excited about the aesthetic perseverance of those whom I regard as the “heavy-hitters” of this loosely associated group. I love a world that has in it Degas’ drawings, Mary Cassatt’s aqua-tints, Seurat’s drawings (NEO-impressionist that he was), and Monet’s water-lilies.

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Water Lilies, Claude Monet

Created at Giverny, the home that he purchased with the proceeds from his first successful sale, the water lily paintings are the culmination of a lifetime’s work. Monet’s subject dissolves as the rhythm of color and light transcend the notion of a “picture of something”. Art historian, John Canaday, likens these late works of Monet to Jackson Pollock’s drip paintings. At first, I was struck by the cheekiness of this comparison of an Impressionist’s works to those of the mythic giant of Abstract Expressionism, but I think it’s simply brilliant- like Pollock’s drip paintings, the edges of the water-lily paintings seem arbitrary, as if image extends beyond them. Likewise, the drama of these pieces lies in their grand scale and the bravura of their execution.

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Convergence, Jackson Pollock

As a place that inspired Monet’s tireless examination of light, color, form, and rhythm, Giverny has become a destination for tourists to see what he saw. Sharon Burns Knutson did just that. She also drew what she saw. Leafing through her oil pastels of this legendary site, I was entranced by her personal vision, sensitivity, and industry. Few artists I know go on vacation and get more work done than this mighty, little woman! It was also a pleasure to be reminded of the breath-taking scope of another artist’s creative power- especially when that artist’s work has seemed too easily pigeon-holed by passing time.

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Oil crayon on black paper, Sharon Burns-Knutson

Hope you’ll stop by!

Gateway to Marion

I really didn’t want to give up the studio time I knew it would require to draw Craig’s idea. After the Fourth of July, the loosely conceived projects of summer are subjected to their first deadlines, and time reclaims its irrevocable, dictatorial pace. But, when Craig described to me an idea that he felt needed a visual rendering, I realized that I would be putting other drawings on hold while I attempted to illustrate his plan.

I have always recognized that Craig is a visionary. Importantly, I have also come to understand that pursuing every Craig idea would be exhausting- sorting the big ideas from quixotic dreams and investing my own efforts accordingly are the humble aspects of various behaviors that I have evolved during our thirty-five years together. This idea is a really good one. Dramatic, yet do-able, and as it has been true in the past, I thought that if I could draw Craig’s idea we might just woo others to its actual merits. (There’s a reason for the saying, “Draw me a picture.”)

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This bridge is at the west end of Marion… just past the MacDonald’s as you come into Marion on Seventh Avenue/ Marion Boulevard/ Bus. 151.

After a fitful two-and-a-half studio days, I completed a rendering of Craig’s proposal for the “Gateway to Marion”. There’s a graphic “before photo” that makes the argument for a refurbished railway bridge with vintage railroad cars all folded into the recreational trail system very attractive. The bridge exists. It needs work. Acting on the proposal could signal that the town of Marion values its heritage as a progressive, railroad town, and is self aware enough to celebrate that as an historical asset. Marionites have been asked to dream by our city planner and city council. Planned change tangibly hangs in the balance. I’d be interested to know what you think of Craig’s, and now, my own dream!

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THIS bridge is the dream. It has (local) limestone supports, is reinforced and holds a recreational trail into town AND a restored, vintage locomotive and r.r. cars.

Karen’s flowers & Maggie’s journals

“The world is so full of a number of things I’m sure we should all be as happy as kings.” Robert Louis Stevenson

It’s high summer in Iowa. The restored tall grass prairie that my pup, Buddy, and I jog through daily is teeming with life, scents, sounds, and color. Likewise, our own Karen Hoyt’s flowerbeds are in vigorous bloom. So weekly I’m greeted by the happy sight of Karen coming through our front door bearing armfuls of the vividly colored bounty of her horticultural zeal.

It seems to be true that this time of year always lures me from long-term studio projects. Each day yields, instead, a small drawing of a seasonal wildflower poached during the aforementioned morning run. On Monday, Buddy and I came home with a coneflower- last Thursday it was one of those stalwart, orange day lilies. They are so common in roadside ditches, yet so spectacularly remarkable as I observe them in the process of drawing.

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Coneflower drawing, Priscilla Steele

That itch to draw something that is a part of our days is a universal impulse, and I was delighted to open a package from my own Maggie. (Maggie, who grew up with my etching press in our living room!) Among my favorite things in this latest package from Campbell Raw Press, were “perfect bound journals”- just $16.50- the perfect gift! Letterpress prints of Maggie’s drawings enliven the cover of these small blank books. It’s just a little bit of Maggie at a wee price! Hope to see you soon!

Karen Kurka Jensen / Shikishi boards

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Shikishi board #1 / 9.5″ x 10.5″ / $150 (framed) / Karen Kurka Jensen

“Living only for the moment, turning our full attention to the pleasures of the moon, the snow, the cherry blossoms and the maple leaves; singing songs, drinking wine, diverting ourselves in just floating, floating; … refusing to be disheartened… this is what we call the floating world…”
Description of the images created by Japanese (ukiyo-e) wood-cut artists

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Hokusai Katsushika’s Kanagawa Great Wave

For me, the miraculous abstraction of Karen Kurka Jensen’s “shikishi boards” is a 21st century parallel to the decorative beauty of the wood-cuts of the Japanese ukiyo-e artists. Washes of metallic pigments collapse the illusion of deep space, and, like Hokusai Katsushika’s iconic, “Kanagawa Great Wave”, create a dramatic interplay of convoluted form, line and color. Their visual impact is cosmic and oceanic in nature. This has been the foundation for my on-going affection for these small sumi-e paintings.

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Vincent Van Gogh’s Starry Night

Interestingly, the opening of trade with Japan achieved by Matthew Perry’s 1854 “Treaty of Peace and Amity”, allowed a ready stream of Japanese wood-cuts to reach global markets, and the influence on Western art was almost immediate. Compare, for instance, Hokusai’s “Great Wave…” with Van Gogh’s “Starry Night”. Such pivotal intersections of history and visual art lend lively understanding to the evolution of imagery and style. The “floating worlds” of the ukiyo-e artists spawned a revolution in Western art- illusionism would never be the same! Tenets of linear perspective as posited in Renaissance Italy were challenged by the choice of creating an abstracted space as compelling as that of the artists of “floating worlds”.

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Shikishi board #2 / 9.5″ x 10.5″ / $150 (framed) / Karen Kurka Jensen

A fresh batch of Jensen’s shikishi boards awaits you, and in the spirit of the aesthetic of the ukiyo-e artists I’ve selected this offering from the poetry of Li-young Lee.

Pen Andrishok and Marcia Wegman

A box arriving from metal-smith and jeweler, Pen Andrishok, is always exciting for me. Pen’s craftsmanship is impeccable, and her choices in stones and design are guided by a richly personal aesthetic. “Serpentine”, a green to yellow stone with mottling that people are accustomed to seeing in turquoise, and Lake Michigan granite both feature subdued colors that make them versatile choices for just about any taste.

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Serpentine bracelet, Pen Andrishok

An inveterate dog-lover and rescue-er of golden retrievers, Pen has specified that 10% of her sales of her hammered silver earrings will go to Iowa dog rescue efforts. The seriousness of this activity for Pen was made plain by a photo of her current assemblage of charges. I can’t imagine a more compelling image for sales than these sweetly smiling, RESCUED canines.

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For a few idyllic years, our family lived in a small valley near Indian Creek Nature Center. Walking out the door on a summer morning, I was greeted by the sight of a lush expanse of beans or corn in alternating years. It was, quite simply, beautiful. On steamy, summer days like the
ones we’ve had this week, I could stand at the edge of the cornfield and HEAR the corn grow. My affection for the pastoral aspects of our fair state is rooted deeply in that time.

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Summer Sky / Pastel Painting / 24″ x 36″ / Marcia Wegman

The pastel paintings of Marcia Wegman recall all the variety and power of rural Iowa’s vistas. Often observed from a viewpoint just slightly above the foreground of her compositions, Wegman’s paintings include land and sky in equal, luminous parts.

And, now, some poetic advice by native son, Paul Engle, for those to whom an Iowa field is accessible:
“Gather from the yielding land
Roots of purple thistle;
Go out in early dawn to stand
In clover fields and whistle.”

Tana Acton

Though she insists that I did meet the red-haired version of her in the late 90’s, I have no memory of a face-to-face encounter with Tana Acton. Doubtless this was the result of the chronic state of distraction that engulfed me in the first years after unexpectedly buying a building and opening a gallery/theatre. So, last week it was with great pleasure that I greeted a striking, salt-and-pepper-gray-haired, energetic woman who has provided the gallery with jewelry that has become a fundamental part of our inventory.

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Assorted bracelets by Tana Acton

Tana Acton is animated by her enthusiasm for her materials and design. She brought cases filled with work that she was preparing for a major show in Chicago. We rifled through them, oohing and ahhing over one marvelous piece after the next. Many of our customers are familiar with
Tana’s open–wire designs. I always delight in showing them how beads move freely on the sterling silver or gold wires of her bracelets. The novelty of “kinetic”, sculptural jewelry cannot be minimized. THIS time however, I was able to choose bracelets and rings that evidence the evolution of materials and design in the artist’s work.

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Detail of stones used in Tana Acton’s wrapped wire bracelets

Rough-faceted quartz, Peruvian opals, bone, and lemon jade are some of my favorite stones used in the new work left by Tana. Paired with the dramatic profiles of her rings, bracelets and earrings, the artist’s work has never looked better. Tana’s work never lingers, so I hope to see you soon!

Wendy Rolfe

“… one direction in Surrealist painting presents, in meticulous detail, recognizable scenes and objects which are taken out of natural context, distorted and combined in fantastic ways as they might be in dreams…”
H..H. Arnason

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Bird With a Bun / 8″ x 10″ / Oil on panel / Wendy Rolfe / $475

In early March I drove through the brooding countryside of northeast Iowa. My destination was Wendy Rolfe’s studio. I had first seen the artist’s work in a show at Coe College, and thought it a good fit for Campbell Steele.

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Strawberry Still Life / 8″ x 10″ / Oil on panel / Wendy Rolfe / $475

Surrealism, religious iconography and Baroque still life painting are all commingled in Rolfe’s work, and the viewer is drawn into a world apart. Birds with the heads of women, a Madonna with an eye that morphs into the head of a sparrow, and ominously cavernous blossoms succumb to gravity in the compositions of this Brooklyn (N.Y.) artist transplanted to northeastern Iowa.

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Satori / 21.5″ x 24″ / Oil on panel / Wendy Rolfe / $1,600

It is a measure of the reign of pluralism in the visual arts that Rolfe’s pieces merge such disparate painting traditions. It is the vision of the artist that renders the choice so hauntingly successful.

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Bird in a Bough / 8″ x 10″ / Oil on panel / Wendy Rolfe / $475

“Then give to the world the best you have and the best will come back to you.”

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Gertrude Gill

Every child needs one person who always has time for him or her. For me, that person was my mother’s mother, Gertrude Gill. I can state unequivocally that I inherited two things from my grandmother. First, I’ve got her feet. MY feet, literally, stand me in good stead. They hold me upright and allow me luxurious jogs wherever the spirit and my dog, Buddy, take me. They are, however, the sorriest-looking, misshapen things to find at the end of a pair of legs. Second, I am blessed with a similar appreciation that my grandmother had for fine, handmade things.

In the middle of the last century, my grandmother served as president of the Lansdowne, Pa. chapter of the “Questers”. This is an international organization that was founded in 1944. Questers works to cultivate an understanding of the significance of antiques and promote their preservation, as well as that of historical landmarks.

The antiques that my grandmother collected were a childhood wonder for me. Colorful, figurative bottles stood resplendent in the windows of her sunny front porch. Her house ticked and chimed with the sounds of an array of clocks. And, her attic was the repository of all the things she had purchased, that she would eventually bring, one by one, down into the house. That way, when my grandfather inquired, “Where did we get that?” she could honestly respond, “Oh we’ve had that for years!”

When Bunja Sako visited last, I stood amidst the African artifacts that were disgorged from his van. It’s always quite a sight in uptown Marion. I line masks up at the edge of the storefront, and textiles and beads spill from bins that Bunja piles at the curb. “If you get nothing else, you need to get the door.” was Bunja’s admonition to me this time. The door in question was 3’x 6’ with an intricately carved relief design rich in birds, crocodiles, and sun lizards that are typical of the work of West African wood carvers. My single thought was that I would regret not getting such a grandly scaled piece of tribal art. Scale alone makes this piece rare. Smaller “granary doors” are relatively common. They are used for wall decoration. Larger doors are problematic. Shipping them is costly. Rigging them for hanging is demanding. These are practical issues easily surmounted.

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We bought the door, and Craig, as he is wont to do, has found the perfect spot for it. The door is at a diagonal to Gertrude Gill’s pine “ladder-back” chair. She would celebrate the wisdom of the purchase, and relish the sight of the door against the brick of our re-purposed freight elevator shaft.

“Then give to the world the best you have and the best will come back to you.” - Motto of The Twentieth Century Club of Lansdowne