winter 2015 edition of plumage tx vol 1 12 3 2015
DESCRIPTION
Outsider art of Doc Spellmon, Texas Vintage exhibition, Essay on Windberg, Women Who Dare exhibitionTRANSCRIPT
PLUMAGEPLUMAGEPLUMAGE---TXTXTX Hill Country Magazine Winter 2015 Issue
Doc Spellmon The Doctor is in
Reviews/ Commentary/ Exhibi ons/ News/ Events
FREE
Women Who Dare Feminism in the arts
Texas Vintage Provenance in Boerne Outside InOutside In
Personal Reflec on Personal Reflec on Personal Reflec on
of Naïve Artof Naïve Artof Naïve Art
Windberg Cri cal Essay
Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106
Russell Stephenson “First Frost” Oil on Panel 24” x 24”
Photography and Design by: Gabriel Diego
Delgado
2 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 3
PLUMAGEPLUMAGEPLUMAGE---TXTXTX
IN THIS ISSUE
IN EVERY ISSUE
A Note from the Publisher –P.8
On the Cover—P.10
Contributors— P.11
Designer’s Quill—P.52
PLUMAGEPLUMAGEPLUMAGE---TXTXTX Winter 2015 Issue
PUBLISHER
Gabriel Diego Delgado
All artwork photography courtesy of J.R. Mooney Galleries of Fine Art
Prices are for current artwork, and can change at any me
© 2015
JR Mooney Galleries
305 S. Main
Boerne, Texas
78006
830‐816‐5106
Edited by Gabriel Diego Delgado, Marla Cavin, Katherine Shevchenko , Be y Houston
Design by: Gabriel Diego Delgado
Contribu ng Writers
Gabriel Diego Delgado
Katherine Shevchenko
Melissa Adriana Belgara
Gina Mar nez
Frames
New selec ons of home decor
525252 14
Insight of
the
Outside
Naïve Art Analysis
4 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 5
PLUMAGEPLUMAGEPLUMAGE---TXTXTX
FEATURES Winter 2015 Issue No. 8
28 New
Acquis ons
Recent selec ons at J.R.
Mooney Galleries of Boerne
Rolla Taylor
A er Market Stories
64 The “Doc” Is In
Art Consultant Cri cal Analysis
on Doc Spellmon
42
6 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Women Who
Dare
Ar st Analysis
32
A Note from the Publisher
As I write this, the wind is gus ng at around 45 miles per hour.
The trees down by the river are brown, and leaves and pecans
li er the streets of downtown Boerne. The city is humming with
prepara ons for the Dickens on Main events, and the onslaught
of the Christmas season. Holiday lights dangle from every
storefront façade. Winter coats, scarves and cozy dress are the
new wardrobe for the Main street shoppers. We are entering
into the winter season here in the Hill Country. The smell of
fireplaces, fire pits and burning leaves wa through the crisp air.
The merchants talk of the Holiday Stocking Stroll, rub their
bellies full of exo c meats from the Wild Game Dinner and hope
for des na on shoppers to visit the Historic Mile. Soon Santa
Claus will be on his North Pole throne at his signature spot at
the Nature Store and the Dickens on Main One Man Plays stages
are going up. Don’t lose focus on what’s important during this
wonderful season. Shop local, support local and remember art
makes a great gi to yourself and others; its ba eries will never
die!
PLUMAGE‐TX hopes to use its pages as a vehicle to educate, entertain and enlighten our audience on a variety of topics ranging
from reviews, news, ar st narra ves, interviews, cri cism and a cohort of other art related stories from within the gallery walls to
the major metro centers. I hope you find this informa ve and hope you con nue to follow the ar s c happenings around you in
your local neighborhoods.
Sincerely,
Gabriel Diego Delgado, Publisher
8 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 9
On the Cover
As the cooler crisp air engulfs the Hill Country,
the mornings are so beau ful. This image was
captured si ng at the stop sign at the corner of
San Antonio St. and Main St. With mornings like
this, it is easy to see why the Hill Country is the
vaca on spot for a lot of Texans. Although the
mornings might be chilly, the call of the small
town charm is enough to persuade anyone.
Boerne is indeed a gem nestled in the gateway to
the Texas Hill Country. Founded by Free Thinkers
and the like, this close knit community has an
abundance of family friendly events, including
the park and recrea ons des na ons, restaurants
and many other a rac ons.
10 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Contributors
Katherine Shevchenko has a ended the San Francisco Academy of Art University and the University of Texas at San Antonio where
she received her Fine Arts Degree with an emphasis in Pain ng. Her experience ranges from interning as a curatorial assistant at Southwest School of Art to teaching art to students of all ages. Currently, she is an art consultant/framing designer at the J.R. Mooney Gallery in Boerne. Some of her contribu ons include wri ng ar cles, hos ng and edi ng the J.R. Mooney podcast, "Mooney Makes Sense" and art catalog design. She is also an ar st that specializes in pain ng in oils and other media.
Gabriel Diego
Delgado is the
Gallery Director
at J.R. Mooney
Galleries of Fine
Art, Boerne,
Texas. He has
spent almost a
decade in
Nonprofit Art
Management‐
working as a Curator of Exhibi ons at the
Sta on Museum of Contemporary Art,
Houston; Project Manager of Research and
Development at the Museo Alameda, a
Smithsonian Affiliate, San Antonio. He is a
Freelance Curator and Arts Reviewer for
several publica ons. His artwork has been
shown in Arco 2012 Madrid, Spain; New
York, New York, MOCA (Museum of
Contemporary Art) D.C. as well as numerous
galleries and venues throughout the U.S.
He is currently working on his Fine Art
Appraisal License.
Melissa Belgara, a na ve Texan that grew up in Houston, lived in San Marcos and San Antonio has recently moved with her family to Boerne. Her experience in Commercial Real Estate Marke ng provides a unique
perspec ve of this quickly expanding area of Texas. She holds a Bachelor's degree from the University of Houston in Communica ons, as well as a Masters degree in Organiza onal Management. Currently, she spends most of her me caring for her two daughters, subs tute teaching and looking for crea ve ways to explore and discover the Hill Country's ar sts' communi es.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 11
Gina Mar nez
graduated from
AEW College of
Photography and
Louisiana State
University with
degrees in
photography and
communica ons,
respec vely. Her
photography has been in several Louisiana
galleries including The Baton Rouge Gallery,
The Shaw Center for the Arts and the
Louisiana Ar st Alliance, and at the
Movements Gallery and the Monarch Events
Center in Aus n, Texas. She has published a
book called “The Kuna Yala” based on her
stay with the Guna Yala tribe of Panama.
Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106
Arthur McCall “Light Snow” Acrylic on Panel 24” x 24”
Photography and Design by: Gabriel Diego
Delgado
14 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Gallery & Community
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 15
Insight of the OutsideInsight of the Outside “My Personal Experience “My Personal Experience with Naïve Art”with Naïve Art”
By: Gabriel Diego Delgado
bought my first major art
purchases and pain ngs a
few months a er
gradua ng with my Bachelor’s
Degree in Fine Art. A Fine Art
Studio major and colleague
persuaded me to join him (Jon
Read) and another friend (Tex
Kerschen) to visit the studio of
Rev. Albert Wagner. It was with
Wagner’s work that I would
begin my explora on into
“Outsider” or “Naïve Art”.
Wagner was one of those art
community figures who existed
outside the norm of tradi onal
fine art prac ces; someone you
would hear stories about. Thrown into the naïve “Outsider Ar st” genre, Wagner was a self‐taught ar st
and self‐proclaimed preacher with a church in his basement who lived on the east side of Cleveland, Ohio.
We were making a holy trek to see his work,
in what has been described by those
covering the economic development of
Cleveland as a signature crack neighborhood,
undoubtedly in one of Forbes most
financially miserable ci es. I was unfamiliar
with his legacy and was curious to see why
his persona had such an impact on a trusted
art associate. The story goes that he was a
fana cal womanizer and heavy drinker, who
in prepara on for his fi ieth birthday was in
his basement cleaning when paint spla ers
on the floorboards began speaking to him. It
was the voice of God telling him he needed
to change his life and turn to God and
preach. From that day on, he painted holy
relics of the gospel and conducted informal
church sermons in the basement. As a
prolific ar st he was able to create well over
3,000 works of art within his life me; most
of the sales of his work while he was s ll
I
“Wagner was one of those
art community figures who
existed outside the norm of
tradi onal fine art
prac ces; someone you
would hear stories about…”
Gallery & Community
16 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art
by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art
alive were undocumented (like mine) where he took cash on the spot and sold the works off the walls of
his home. A er his death in 2006 at 82, his children held an auc on and sold over 800 works of art.
Upon arriving at Wagner’s studio we were greeted by a person, whether friend, colleague, family member
or caretaker was not apparent. We were told that the Reverend was s ll sleeping, but we could look
around if we wanted. When we went upstairs to the second floor, we saw the ar st. S ll woozy from a
late a ernoon nap, he was s ll
reclining in his bed when he invited
us into his room to share his art.
Stacks of pain ngs were amassed
on the floor around his bed, some
li ered on the peripherals of his
sheets. On that cold and windy
Ohio day I took home with me two
small religious pain ngs of the
baby Jesus and the Holy Mother.
A er mee ng the ar st, seeing the
house full of his vision, the way he
lived his life, you could not help
but be impressed and acknowledge
you were in the presence of
someone living on a higher plane
than yourself.
As my professional art career took
many turns and twists at several
art ins tu ons, I would go onto
meet other ‘outsider’ ar sts who
would have an impact on my
outlook of this genre. Jesse Lo , a
Houston based African American
ar st who called the 5th Ward
home, shared a studio with me in
the early 2000’s, or I shared it with
him. I felt his magic, his ar s c mojo, his Rastafarian energy. Lo is credited as one of the founding
members of the Project Row Houses in Houston’s 3rd Ward. Lo was/ is the mys cal godfather of the
African American Art community from the 1960’s to today. Texas Evangelical Forrest Price, with his
poli cal statements and divine teachings, showed me how to make art filled with hope, despair,
redemp on, guilt, gra tude, salva on and other worldly repentances. Price strived to live his life in a way
that complimented the Dead Sea Scrolls. An ar st beyond descrip on, his gentle demeanor allowed him
to serve the Lord in his own way but s ll maintain an aura of ar s c importance in the collec ve Houston
art community.
Image courtesy of Jon Read
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 17
When I recently saw the artwork of F.L. “Doc”
Spellmon, I knew I found my next “Outsider Art”
interest. For the exhibi on “Texas Vintage” at J.R.
Mooney Galleries of Boerne, we were able to
curate in three pain ngs by Spellmon in order to
help recognize his importance in the African
American art community of San Antonio during the
1950’s – 1970’s. A pioneer of African American
“Outsider Art”, Spellmon’s vision included
historical documenta ons about slavery atroci es,
ba les concerning the Buffalo Soldiers, aspects of
everyday life, gin dis lleries, African cultures,
religion and everything in between. Through the
renowned collector of Texas vintage art, Johnny
Wright from Fredericksburg, Texas, I was fortunate
to witness a wonderful array of over 40 original
Doc Spellmon pain ngs. Wright had purchased a
large estate of his work directly from the ar st
before he died. Wright was offering the gallery an
opportunity to share with our clients some of this
wonderful collec on. I immediately knew we
needed to have more of his selec ons in the
gallery for our patrons to experience. A er selec ng about 18 more pain ngs with the considera ons of
Art Consultant, Katherine Shevchenko, the decision was made to bring in a body of work as sort of an
appendage to the exhibi on; work that would be available for consulta on and reference the importance
of his career in the “Outsider” genre. As we began to document his artwork for the exhibi on catalog, we
also began to document the backs of the pain ngs along with the front image. The backs of canvases,
Gallery & Community
18 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
serving pla ers, boards, discarded wood other devices held an almost biographical anthology. Spellmon
would make his own art and exhibi on labels and affix them to the backs of the art. You could see labels
showcasing the various organiza ons and businesses he founded like the “Black Art Studio” LTD and “Art
By DOC”. Others included side jobs where he was immersed in the arts community bringing collectors
and patrons to art studios and organiza ons like the Carver Community Center with labels like, “Art Tours
by Appointment” and “Art You Can Iden fy With”. His comical side would emerge with s ckers on his
hangers, which read: “Guaranteed Life me Hanger”. This was o en placed on a crooked piece of recycled
wood or par cle board that was affixed to the back of the pain ng by way of nails, staples and glue with
an offset and non‐centered wire
hanger. In 1977 Mayor Lila
Cockrell declared F.L. Doc Spellmon
Texas Emissary of the Muses and
gave him his own City of San
Antonio sponsored Proclama on.
In Spellmon’s own way of ar s c
genius and merit he photocopied
that proclama on in various sizes
and affixed this document to the
back of his pain ngs a er August
24, 1977. So from a historical
context we can now see from the
back of the pain ngs when they
were roughly created, by way of
which s ckers were affixed to the
backing. Always accompanying
most pain ngs was a large self‐
portrait s cker with what would be
considered a business profile head
shot complete with a small two
paragraph bio of him with the
highest merit of quotes referencing
him back to Jackson Pollock,
Grandma Moses and others. O en
considered an “Outsider Ar st”
due to his visual and playful, and
mistakenly, naive imagery,
Spellmon actually acquired four degrees in his life me including a Masters in the Arts and taught pain ng
and drawing at Lackland Airforce Base in San Antonio. A prolific ar st as well, Bill Banks and Andrea
Marshall in the biography: F.L. Spellmon “The Life and Works of an African American Ar st”, published by
Banks Fine Art, LLC, men oned he par cipated in over 19 exhibi ons from 1986 – 1989.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 19
Within the appendix selec on of pain ngs, four pieces stand out as ones that need further men on and
spotlight: a pain ng sketch tled “Bath Time” measuring 8” x 10” and it’s formalized larger complete work
“Bath Time” measuring 15” x 13”; two
pain ngs from the Buffalo Soldiers series
including “Ge ng Away” and “Two Iron
Men: Black Seminole Indian Collec on”.
The “Bath Time” series can be categorized
into his autobiographical series of
artworks. They harken back to the mes
of slavery or post‐Civil War with aspects of
the everyday life of freed slaves. A
pictorial assimila on of the heavyset house
slave who took care of the slave children,
“Bath Time” is a childlike illustra on of two children in a washtub being hovered over and scrubbed by an
African American woman in a red headscarf and blouse covered by a white apron. We see a shantytown
shack structure in the background
complete with paper‐collaged flowers in
the final larger pain ng. Both give credit
to the matriarchal role in African
American culture as well as the
rudimental outdoor plumbing that
existed in this me era. In today’s
contemporary art world reference, the
children’s faces remind me of the neon
body sculptures by American ar st, Bruce
“A pictorial assimila on of
the heavyset house slave
who took care of the slave
children…”
Gallery & Community
20 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 21
Nauman. I half expect the children to be animated and start poking each other in the eye or move their
heads in a mechanized jaunt of angular rota ons. Addressing the overall physical en ty of the actual
pain ng, both pain ngs have deliberately painted outer frames and course overlays of thick paint, marker,
ink, and other mixed media to give a layered concoc on of visual pleasure. Yes we see the children, the
mother and the house, but what we need to do is take me to ingest all the underpain ng; the layers we
can see only by bubbled protrusions under the final composi on. To first see the ‘Bath’ paint sketch and
compare it to the final pain ng, we can begin to dissect the ar st’s inten ons, his decisions and
formula ons to make one of his many pieces.
Historically, the pain ngs in the “Buffalo Soldiers” series of artwork are comprised of documented events.
In “Ge ng Away”, a smaller 13” x 17” pain ng, we see a Buffalo Soldier on horseback, facing backward,
shoo ng at what looks like Na ve Americans. However, contextually within the Buffalo Soldier’s legacy,
we know the Buffalo Soldiers were one of the only regiments that were able to sustain the harsh
condi ons of desert figh ng and chase the famous war chief, Geronimo, through Arizona. This could be
the famous Geronimo and his soldiers engulfed in a shoot‐out and daring escape from the 10th regiment.
“Two Iron Men: Black Seminole Indians Collec on” on the other hand portrays the Black Seminole scouts,
in some cases runaway and freed slaves, who ini ally joined the Seminole Indian camps in Florida and
Gallery & Community
22/ PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
were asked to enlist in the Army and fight in the Texas‐Indian Wars, where they had documented engagements with Comanche, Kiowa, Apaches and Kickapoos, a ached to and figh ng alongside the Buffalo Soldier regiments. The tle can refer to the weaponry, par cularly the sword and saber, or the tenacity of these men.
In conclusion, “Outsider Art” should not be
dismissed, ignored or deemed irrelevant.
In most cases, these ar sts exist on the
peripherals of today’s society. However, a
few, like Price, Lo and Spellmon have
become intrinsically important to the civic
makeup of their respec ve art
communi es. Their artworks drive an
importance that allows their legacy to
con nue, influencing future genera ons of ar sts, collectors, and appreciators. The outsider has now
become the insight‐er, revealing aspects of our collec ve cultures in a fresh light. Maybe we are the ones
looking in from the outside and they are the ones in their own profound earthbound nirvana.
“Outsider Art should not be
dismissed, ignored or
deemed irrelevant. In most
cases, these ar sts exist on
the peripherals of today’s
society…”
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 23
305 S. Main St
Boerne, TX
78006
830-816-5106
1.800.537.9609
www.jrmooneygalleries.com
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
More...
Original Paintings
Giclees & Prints
Picture Lights
8302 Broadway St
San Antonio, TX
78209
210-828-8214
Staff Profile
Name: Gina Mar nez
Posi on: Art & Framing Consultant—Boerne, Texas
Summary: I graduated from AEW College of Photography and Louisiana
State University with degrees in photography and communica ons,
respec vely. My photography has been in several Louisiana galleries
including The Baton Rouge Gallery, The Shaw Center for the Arts and the
Louisiana Ar st Alliance, and at the Movements Gallery and the Monarch
Events Center in Aus n, Texas. I started ginimar ni photography in 2007
and worked extensively in Central and South America for 5 years. I
published a book called “The Kuna Yala” based on my stay with the Guna
Yala tribe of Panama. I have worked as an assistant to the painter Charles
Barbier on several murals in the city of Baton Rouge. I curated pop up shows of Louisiana ar sts at
various venues in Louisiana and Texas.
Favorite Song: This is always changing! “Sixteen or Less” Calexico and Iron and Wine, “It’s Raining” Irma
Thomas, “Cupid” Sam Cook
Favorite Ar st: Monet, Van Gogh, Charles Barbier, David Nino, Gauguin, Edward Cur s, Deborah Hay,
Yoshitomo Nara
Favorite Art World Memory: (I have many): Having Sandy Skoglund favorably review my por olio while
she was a guest instructor at my university is a fond art world memory. She liked my piece: “Jungle
Room” from my Graceland por olio and said she had seen images of this many mes but not from my
perspec ve. When I lived in Berlin, the curtains in my bedroom were made from the fabric that Christo
used to wrap the Reichstag building. Going to see the “Silence” exhibit at the Menil Collec on in 2012,
and pain ng murals with one of my favorite living ar sts, Charles Barbier, for home town improvement
projects are other favorite art memories. Par cipa ng in paint night, a weekly event for many years in
my life where my friends and I would gather together one night a week to paint, cook, play music and
create, is also a cherished art memory.
Goals: : My goal is also to promote the ar sts of JR Mooney Galleries of Fine Art to the best of my
abili es. My personal goals are to keep producing work: to write, photograph, dance and paint; to
perform more aerial silks rou nes, publish my book and show more of my work.
Gallery New
s
26 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Feel confident entrusting your
cherished memories and fine art.
Master framers with over fifty years
experience in custom framing and
shadow boxes.
We carry a versatile selection of
framing mouldings and mats from:
Laron Juhl, CMI Moulding,
AMPF, Max Moulding and many
more!
Come in today and have a
consultation with one of our
framing designers and be inspired!
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
More...
Original Paintings
Giclees & Prints
Picture Lights
305 S. Main St
Boerne, TX 78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 27
“Where’s My Lunch” by R.
Henderson
R. Henderson’s portrait of a cow
is no ordinary farm animal.
Instead of the natural browns,
whites and greens that one might
expect from a tradi onal bovine
pain ng, the ar st uses bold
bright colors: reds, purples, and
blues to create his animal. This
adds an element of excitement to
the pain ng, but there is more to
it than just wild colors. Even with
a non‐‐tradi onal pale e, the cow
appears realis c. This effect is
achieved by the ar st through use
of a pale e knife technique to
create texture and dimension in
the paint. The result is a Post‐
Impressionis c pain ng with a
pop art twist. The psychedelic
cow has a life like quality that
makes this a fun and lively
pain ng. The electric white paint
becomes fur falling around the
ears and the so friendly eyes of
the cow. This texture creates dimension and movement. His face is gentle and sweet, begging for a bit of
grass as he saunters over to the fence, s cking his head out in expectance of a nibble.
New Gallery
Acquisitions
“An Art Consultant’s Analysis” By Gina Martinez
Gallery New
s
28/ PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
“Watching Proudly” by R. Mizoy
This large majes c oil pain ng features
a Na ve American warrior si ng on his
white steed. The horse stands in
shallow water and in the background is
the warrior’s village. He wears a halo
war bonnet or headdress. These
headpieces were originally worn by
Plains Indian men who had earned a
place of respect in their tribe. The
headdress was worn only for special
occasions and was a display of courage
and honor. They were and s ll are
made of golden eagle feathers and are
some mes painted red to
commemorate certain events. To
obtain the feathers the men would
climb into the golden eagle’s nests and
pluck them from the young. Today, in
the United States, only enrolled
members of a tribe may legally possess
eagle feathers as the species is
protected. In the past, each feather
was earned, either in ba le or for a
good deed. If the warrior acquired
enough feathers one of his family
members would sew together the headdress. The warrior had to have the permission of the chief to wear
it and only few were awarded this high honor, as a man may collect only two or three eagle feathers
during his en re life.
Since the halo war bonnet was worn only during special occasions and by special people, it is likely this
warrior is reflec ng upon his life while on his way to a ceremony or other tribal event. His headdress has
much red painted into it, indica ng that he has a lengthy history of heroic deeds. The fact that his horse is
white is a symbol of his good character. Together, their physical reflec on in the water visually symbolizes
personal reflec on. The headdress he wears is a testament to the deeds and achievements that created
his legacy. He stands erect, alert in front of his village, s ll the protector. He has fought hard, hunted and
worked his en re life to keep his people safe and prosperous as is indicated by the headdress. Now, he
takes a moment for silent, proud reflec on.
“Where’s My Lunch”, R. Henderson, oil, 24” x 20”, $525.00
“watching Proudly”, R. Mizoy, oil, 40” x 30” , $1,735.00
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 29
Photography and Design by: Gabriel Diego
Delgado
Come See Our New Lines of Custom Framing Designs
San Antonio Spotlight
32 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
omen Who Dare
omen Who Dare
W
“Reflections from an Artist’s Perspective”
Curated by Anel I. Flores and Sarah
Castillo
Written by Katherine Shevchenko
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 33
“Women Who Dare” was an all women ar sts exhibi on that was curated by Anel Flores of Artery Studios and Sarah Cas llo of Ladybase Gallery and held at the Carver Cultural Community Center in near downtown San Antonio and ran from November 5 – November 27, 2015. The core theme of the exhibit was to present the works of “San Antonio women ar sts who s mulate, provoke, and capture her viewers; allowing space for the movement and speed of the compe ng world to fall away.” The outcome of a theme of such a transcendent nature facilitated a contempla ve flowering of many dis nct ar s c languages with interpreta ons ranging from self‐portraits, dissec on of mys cal feminine archetypes to conceptual mixed pieces that explored topics such as heritage, race, fears and self‐discovery. In disclosure, I was one of the par cipa ng ar sts curated into the exhibi on, and my contribu on was a pain ng created specifically for the curatorial premise. Upon observing and processing the exhibi on as a whole, I felt it was integral to highlight how these dis nc ve artworks correlate to one another in a gender specific exhibi on.
San Antonio Spotlight
34 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
One of first pieces that immediately captured my
a en on was Audrya Flores’ “Hand Talker,” created
from various fabrics, yarn, pins, and prickly pear cac‐
tus. According to her ar st statement, anxiety has
been a struggle that insidiously “manifests itself in my
hands through fist clenching, fidge ng or swea ng.”
“Hand Talker” essen ally is a visual metaphor that
unveils this internal ba le by depic ng a figure made
of cut out fabric, curled up in sheets, with white
menacing hands advancing towards her. In the met‐
al wrought frame, appendages made from dried cac‐
tus hang, visceral metaphors of the destruc ve na‐
ture of anxiety coming forth within the subconscious
dream state.
Le cia R‐Z’s “Psychopomp Altar I,” is a three dimen‐
sional work which presents two anima figures con‐
structed of wool felt with animal skulls for heads
posed and mounted on circular fabric covered
frames. Psychpomps, whose origins are from Greek
mythology, are en es that act as intermediaries to
guide souls to the other side or through states of
transmuta on. In reference to the Roman Catholic
tradi on of milagritos, R‐Z has placed a receptacle to
accept offerings from supplicants that are in need of
the psychpomp’s assistance, as evidenced by the
presence of a lock of hair that has already been
placed within.
“...anxiety has been a
struggle that insidiously
“manifests itself in my
hands through fist
clenching, fidge ng or
swea ng.”...
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 35
In my submission, I also
scru nize death and transi on
through my oil and egg tempera
pain ng tled “La Mys ca.” In
this old masters’ mixed
emulsion technique pain ng, I
present a portrait of a woman
that is half alive and the other
half is being consumed by many
vibrantly hued fungi and other
natural elements of decay, in
order to confront the viewer
with the constant transitory
state that existence always
resides in. The subject’s
s mulus stems from momento
mori, the La n phrase meaning,
“remember you will die,” which
has fueled a whole thema c
branch of art, notably the
vanitas, s ll lifes that are made
to depict the earthly realm’s
most impermanent nature.
“Take One. Just Begin” by
Stephanie Torres is an
interac ve work, fabricated of
handmade li le journals with colorful
paint spa ered covers that each
represent the ar st’s “…own willingness
to take a risk,” placed upon a table with
crayons and other drawing tools. The
ar st simply asks the par cipant to take
the miniature journal and start
something, in any form or fashion; a
cheering taunt to start a journey that one
has been reluctant to venture forth on,
due to fear, or in her case a “paralysis of
perfec onism” brought on by anything
that is crea ve.
“...woman that is half alive and
the other half is being
consumed ...in order to
confront the viewer with the
constant transitory state that
existence always resides in.”
San Antonio Spotlight
36 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Maria Luisa Carvajal de Vasconcellos embraced “the story telling power of the paintbrush” to heal from a
crippling nine year depression that was the result from grief of losing her husband when she was thirty‐
nine. Within her pain ngs are the stories of many women in all the many stages and phases of their
lives, with a so and voluptuous styliza on. In “Tequila,” one can only fathom what the lady seated is
pondering, seated alone at a table, with a half
empty bo le, surrounded by melancholy blue.
Linda Arrendondo has created a quadriptych
en tled the “Medusa” series that are female
portraits that are painted with fluorescent
colors complete with writhing sinuous snakes
for hair. She describes her medium of choice,
watercolor: “feminine, loose, delicate, light…
It’s not a material that is controlled or
dominated but one where some of its best
parts are fueled by serendipity and
compromise.” It seems those traits are the
exact ones the Medusa women are channeling, sensuous, so ness and a hint of unpredictability. The
portraits are arranged in a square format, crea ng a striking visual affect, due to the bold colors, and
solidarity of contrast. They gaze out, fierce and enigma c, challenging the viewers.
Viewers had the opportunity to be educated about an uncomfortable episode of racial tensions from
Texas history brought to light from the archives in Claudia Zapata’s installa on project, “Dedicated to
Hazel Sco ” about the African American pianist who cancelled her 1948 performance at the University of
Texas due to segrega on of the audience members. Hazel Sco ’s legacy is reexamined, through videos
of her performing playing on screens installed above the gallery space, poster media and informa onal
‘zine’ style pamphlets.
Ques ons about racial and cultural supremacy are also scru nized in Raquel Zawrotny’s “Melanin in
Gold” a quadriptych done in acrylic ands mixed media that was ini ally inspired by the controversy the
Miss Japan contestant winner generated because of her mixed racial heritage. The theme of “Melanin”
seeks to “ques on society’s views of women, par cularly Black women…” Zawrotny’s second goal was to
present Black women and their cultural heritage in an engaging light. In each of the portraits she adorns
her subjects with exquisite costumes and colorful embellishments with vibrant colors on a field of gold
leaf in order to illuminate their dignity and humanity.
Ashley Mireles has created a series of portraiture “…..And To All Those Who Died, Scrubbed Floors,
Wept, And Fought For Us, which is a series of mixed media portraits that have been produced on
handmade paper derived from organic materials that come from the ar st’s immediate surroundings,
such as “Texas soil, debris, and fallen pecan trees.” The subjects are rendered in amber hued stylized
lines on a Plexiglas that has been mounted over a mauve textural paper. Depicted are “significant
figures” that Mireles has manifested from stories told by those close to her. Through these portraits she
seeks to enshrine their tales of perseverance and contribu ons to her life and others.
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 37
Some of the ar sts chose the method of portraiture to facilitate the theme’s
interpreta on as a method of self‐reflec on. Adriana M. Garcia has painted her self as a
way of rela ng with the world around her. Her use of transparent oil glazes and
geometric elements work in tandem to facilitate a sense of a transcendent space within
her canvas, her
gaze looks off
toward the side
off the panel, in a
contempla ve
percep on, with a
resonant calm
that is further
accentuated with
her choice of
showing a desert
horizon
background, with
white intersec ng
lines that are
etheric indica on
of connec on.
Kristel A. Puente’s
“Disambigua on
of the Introverted
Megalomaniac” is a photograph of the ar st herself, imbued with decora ve elements
that reflect her own contemporary style and at once channeling the infamous Mexican
ar st, Frida Kahlo. The photograph is framed in ar ficial roses that reference the flowers
that are adorning her hair, in homage to Kahlo’s iconic style. Instead of na ve Mexican
folk dress, the ar st is dressed in a contemporary
T‐shirt, and is brandishing ta oos and the ‘bird’,
confronta onally gazing out at the viewer,
channeling the defiant spirit of the celebrated
ar st, uncompromising and comfortable in her
own skin.
Amanda Bartle ’s sculpture piece “Un tled”
consists of two pieces, one being a spiky metallic
armature shell that resembles a stylized
anatomical heart. A feminine touch is evident
within the inner lining, as it appears to be encased
in lacey and so material protected by the metal
San Antonio Spotlight
38 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
“Overall, the effect of the
exhibi on produced an
in mate and confessional
atmosphere, a self‐portrait of
each of the ar st’s inner
psyches, and an establishment
of trust to unveil those
innermost thoughts and
emo ons.”
armature, an undeniably an intricate testament to the strength, vulnerability and resilience of emo on.
Overall, the effect of the exhibi on produced an in mate and confessional atmosphere, a self‐portrait of
each of the ar st’s inner psyches, and an establishment of trust to unveil those innermost thoughts and
emo ons. The Feminine is redefined in many mul faceted expressions, manifes ng through each ar sts’
own unique hands, as individual
as a fingerprint.
Women Who Dare was on
exhibi on at the Carver Cultural
Community Center
November 5 – November 27,
2015
©Katherine Shevchenko, Art
Consultant
For More Informa on about the
Exhibi on:
h p://ladybasegallery.com/2015/10/20/women‐who‐dare/
Source:
Flores, Anel, and Sarah Cas llo. "Women Who Dare." Ladybase Gallery. N.p., n.d. Web.
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 39
Design by Katherine Shevchen
ko
Design by Katherine Shevchen
ko
The The “DOC” “DOC”
Is InIs In
The “DOC”
Is In The Art of F.L. “Doc”
Spellmon: A Closer
Look
By: Katherine Shevchenko
Cri
cal A
nalysis
42 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 43
recently had the pleasure to become acquainted with the artwork of F.L. “Doc” Spellmon, an
African American ar st who produced works in various media in San Antonio, Texas, and was most
prolific during the 1980’s. Known as having an affable and joyous nature, Spellmon created pieces
that were informed by recent Black history yet emulated experimental processes that included
collage, found objects, and layers of painterly applica ons. On the surface, Spellmon’s pain ngs and
drawings appear naïve and are even categorized as “outsider” due to their character of dispropor onate
figures, use of found materials, collaged elements, and a pale e that at mes bordered on the fringes of
Day‐Glo in its earnestness, all sealed with a finishing touch of sprinkled mul colored gli er. The
applica on of the layers of paint and ephemera some mes buckle and create undula ng surfaces. A
textural narra ve topography, his artworks were born of sincere contempla on of prime issues that
permeated his consciousness: civil rights, the nearly forgo en and overlooked Black culture of the rural
South, and religious themes. Through his crea ve process a transmogrifica on occurs with the touch of
his hand, and suddenly
mundane materials are
transmi ng drama c
parables of mes past,
present and future.
I Cri
cal A
nalysis
44 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
“Girls Picking
Berries” is an acrylic
painted on an oven
baked serving
pla er that is
mainly octagon‐
shaped, portraying a
slice of life subject.
It shows a
microcosm of a me
and a place, through
a subset of a more
idyllic and
sen mental lens,
due to the presence
of two black girls
with skin painted in
exaggerated depth
of cartoonish tone,
almost bordering on
Blackface caricature
that all his figures
seem to possess in
his works. They are
in search of berries
growing along the
riverbank, with
sacks hopefully
becoming heavy
with bounty. In the
distance is a quaint
looking village: a
cluster of white houses with red earth colored roofs with a focal point of a church and a white cross,
exaggerated in scale. The ruby red sun is the only other subject that competes for a en on, located in the
upper central por on of the composi on. In the middle ground, there is a body of water with a boat
carrying two fishermen who are in repose, contribu ng to the poignancy of a moment of leisure. Perhaps
it is Sunday, the day of rest, as in mated by the cross that is a guidepost for the community. The chance
to catch a moment of respite and to catch up on life’s pleasures, however humble, is in no way diminished
by its significant meaningfulness bestowed on well being, like a fresh berry in all its succulent sweetness.
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 45
In contrast to tranquil moments, Spellmon also explores inner
nightmares and demons that emerge from the murky psyche,
and can hearken a deathlike night of the soul. “That Day,” a
mixed media piece, emotes an undeniable power, as
disembodied faces with menaced expressions float in a field that
covers the picture plane. The color scheme has taken a
departure from bucolic pleasantry to one dominated by black
with sickly greens and yellow tones with jarring accents of
aggressive orange. The dominant faces are primi ve, made by
black, almost crude scrawling strokes. Mask‐like and resembling
skulls, they are posi oned in quadrants around the composi on.
Interspersed throughout are a mul tude of smaller faces, done in
a simpler fashion, yet the expressions are not lost, as they sink in
a morass of anonymity. Various hues of paint are layered upon
the collaged paper, plastered upon black board. The ar st has
not le or revealed any other reference to an event or in
par cular a clue as to the context this piece could be alluding to.
What is revealed in plain sight is a ges cula on of observa on of
human moral fallibility. An overall consensus of oppression overwhelms, and transcends beyond just a
specific range of linear historical me as the layers of faces cluster and get subsumed in the overall chaos
but are yet held in place by the monumentally sta c posi on of the anchored specter heads. The urgency
is all too apparent in the frenzied applica on of the colors slashing across the panel, crea ng a
thunderous monument to the voiceless
downtrodden.
Spellmon was the son of a minister and spent
hours poring over the illustra ons in his biblical
texts, kindling his lifelong love for art, which he
“never outgrew.” “Madonna and Child” is an
example of Spellmon incorpora ng religious
archetypes into his signature style, infusing the
Madonna’s skin tones with an exaggerated
“blackness.” As she holds the infant, his ny
elongated arms reach out for an embrace.
Gli er is used as an element, perhaps as a
unifying sealer of the en re surface, as it has
been applied liberally all over the pain ng. A
radia ng halo of various colors and lines
emanates from the Madonna’s head and is
representa ve of spiritual light and energy.
The features of the Madonna and child are
rendered in a naïve and outsider fashion, with
“...his crea ve process
a transmogrifica on
occurs with the touch
of his hand, and
suddenly mundane
materials are
transmi ng drama c
parables of mes past,
present and future.”
Cri
cal A
nalysis
46 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 47
white brush stroke outlines for the eyes and mouth, yet the expressions of calmness are apparent. Even
though Spellmon has an art degree and is formally trained, he makes deliberate choices with rendering
inordinate figura ve propor ons and using an outsider applica on with his methods, which are the core of
his expressionis c appeal. There seems to be an underlying imbuement of frenzied applica on as
evidenced in the many layers of vibra onal linear brush strokes that compromise the halo rays; the
mul ple layers of gli er produce chroma c excita on that unify the pain ng as an energe c prayer.
Philosophically and aesthe cally his intent stems from the inward need to express and tap into the
powerful connec ve ability of art that builds bridges from past memories of a specific culture, me, and
place that could have been forgo en to be seen and viewed by the light of the present day.
©Katherine Shevchenko, Art Consultant, Boerne
Sources:
Banks, Robert H., and Andrea Marshall. F.L. "Doc" Spellmon. Dallas: Banks Fine Art, 2014. Print.
Cri
cal A
nalysis
48 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, October2015, PLUME‐TX Magazine / 49
Photography and Design by: Gabriel Diego
Delgado
Custom
Framing
Conservation
Museum
Fine art
Photography shadow
boxes
Ready-Mades
More
Original
Paintings
Giclees &
Prints
Picture Lights
1.800.537.9609
210.828.8214
830.816.5106
www.jrmooneygalleries.com
antastic rames
antastic rames From Art Nouveau to Traditional, framing is very versatile.
As seen in the two new selections by LARSON-JUHL, home
décor can include elements of nature in the frame itself. As
described by Gina Martinez, we witness the elegance of
framing a landscape with a flair for juxtaposing traditional with
ornate.
Home Accessories
52 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 53
A Frame at the Water’s Edge
“A Framing Consultant Spotlight”
By Gina Mar nez
Art and Framing Design Consultant
“Selec ng the right frame for a piece of artwork can be a challenge. It is important to find the right
materials and framing design to compliment the work and to understand how it relates to it. A
frame is a design element itself and there are several aspects to consider.” The Water’s Edge” by
J. Yoon is a large and colorful oil pain ng that shows a floral landscape mee ng a pond. It is
important to consider the size, texture and feeling of the pain ng when considering a frame.
Home Accessories
54 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
For this work, we stacked two moldings together to create a
frame size that is to scale with the pain ng. There is no rule of
how wide a frame must be, but in this case it must be wide
enough to cover the borders and strong enough to support the
weight of the canvas. The next element to consider is the
texture of the pain ng. This oil pain ng makes use of impasto
techniques and that paint becomes the layers of grass and
growth reaching out towards an abundantly thriving pond. For
this example, stacking not only creates a frame that is the
proper size, but also one that has layers just as the pain ng
does. Texture also exists in the materials chosen for the frame.
Distressed wood and gold leafing comprise the frame, all
natural looking just like the pain ng. Finally, the overall
aesthe cs are important to consider when framing. It is
important to choose a frame that will be congruent with the
style of the pain ng.
The slip moulding is Roma brand, Palladio #760055. This
moulding features natural wood fillet aligned with a gold carved hand finished frieze that has a C‐Scroll
pa ern that resembles leaves or grass blowing in the wind and completes the sight edge of the frame. The
frieze por on of the sight edge is very delicate. Roma’s website describes it saying: “More than ten layers
of colorant, hand‐applied leafing, pa nas and wax are applied to achieve the desired finish of this highly
architectural moulding.” It brightens the pain ng and the warm tones enhance the subtle ligh ng that
bathes the flowers and reflects off the water. The gold mo f por on of the sight edge also breaks up the
complimen ng woods which add another layer of texture to the overall frame. For the back edge (or
principal moulding), Roma Cabane #261059 was used. Roma describes: “Our Cabane mouldings rus c
charm, rich hues and subtle highlights of color are hand applied and distressed by skilled ar sans whose
careful a en on to detail evokes the beauty a ained only by me and nature.” The thick distressed wood
has a warm tone that compliments the rich hues of dark green, purple, and blue found in the pain ng as
well as the hand finished gold and wood of the sight edge. It is solid and sturdy just like the mighty trees
that are in the forest behind the pond, and it is in keeping with the natural style of the artwork.
Overall, the organic ornate sight edge paired with the distressed wood back edge of this frame does not
overwhelm the serene scene near the water, but rather encapsulates the jewel tones of the pain ng like a
filigree band holds a brilliant emerald or sapphire. The overall design creates a uniform frame that is
classic, natural and elegant.
Source: A Guide to Appraising Fine Art, course manual Ch. 7
www.romamoulding.com www.larsonjuhl.com/glossary.aspx
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 55
Home Accessories
LARSON‐JUHL
Moulding
“Nouveau” Series
3 3/16” wide
A collec on celebra ng the
elegant, nature‐inspired designs
of the Art Nouveau style. This
selec on is available in bronze,
gold and silver. Decora ve floral
and organic plant designs adorn
the profile of this stylized
moulding. More informa on can
be found at:
www.larsonjuhl.com
56 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
LARSON‐JUHL
Moulding
“Imperial” Series
2 7/8” wide
Ornate Tradi onal as described
by Larson‐Juhl, this highly
decora ve frame moulding will
add a touch of elegance to any
pain ng. Available in wood,
silver and gold. More
informa on can be found at:
www.larsonjuhl.com
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 57
58 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
305 S. Main St
Boerne, TX 78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
Fine Art for All OccasionsFine Art for All Occasions
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
More…
Original Paintings
Giclees & Prints
Picture Lights
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 59
305 S. Main St
Boerne, TX
78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
Original Paintings
Giclees & Prints
Picture Lights
Fine Art for All Fine Art for All
OccasionsOccasions 60 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 61
“Texas Vintage” -Spotlight-
Quietly the night falls in Dalhart Windberg’s oil pain ng, “Up Late.” A muted bluish pale e, casts a slumberous atmosphere, yet beneath the moon glow ripples so ly disturb the reflec on of a pond as two ducks swim languidly in unison.
Windberg, known for his immaculate and detailed technique that was inspired by viewing the Old Master’s pain ngs in Europe, has presented a nigh me scene that is true to life. Windberg’s signature “smooth surface” pain ng technique is ideal for
recrea ng delicate features of a nocturnal moment such as the slivers of moonlight illumina ng the bare branches of trees that encircle the midnight blue pond.
A gentle lunar radiance highlights muted earthy green tu s of grasses that are growing upon the moonlit water's bank, further showcasing Windberg’s eye for capturing detail. The reflec on of the moon brings a en on to the two feathered inhabitants of the pond. The highlighted ripples are zigzagging and leading the eye to travel further back into the distance, across the grassy plain that harbors a variety of reddish browns and golds, towards the horizon, where a couple of dwellings are nestled in the blue‐gray shadows. A lone light is on in one of the homes, the only indicator of a presence that is awake in this late hour, a me for restora ve contempla on.
©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne,TX
©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne,TX
Custom Framing
Conservation
Museum
Fine art
Photography shadow boxes
Ready-Mades
More
Original Paintings
Giclees & Prints
Picture Lights
305 S. Main St
Boerne, TX 78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
1.800.537.9609
www.jrmooneygalleries.com
Photography and Design by: Gabriel Diego
Delgado
Fair Market / After Market Value
Summaries of Current Art Market
Selec ons from A er Market
64 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 65
The pain ng by ar st, Roll Taylor tled, “Gilbeau House, South Flores St.” is an oil pain ng on Morilla Company canvas panel, measuring 12” x 16”. With a horizontal landscape composi on, “Gilbeau House’s” subject ma er is a pink, yellow and brown two story house with an A‐frame front sec on and a rectangle back sec on. (The Gilbeau House is referenced in a later pain ng as a slave quarters house in the south.) A large cross shape adorns the front door which is bookended by two ver cal window sec ons. Two small windows are centered above the front door, acknowledging the second level. One side of the house under the pitched roof on the le is encased in a shadow with the opposite right side more illuminated. The composi onal foreground of the pain ng consists of a 2” sepia toned ground between the house and the front of the canvas. The ar st has signed the pain ng on the lower right corner with: “Rolla Taylor 62”. The 62 is offset and slightly below the ar st signature. Both signature and date are in a darker brown color. The background behind the house is of minimal vegeta on that consists of mul ple hatches of an array of green hues. The sky behind the house is a pale blue color with hits of blush in a sec on where the sky and trees meet by the angles of the roof. The house, which takes up a majority of the composi on, is pocked by two main yellow patches of color on either side of the front door. The right side of the angled roof that spreads over the right side of the house extends off the picture plane of the canvas. The top roof of the back sec on of the house has painted lines that slant down toward the front of the house that mimic a metal roof. The ar st has painted this pain ng with a flat brush. On the reverse side of the pain ng, (back), the ar st has tled the pain ng in the sec on provided by the Morilla Company labeled: “Title”. It reads “Guilbeau House S. Flores St. SA”, wri en in pencil. Also on the back is a provenance from another gallery. This s cker is a white Altermann
Fair Market / After Market Value
Summaries of Current Art Market
Selec ons from A er Market
66 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Galleries & Auc oneers business s cker with black print that gives the name of the gallery and contact in‐forma on. The lower part of the Altermann s cker has the gallery label on it for this pain ng reading: Rolla Taylor (1872 ‐ 1970) Guilbean House Oil on Canvasboard 12 x 16 inches CP‐156668 This label is placed on the lower le backside of the canvas panel. Also on the lower right side of the canvas panel is a set of numbers and le ers in black pen ink that reads: “V821”. There are also several swabs of oil paint on the back panel of the canvas board. There is a tear on the dust cover on the back canvas board on the top le side. There is also dust cover bubble separa on of the paper from the back of the board about 3” from the right side. Rolla Taylor Bio Born: 1872 (Galveston, Texas) Died: 1970 Known for: cityscape/ landscape pain ng of Texas and Mexico Rolla Sims Taylor, originally from Galveston, Texas, started pain ng at the age of 14. Before arriving in San Antonio, Texas in 1889, the Taylor family spent several years in Houston and then traveled to Cuero, Texas by covered wagon. Taylor graduated from the Cuero Ins tute and later studied in San Antonio with Robert Jenkins Onderdonk, Jose Arpa and Theodore Gen lz. Later he studied in France for 3 months, and with Arthur W. Best in San Francisco, and Frederick Fursman in Michigan. Taylor was a personal friend of the ar st Julian Onderdonk. Taylor exhibited frequently for 60 years, including local, state and numerous na onal exhibi ons through‐out America. His first exhibit was in San Antonio in 1894, at which he won first prize of $500 and later sold the pain ng for another $500. He painted in the impressionist style, lively with color and flooded with sun‐light, which represents Jose Arpa's influence. His subjects were mostly old buildings, shacks, landscapes, San Antonio River scenes, missions of San Antonio, blooming cactus, and scenes of old Mexico. During his earliest years, his subjects would be a pair of shoes, a cat, some books, Mexican jugs or anything in the home. Many of his local pain ngs are now of historic interest that recorded buildings that no longer exist.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 67
“Irish Flats SA”
12.3” x 16”
Unknown date
Oil on Canvas
Sold 04/30/2014
Dallas Auc on Gallery
2235 Monitor Street
Dallas, TX 75207
*Source: www.askart.com
This pain ng is of similar size, but on canvas instead of canvas board. The date is unknown, but its tle references San Antonio, TX. The Irish Flats were a real geographical boundary in San Antonio which does not exist any longer. The pain ng was auc oned off over one year from this appraisal’s effec ve date. The composi on is similar but not exact; this pain ng has more landscape elements. It is signed but not dated. It seems to be a less impressionis c with more smooth brush stroke edges signifying earlier in the ar st’s career. Dallas Auc on Gallery had a high es mate of $2,500 and a low es mate of $1,500. The final hammer price was $1,500 with an auc on fee to the buyer at 20%. The final sale price was $1,200, excluding fees. Since this seems to be from the earlier part of the ar st’s career and less impressionis c of the ar st’s more mature style, I would es mate “Gilbeau House” slightly above the $1,200 sale price of this pain ng. Over one year has passed from this auc on date and the art market on Texas Vintage has increased in popularity and higher sales in the San Antonio area, which can be jus fied by regional and local auc on houses recording increased sales.
“Old Stone Shed”
16” x 20”
Unknown date
Oil on Canvas
Sold 10/18/2014,
Heritage Auc ons
3500 Maple Avenue
Dallas, TX 75219
*Source: www.askart.com
This pain ng is slightly larger than the
“Gilbeau House” pain ng and is an oil
pain ng on canvas. However the similarity is
in the subject ma er and composi on;
including painterly style with looser
brushstrokes. Although the date is unknown
we can see from the style of brush stroke this
pain ng was nearing the same meframe as
“Gilbeau House”. The ar st did sign it on the
front, but did not date it. Heritage Auc ons
placed a high bid of $3,000 with a low bid of
$2,000. The hammer price was $2,000 with a
20% buyer’s fee from the auc on house. The
final sale price of the pain ng excluding the
fees was $1,800. Although we do not know if
this is a place in San Antonio, TX the
architecture is similar to the ar st’s Texas
landscapes.
Since the size of this pain ng is bigger than
“Gilbeau House”, I would place the value of
“Gilbeau House” slightly lower in price than
the $1,800, but taking into account we know
the date and loca on of the “Gilbeau House”.
Plus, over one year has passed from this
auc on date and the art market on Texas
Vintage has increased in popularity and
higher sales in the San Antonio area, which
can be jus fied by regional and local auc on
houses recording increased sales.
“The Guilbeau House”
12” x 16”
1962
Oil on Canvasboard
Sold 08/10/2013
Altermann Galleries
345 Camino del Monte Sol
Santa Fe, NM 87501
*Source: www.askart.com
This auc on was in 08/2013 which is over two
years ago. The resale market for Texas Vintage
artwork has increased along with its interest.
The auc on high es mate for this pain ng was
$1,000, with a low es mate of $800. The
hammer price was $720. This includes a 20%
buyer’s fee from the auc on house. The final
sales price of the pain ng, excluding the fees
was $576. As compared to the previous
comparables, this past sale is in the lower end
of a er‐market auc on prices. I feel it was not
a true fair market value and placed well under
the low es mate of the auc on house’s
projected bid. Its elements of San Antonio
reference, oil on canvasboard and not
watercolor, mature style and dominate
composi onal structure all play a role in its
value.
The house was painted several mes by the
ar st, making it a constant reference in his
artwork, similar to his con nuous series of the
San Antonio Missions. I would place the
current fair market value of this work well
above the $1,000 high bid es mate of
Altermann Galleries in their auc on of
08/2013.
Custom Framing
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s 1.800.537.9609
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305 S. Main St
Boerne, TX
78006
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Art Open
ing
70 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
The “Texas Vintage” exhibi on
at J.R. Mooney Galleries
of Boerne
Behind the Scenes
&
Opening Night
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 015, PLUME‐TX Magazine / 71
Art Open
ing
72 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 015, PLUME‐TX Magazine / 73
Art Open
ing
74 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 015, PLUME‐TX Magazine / 75
Custom Framing
Conservation
Museum
Fine Art
Photography
Shadow Boxes
Ready-Mades
More...
Original
Paintings
Giclees & Prints
Picture Lights
305 S. Main St
Boerne, TX 78006
830-816-5106
8302 Broadway St
San Antonio, TX
78209
210-828-8214
1.800.537.9609 wwww.jrmooneygalleries.com
22 BB oer
ne
78 / PLUME‐TX Magazine Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
December is full of ac vi es, of course as expected, so what can you do to maximize the fun factor? Some people are en ced by the entertainment of sound and lights, others may be more sa sfied by flavors and savory nibbles, yet another group might enjoy the ability to touch or acquire. The good news is all of our senses can be fulfilled by just following the long list of events this month.
Being new to Boerne, I look forward to shopping local, ea ng new flavors special to our cherished Hill Country and catching a musical act (big or small) that conjures an old world holiday feel or just good ole country!
This is a list by type of event in and around the Hill Country and I hope it’s helpful in sa sfying all of the senses!
Arts and Entertainment:
Ford Caroling Nights with Santa at the River, Arneson River Theatre, River Walk, December 4th from 6 p.m. – 9 p.m. and December 5th from 8 p.m. ‐ 10 p.m. h p://www.thesanantonioriverwalk.com/events/ford‐caroling‐nights‐with‐santa
Stars Over Texas Concerts Christmas Show with Country Music Legend, Recording Superstar and the original “Urban Cowboy”, Mickey Gilley, and the Grammy Award Winning “Urban Cowboy Band”, and the outstanding back up vocals of the “Urbane es” on Sunday, December 6th at 3 p.m. in Kerrville www.caillouxtheater.com
The Ten Tenors Home for the Holidays, Boerne Champion Auditorium, December 17th at 7:30 p.m. www.boerneproformingarts.com
Food and Drink:
The Christmas Wine Affair is all about the WINE! $60/couple or $35/individual cket includes ONE collec ble ornament from Texas Hill Country Wineries, a full complimentary tas ng at each par cipa ng winery with a limit of 4 wineries a day and a 15% discount on 3 bo le purchases. December 4‐20th, 2015 h p://texaswinetrail.com/store/item/2015‐christmas‐wine‐affair
Even
ts
New to BoerneNew to Boerne By: Melisa Adriana Belgara
Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015, PLUME‐TX Magazine / 79
Tamales at the Pearl, The Pearl Brewery, enjoy live music and performances, a children's area in the Pocket Park, as well as delicacies from 40+ tamale makers. Tamales Holiday Fes val is FREE and open to the public, no cket necessary. Saturday, December 5th from 12 – 6 p.m. h p://atpearl.com/happenings/tamales
Shopping:
Two Days of Oma’s Christmas Cra s Fair, lunch and photos with Santa, Opa’s Chili cook‐off and awards, December 5th and 6th from 9 a.m. ‐ 5 p.m. h p://www.kcfa.org/p/ge nvolved/307
Fredericksburg Trade Days, Shop with more than 350 vendors in seven barns, acres of an ques, live music and more. December 18 – 20th Physical address: 355 Sunday Farms Lane, parking is $5 h p://www. gtradedays.com/
Boerne Market Days, located in the heart of the historical district on Main Plaza. Open Saturday 10 a.m.‐5 p.m. and Sunday 10 a.m.‐4 p.m., December 12th ,13th,19th and 20th this event has become synonymous with great shopping in an outdoor se ng with ar sts, cra smen and vendors with background music of some of Texas' best home grown musicians. h p://www.boernemarketdays.com/boerne.html
Big and Li le Kid Fun:
Weihnachts Parade, a long standing Boerne Christmas tradi on. 2015 will be the 29th anniversary. December 5th from 6 p.m. – 10 p.m. h p://www.ci.boerne.tx.us/564/Weihnachts‐Parade
Random’s Ugly Sweater Party/Contest including a visit from Santa, ornament pain ng and live music, December 19th from 4 to close h ps://www.facebook.com/RandomTexasFamilyFun/
Select your own Christmas Tree at Pipe Creek Christmas Tree Farm, Tuesday ‐ Saturday December 1st ‐ 19th, h p://www.hill‐country‐visitor.com/event/select‐your‐own‐christmas‐tree‐at‐pipe‐creek‐christmas‐tree‐farm/105019
By: Melisa Adriana Belgara