Feb plumage 2016 final version 3

PLUMAGE PLUMAGE--TX

Feb. 2016 Issue

Hill Country Magazine FREE

Predictions A New Year in the

Sewing Mul ‐venue curatorial venue curatorial Endeavor & Fabric Exhibit Endeavor & Fabric Exhibit

Art World

Iconology Religious selec ons from Peru

Samir Sammoun Fatherly Tribute Reviews/ Commentary/ Exhibi ons/ News/ Events

Photography and Design by: Gabriel Diego Delgado

Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106

Russell Stephenson “First Frost” Oil on Panel 24” x 24”

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PLUMAGE PLUMAGE--TX

IN THIS ISSUE Galleries Galore

24 34

Lis ng of current art galleries in the San Antonio, TX region.

PLUMAGE PLUMAGE--TX Appraising

Feb 2016 Issue

Gallery Director’s new career highlights addi on to customer service.

PUBLISHER Gabriel Diego Delgado

IN EVERY ISSUE A Note from the Publisher –P.8 On the Cover—P.10

Contribu ng Writers Gabriel Diego Delgado Katherine Shevchenko

Contributors— P.11

Melissa Adriana Belgara Gina Mar nez

Designer’s Quill—P.28

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PLUMAGE PLUMAGE--TX

FEATURES Feb. 2016 Issue No. 9

42

14

Maps

Home Accessories

Sewing Our Stories Fabric exhibi ons spanning four loca ons in San Marcos

46

Iconology Art Consulta on of religious art

Predic ons

62

New Ideas for the new year

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A Note from the Publisher February and March are the kick‐off months of the art season. We climb out from the stockpiled chopped wood, the snow blankets, our thermals and dust off the ol’ suits to don a new year’s a tude. Yes, we are eager to feel the warm sun on our faces and the breeze at our backs. I too cannot wait for my lawn chair to be propped up against the rocks at Boerne Lake. I too cannot wait to see the clouds of cedar wa ing across the Texas Hill Country like some impeding swarm of locust set on destroying my sinuses. Well. Maybe not. But with the good comes the bad, so here we are, one month closer to nice weather, those mys cal bluebonnets, new art, a new season, new looks and new ideas. Let’s press on and see what there is to discover in this great state of ours. In the words of an old friend from California, “Art On” as they say.

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 gabrieldelgadoartstudio@yahoo.com gabrield@jrmooneygalleries.com

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Fine Art for All Occasions Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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On the Cover

Closed Corner frames are unique in their visual appeal. In most cases, the frames have an applique over the 90 degree corner angle so that it seals and covers the miter lines of fabrica on. Wood cas ng and other injec on mouldings have now added to their own unique twist to the historically classic closed corner frame. I spent a few minutes analyzing the samples we have in the gallery and took a look at the different kinds of corner embellishments we have in stock, then curiosity led to the a reinves ga on into the history of this aesthe c.

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Contributors

Gabriel Diego Delgado is the Gallery Director at J.R. Mooney Galleries 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 D.C. as well as numerous galleries and venues throughout the U.S. He is now competent to appraise fine art and personal property in affilia on with the code of ethics and USPAP standards for the ISA.

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.

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.

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.

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Photography and Design by: Gabriel Diego Delgado

Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106

Arthur McCall “Light Snow” Acrylic on Panel 24” x 24”

Credit: Detail, Carolyn Crump, “Cherished Times”

ewing ewing ur ur

By: Gabriel Diego Delgado

tories tories

Exhibi on Review

“Sewing Our Stories: Personal, Cultural, Universal” is a fabric, cloth and sewing exhibi on that spans four loca ons in San Marcos, Texas that include: The Walker’s Gallery in the San Marcos Ac vity Center, The Calaboose African American History Museum, the Centro Cultural Hispano de San Marcos and the Price Center.

Loosely curated by Linda Kelsey Jones, a lecturer at Texas State in the School of Art & Design and President of the San Marcos Arts Council, the “Sewing Our Stories” exhibi on is a moving display of personal, communal and collec ve narra ves that range from kni ed and s tched dolls, dresses and ceremonial/cultural costumes, tapestries, quilts, 3D assemblages, crocheted décor, pictorial weavings and much more. There is such a mélange of content in this mul ‐venue exhibi on that it is at mes overwhelming to conceive of how much family lineage and personal and shared stories exist under one art context. With four loca ons coupled with a widespread curatorial concept, but no accompanying wall text to help share, validate and credit the stories behind the art, the comprehensive theme can easily be undermined.

However, in “Sewing Our Stories,” there are several spotlight artworks that stand out from the rest for their individual quality and masterful cra smanship, and then there are those that stand out because of the stories they tell whether overt, implied or obscured.

Carolyn Crump, a na onally recognized Houston ar st, is exhibi ng several of her Courtesy of the author signature 3D art quilts. These mul layered fabric art pieces speak of the cultural diversity in various African American communi es with visual allusions to jazz music and homestead prac ces. Her unique applica on of fabric swatches are sewn and s tched in an overlaying way that mimics the visual aesthe c of tradi onal woodblock prin ng. Heavy black hard‐edged outlines give borders to each subject, item, and object in the image.

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O en crossing over and working beyond the implied rectangular format of the tradi onal picture plan, Crump makes shaped “canvases,” moving away from the true and tradi onal essence of quilt sewing for pure u litarian banality to a more contemporary no on of irregular and organic contemporary art and modern wall ornamenta on. This can be seen in Crump’s “Cherished Times,” a quilt on display at The Walker’s Gallery. An African American woman with curled hair, large gold hoop earrings, in a simple brown dress and haphazard brown shawl dominates the foreground as she glances away to the le , a pleasant expression in her eyes and on her lips, and sews onto a small embroidery hoop in a seemingly content posture while a family hangs the laundry behind her. One detail not to be overlooked is the monogram on her shoes. Slippers with what can easily be deterred as the double “c” logo of Chanel™, gives us a moment of Credit: Carolyn Crump, “Cherished Times” retrospec ve repose to reevaluate the contextual accolades of this image.

Crump is known to play with symbolic and poli cal imagery to portray various aspects of the African American diaspora, and this could be a subliminal facet of her own par san stride.

“... shaped ‘canvases,’ moving away from the true and tradi onal essence of quilt sewing for pure u litarian banality “The Right Time,” also by Crump, is a New Orleans style to a more contemporary no on of homage to jazz irregular and organic contemporary art music with bright colors, movement, lyrical and modern wall ornamenta on.” arrangements and Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Exhibi on Review

an unconven onal approach. A quartet of musicians creates a triangle composi on under a singular lamp. A rectangular bar/ restaurant se ng behind the figures acts as a contextual accent and visual anchor that gives another layer of circumstance to the dark and shadowy atmosphere of the musicians. The silhoue es in the dusky, thick, black bordered and semi‐obscured indigo hazed background are actually a con nuous mo f of simplis c repe ous rendi ons of a waitress, table patrons, and dancers; recurring as if using a stencil technique. The four main subjects in this Credit: Carolyn Crump, “The Right Time” 3D quilt stare in different direc ons, with one gazing to the right, two facing to the le ; downward and over, while the main central figure meets the gaze of the audience. An eccentric personality playing the piano holds us in his bold asser veness while his fingers know the tune and dance across the keys in a hypno c mastery of purpose and prose. All the melodious performers are complete with fedoras, overcoats, es and the wares of this musical genre. In essence, Crump delivers an organically shaped canvas; each figure cut out from the background, giving the final composi on a gusset of angled and curved edges, juts and shapes that range from the saxophone, piano, horn, hat, coat and the like to allow the men to live and exist off the tradi onal picture plane.

Family values run deep in this exhibi on for one clan; spanning mul ple genera ons and crossing over blood lines. These stories are not found so much in the imagery as in the past itself. Oral histories that have been passed down through the years by way of ar cles of clothing, nostalgic décor and ornamental doilies; such reminiscent treasure troves can be found in the selected contribu ons of the del Bosque,

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Gonzales, Saenz, Belgara, and Calderon families.

Traversing through cousins, nieces, sisters, daughters, mothers, grandmothers, and great‐grandmothers, they all have items on display at the various loca ons in “Sewing Our Stories.”

Chema and Annie Saenz of Aus n contributed the handmade clothes that Mr. Saenz’s mother made for him when he was a baby in 1950’s. A delicate white baby dress accented with minimal decora ve borders gives dedica on, homage and portrayals of motherly tenderness for a newborn son. Later, this same gown Credit: Bap smal Dress, Courtesy of Mr. & Mrs. Chema Seanz would be worn by Mr. Saenz’s own son during his bap smal ceremony in the 1980’s. Cynthia Calerdon, mother to Melissa Belgara and cousin to Annie, generously contributed various genres of work that include quilts, self‐sewn projects, a daughter’s school project and other sewn embellishments.

Melissa Belgara submi ed works that included quilts done by her grandmother Carmen Calderon, great‐grandmother Manuela del Bosque and grandmother Dora Samudio Belgara.

Hidden in these selec ons is a small inconspicuous gem of an art piece, Credit: “Circle of Roses”, Courtesy of Melissa Belgara tled “Circle of Roses” that is currently in the collec on of Mrs. Belgara, who’s intertwined story only surfaced during this exhibi on. “I always thought my grandmother had crocheted this. But, I found out from my father’s cousin that my great‐grandmother crocheted the inner circle and my grandmother later added to it, making it a collabora ve piece.”

A pa erned quilt by Dora Samudio Belgara is by contrast of Crump’s s tchery, more of the tradi onal genre of quilt making. An Andy Warhol‐like repe on of baskets with triangle pa erns run horizontal and ver cal, each portraying a different three color hue pa ern; a nega ve and posi ve transverse, crea ng a simple composi onal design. Baskets arranged in a five down and five across arrangement give it a post‐modern art appeal, trending an uber‐contemporary art aesthe c, but is actually something contextually secured in a mid‐turn of the century func onal bedspread; showing us Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Other key elements in “Sewing Our Stories” include a black and white wall hanging tapestry by Carolyn Mazloomi, a Bess Lomax Hawes Na onal Endowment for the Arts Na onal Heritage Fellow and founder of the African‐American Quilt Guild of Los Angles and the Women of Color Quilters Network (WCQN). Her piece tled, “Certain Restric ons Do Apply” is a poli cal art statement portraying the Statue of Liberty holding a Credit: Carolyn Mazloomi, “Certain Restric ons Do Apply”

Exhibi on Review

the cyclical trends of art/cra world creeds.

“The exhibi on hits with force in its sheer volume; and offers a chance and reason for people to celebrate the historical significances of their family es.”

Credit: Earlene Graham, “Fairy Queen”

stop sign, surrounded by ‘refugees’ in boats. This is an artwork that bequests a en on to the global crisis of the Syrian refugees. However, on the other hand, the outsider art voodoo dolls by Earlene Graham offer a playful ruse directed at the me honed skill of handmade toys.

Tradi onal and cultural costumes round out the “Sewing Our Stories” exhibi on, making for a great visual juxtaposi on from the func onal and u litarian pieces to the ceremonial garb. A featured highlight from these personal collec ons includes a tradi onal Austrian dirndl dress on loan from Gilda Buck.

Overall the “Sewing Our Stories: Personal, Cultural, Universal” exhibi on could have been more comprehensive if it was all housed at one of the larger ins tu ons in Texas. Patrons would of not had to trek to various venues to see the ‘curated’ selec ons and more detailed narra ves around the artworks would have benefited the audiences. It was a vast ar s c undertaking for Linda Kelsey Jones to pull together na onally recognized fabric ar sts and contrasted them with an que ar facts.

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Although most of the stories are personal, the universal truths are evident and the cultural apprecia ons and naïve art abound. The exhibi on hits with force in its sheer volume; and offers a chance and reason for people to celebrate the historical significances of their family es.

More informa on about the “Sewing Our Stories: Personal, Cultural, Universal” can be found at : www.facebook.com/TheWalkersGallery.

The Walker’s Gallery is at 501 E. Hopkins St. San Marcos, TX 78666. Ph. (512) 754‐7946

Credit: Courtesy of Cynthia Calderon

By: Gabriel Diego Delgado

Credit: Courtesy of Cynthia Calderon

Credit: Courtesy of the author

Credit: Courtesy of Cynthia Calderon

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Design by Katherine Shevchenko

Design by Katherine Shevchenko

Lis ng

List of “Current” Galleries This is a lis ng of San Antonio art galleries, museums and crea ve spaces. The list, like the diverse art culture in San Antonio, is evolving. Please call or check website for the most current informa on.

Artpace 445 North Main Avenue, San Antonio, TX 78205 (210) 212‐4900 Gallery Hours: Wednesday‐Sunday 12‐5pm, and by appointment

www.artpace.org

Anarte

info@artpace.org

7959 Broadway # 404, San Antonio, TX 78209

(210) 826‐5674

Bihl Haus Arts

Gallery Hours: Tuesday‐ Saturday 12‐5 pm

2803 Fredericksburg Rd. San Antonio, TX

www.anartegallery09.com

(210) 383‐9723

anartegallery@me.com

Gallery Hours: 1‐4pm Fridays and Saturdays

or by appointment

Ar s c Endeavors

www.bihlhausarts.org

134 W. Olmos Dr. San Antonio, TX 78212

(210) 222‐2497

Blue Star Contemporary Art Museum

Gallery Hours: Closed Sunday & Tuesday

116 Blue Star San Antonio, TX 78204

Open the rest of the week 11am‐5 pm

(210) 227‐6960

Denise Barron, Owner

Gallery Hours: Thursdays 12:00 pm to 8:00 pm

Jerry M. Hayes, Manager

Fridays‐Sundays 12:00 pm to 6:00 pm

www.artend.com

www.bluestarart.org

info@artend.com

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

Charles Morin Fine Art Beuhler Fine Arts 6708 San Pedro Avenue, San Antonio, TX 78216 (210) 288‐6544 Gallery Hours: by appointment only paulb@s c.net h p://www.beuhlerfineart.com/ Home_Page.html

1020 Aus n Hwy, San Antonio, TX 78209 (210) 368‐9314, (210) 710‐6305 Gallery Hours: Mon‐Fri 10:00‐5:30, Saturday 10‐4 PM www.vintagetexaspain ngs.com vintagetexaspain ngs@gmail.com

Cinnabar Art & Custom Framing 1420 S Alamo St #147 San Antonio, TX 78210

Briscoe Western Art Museum

Gallery Hours: Mon ‐ Tues: By Appointment

210 W. Market Street, San Antonio, TX 78205

Wed ‐ Sun: 12‐6 PM

(210) 299‐4499

Gallery Hours: Tuesday, 10:00am ‐ 9:00pm

Circa 1800 Fine Art Gallery

Wednesday ‐ Thursday, 10:00am ‐ 4:00pm

2903 N. St. Mary's Street, San Antonio, TX 78212

Friday ‐ Sunday, 10:00am ‐ 5:00pm

(210) 802‐6682

h p://www.briscoemuseum.org/

Gallery Hours: Monday – Friday 9:30 am – 5:30 pm

h p://circa1800fineartgallery.com/

h p://www.cinnabarart.com/

Centro Cultural Aztlan Galeria Expresion 1800 Fredericksburg Road, Suite 103

Flax Studio

San Antonio TX 78201

1906 S Flores St., San Antonio, TX

(210) 432‐1896

(909) 518‐2245

Gallery Hours: by appointment or special event

Gallery Hours: by appointment or special event h p://www.katysilva.net/

h p://www.centroaztlan.org/

FL!GHT Gallery

Centro de Artes

134 Blue Stars, San Antonio, TX

(formally Museo Alameda)

(210) 872‐2586 / (210) 393‐3309

101 S. Santa Rosa Avenue San Antonio, TX 78207

Gallery Hours: by appointment or special event h ps://www.facebook.com/flightSA/ meline

(210) 784‐1179 Gallery Hours: Tues ‐ Sun: 10 am ‐ 5 pm, Mon: CLOSED h p://www.tamusa‐ecac.com/ ecac@tamusa.tamus.edu

Flop House 118 Lonestar Blvd. San Antonio, TX Gallery Hours: by appointment or special event h ps://www.facebook.com/pages/The‐Flop‐House‐art‐ gallery/143864483855

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Lis ng

Galleria Guadalupe

723 S. Brazos St. San Antonio, TX 78207

Inverarte Art Gallery

(210) 271‐3151

923 N Loop 1604 E Ste 103 San Antonio, TX 78232

Gallery Hours: Monday‐Friday 12‐5 pm; Saturday 12‐4 pm

(210) 305‐6528

info@guadalupeculturalarts.org

Gallery Hours: Mon thru Thu: 10:00 a.m. to 7:00 p.m., Fri and Sat: 10:00 a.m. to 5:00 p.m.

h p://www.guadalupeculturalarts.org/contact‐us/

info@inverarte.com

h p://www.inverarteartgallery.com/about.php

Gallista Gallery

1913 S. Flores, San Antonio, TX 78204

J.R. Mooney Galleries of Fine Art

(210) 212‐8606

8302 Broadway Street San Antonio, TX 78209

Gallery Hours: by appointment or special event

305 S. Main St. Ste. 400 Boerne, TX 78006

www.gallistagallery.com

(210) 828‐8214 (SA) (800) 537‐9609 (Toll Free) Hildebrand Art Gallery

(830) 816‐5106 (Boerne)

735 West Hildebrand Ave. San Antonio, TX 78212 (210) 854‐0019

Gallery Hours: Hours: Mon ‐ Sat 9 am to 6 pm (SA) Hours: Tues ‐ Sat 10 am to 5 pm (Boerne)

Gallery Hours: Monday‐Saturday 11‐4 pm (usually) h p://hildebrandartgallery.com/contact/

www.jrmooneygalleries.com

Lawrence Markey

High Wire Arts 326 W Josephine St San Antonio, TX

311 Sixth Street, San Antonio, TX 78215 (210) 228‐9966

(210) 827‐7652 Gallery Hours: by appointment only Cindy Palmer, owner ar st

Gallery Hours: Tuesday‐Friday, noon ‐ 5 pm, and by appoint‐ ment info@lawrencemarkey.com

h p://highwirearts.com/contact‐us/

Li le Studio Gallery

Hunt Gallery

418 Villita St # 2300, San Antonio, TX 78205

4225 McCullough Ave San Antonio, TX 78212

(210) 227‐8893

(210) 822‐6527

Gallery Hours: Mon‐Sat: 10:00 am ‐ 6:00 pm

Gallery Hours: Tue‐Fri, 10‐5:30, Sat 10‐3

h p:// .lavillita.com/

h p://www.huntgallery.net/

romabrit@juno.com

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

The McNay

River Art Group Gallery

6000 North New Braunfels Avenue, San Anto‐ nio, TX 78209

418 Villita St Suite 1400 San Antonio, TX

(210) 824‐5368 Sunday noon–5 pm Monday Closed Tuesday, Wednesday, Friday 10 am–4 pm Thursday 10 am–9 pm Saturday 10 am–5 pm www.mcnayart.org

(210) 226‐8752 Gallery Hours: Monday ‐ Saturday 10:00 AM ‐ 6:00 PM Sunday‐11:00 AM ‐ 4:00 PM h p://www.riverartgroup.com/

REM Gallery

219 E Park Ave San Antonio, TX 78212

NanE e Richardson Fine Art

(210) 224‐1227

555 East Basse Road, Suite 105 San Antonio, TX 78209

Gallery Hours: Fridays and Saturdays 12‐6 PM

(210) 930‐1343

Gallery Manager: Keith Onken

Gallery Hours: Mon‐Sat 10‐5

Gallery Assistant: Tessa Mar nez

h p://www.nane erichardsonfineart.com/

remgallery@aol.com

NRFineArtGallery@aol.com

h p://www.remgallery.com/?reload

The Paint Yard

Robert Hughes Gallery

1216 Hoefgen Ave San Antonio, TX 78210

875 E Ashby Pl. Ste. 1105

(210) 416‐8092 (210) 229‐1707

San Antonio, TX 78212

Gallery Hours: Tue‐Sat: 12:00 pm ‐ 8:00 pm Sun: 12:00 pm ‐ 6:00 pm

(210) 602‐2495 (210) 846‐6867

sco .paintyard@gmail.com

Gallery Hours: By appointment only h p://www.roberthughesgallery.com/ info@roberthughesgallery.com

Parchman Stremmel Gallery

7726 Broadway Street San Antonio, TX 78209 (210) 824‐8990 Gallery Hours: Tue ‐ Fri, 10am‐ 5pm Sat, 10am‐ 3pm

Ruiz‐Healy Art 201‐A East Olmos Drive San Antonio, TX 78212 (210) 804‐2219

Karen Calvert, Art Consultant

Gallery Hours: Tuesday through Saturday 11:00 – 4:00 pm

Jenelle Esparza, Gallery Assistant

Patricia Ruiz‐Healy, Proprietor/Director

www.psgart.com

Alana Coates, Associate Director

Casandra Lomeli, Senior Gallery Assistant

h p://www.ruizhealyart.com/

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Lis ng

San Antonio Art League Museum

The Southwest School of Art

130 King William Street

300 Augusta San Antonio, TX 78205

San Antonio, TX 78204

(210) 224‐1848

(210) 223‐1140

Gallery Hours: M‐F 9‐5

Gallery Hours: Tuesday through Saturday.

10:00 am ‐ 3:00 pm

Saturday 9‐5 (Navarro only)

saalm@a .net

Credit: www.swschool.org

Sunday 11‐4 (Navarro only) h ps://www.swschool.org/

exhibits@swschool.org

San Antonio Museum of Art

200 West Jones Avenue San Antonio, TX 78215

Terminal 136 136 Blue Star St. San Antonio, TX 78204

(210) 978‐8100 Gallery Hours: Tues, Fri: 10 a.m.–9 p.m.

Wed, Thurs, Sat, and Sun: 10 a.m.–5 p.m.

Mon: Closed

(210) 458‐4391 Gallery Hours: Thursday, Friday, & Saturday: Noon‐ 5pm h p://art.utsa.edu/terminal‐136

info@samuseum.org

samuseum.org

3rd Space Art Gallery

141 Cassiano St. San Antonio, TX 78204

SAY Si

Gallery Hours: Open Every Second Saturday of the Month 7pm to 10 pm or

By Appointment

1518 S Alamo St San Antonio TX 78204

h p://www.ar othethirdpower.com/3rd‐space‐art‐gallery‐‐6mm.html

(210) 212‐8666 Gallery Hours: by appointment or special event

contact@ar othethirdpower.com

h p://saysi.org/

The Wi e

3801 Broadway St, San Antonio, TX 78209

Sigoloff Frame and Art

(210) 357‐1910

8222 Broadway St, San Antonio, TX 78209

Gallery Hours: Monday, Wednesday‐Saturday: 10:00 AM‐5:00 PM

(210) 824‐7974

Tuesday: 10:00 AM‐8:00 PM

Gallery Hours: 9:30 am ‐ 5:00 pm

Sunday: Noon ‐ 5:00 PM info@wi emuseum.org

The South Texas Popular Culture Center

www.wi emuseum.org

1017 E Mulberry San Antonio, TX 78209

(210) 792 1312

R Gallery

Gallery Hours: by appointment or special event

725 S. Pre San Antonio, TX 78210

southtexaspcc@gmail.com

Gallery Hours: by appointment or special event

h p://www.stpcc.org

h ps://www.facebook.com/RGallerySTX/info/?tab=overview

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Courtesy of www,wi emuseum.org

(210) 650‐2243

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

Lucha

Tatum Originals

316 N Flores St. San Antonio, TX

108 B Blue Star San Antonio, TX 78204

(347) 348‐5394

(210) 858‐2361

Gallery Hours: by appointment or special event

Gallery Hours: Wed ‐ Fri 12pm ‐ 8pm, Sat ‐ Sun 12pm ‐ 6pm

h ps://www.facebook.com/Lucha.gallery/ meline

h p://www.tatumoriginals.com/

Choice Goods Gallery

French & Michigan Gallery

108 Blue Star Arts Complex San Antonio, TX

115 Michigan Ave, San Antonio, TX 78201

(210) 858‐2361

(210) 378‐0961

Gallery Hours: Wed‐Sun 1:00 pm ‐ 8:00 pm

Gallery Hours: Tuesday‐Saturday, noon‐6:00 pm

tatumstudio@gmail.com

hello@frenchandmichigan.com

h p://tatumoriginals.com/

h p://www.frenchandmichigan.com/

Freight Gallery & Studios

UTSA Main Gallery

1913 S Flores St, San Antonio, TX 78204 (210) 331‐4382

The Main Gallery is located in the Main 1604 Campus Art Building on the 2nd floor in 2.03.04

Gallery Hours: by appointment or special event

(210) 458‐4391

h p://freightsatx.com/

Gallery Hours: Tuesday & Thursday & Friday 10am ‐ 4pm Wednesday 11am ‐ 3pm,

Saturday 1pm ‐ 4pm, Sunday & Monday closed.

San Angel Folk Art Gallery 110 Blue Star, San Antonio, TX 78204

Laura.Crist@utsa.edu h p://art.utsa.edu/main‐gallery

(210) 226‐6688 Gallery Hours: 7 days a week, 11 to 6 www.sanangelfolkart.com

Barney Smith's Toilet Seat Art Museum

Barney Smith's Toilet Seat Art Museum, 239 Abiso Ave San Antonio, TX 78209

Silkworm Studios and Gallery

(210) 824‐7791

1906 S Flores St. San Antonio, TX 78204 . (210) 607‐1322

Gallery Hours: by appointment in the a ernoons

Gallery Hours: by appointment or special event

h ps://www.facebook.com/Barney‐Smiths‐Toilet‐Seat‐Art‐ Museum‐258301387544372/

h ps://www.facebook.com/Silkwörm‐Studio‐and‐ Gallery‐451967248174995/ meline

Zollie Glass Studio

The Movement Gallery/Underground Library

1428 S Presa St, # 1 San Antonio, TX 78210

1412 E Commerce St. San Antonio, TX

(210) 601‐3883

(210) 299‐2666

Gallery Hours: Mon‐Fri 10‐6

Gallery Hours: by appointment or special event

zollieglass@gmail.com

h ps://www.facebook.com/MovementGallery/ meline

www.zollieglass.com

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 29

Lis ng

Melinda Mar nez Studio Gallery

Mercury Project

628 S Presa St. San Antonio, TX 78210

538 Roosevelt, San Antonio, TX

210‐328‐1077

(210) 478‐9133

Gallery Hours: by appointment or special event

Gallery Hours: Monday to Friday 9‐5 Saturday and

h p://melindamar nezstudio.weebly.com/

Sunday by Appt.

melindamar nezstudio@yahoo.com

mailto:aw@mercuryproject.net h p://www.mercuryproject.net/index.html

Gravelmouth Gallery

Sala Diaz

1906 S Flores St. San Antonio, TX Gallery Hours: by appointment or special event h p://www.gravelmouthgallery.com/

517 S eren St, San Antonio, TX 78210 (972) 900 0047 Gallery Hours: Thus – Sat, 2pm – 7pm & by appointment Anjali Gupta, Director salad517@gmail.com h p://www.saladiazart.org/

Equinox Gallery

Musical Bridges Around the World

418 Villita St, Bldg 4

23705 W Ih 10, Ste 101 San Antonio, TX

San Antonio, TX

(210) 464‐1534

(210) 281‐0706

Gallery Hours: Mon‐Fri 10‐5

Gallery Hours: Monday‐Sunday, 10‐6 pm

h p://www.musicalbridges.org/

Custom order requests by appointment. h p://www.equinoxjewelrygallery.com/

Provenance Art Gallery

1906 S. Flores, San Antonio, TX 78204

1906 Gallery

Gallery Hours: Every 2nd Saturday of the Month, 7pm ‐ 10 pm and by appointment

1906 S Flores, San Antonio, TX 78204

h p://artandprovenance.blogspot.com/p/provenance‐ gallery.html

h ps://www.facebook.com/pages/1906‐ Gallery/170113056349644?fref=ts

Clamp Light Ar st Studios and Gallery

clamplightstudios@gmail.com

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List Compiled by Gina Mar nez, Art Consultant, J.R. Mooney Galleries Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

8302 Broadway St

305 S. Main St

San Antonio, TX

Boerne, TX

78209

78006

210-828-8214

830-816-5106

Custom Framing Conservation Museum Fine Art

Original Paintings

Photography

Giclees & Prints

Shadow Boxes

Picture Lights

Ready-Mades More…

Fine Art for All Occasions

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 31

1.800.537.9609 www.jrmooneygalleries.com

305 S. Main St Boerne, TX 78006 830-816-5106

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

Press Release J.R. Mooney Galleries of Fine Art is proud to announce that Gabriel Diego Delgado, the Gallery Director for the J.R. Mooney Galleries of Fine Art‐ Boerne, has passed all coursework, related coursework examina ons and final exams for the Interna onal Society of Appraisers (ISA) Core Course in Appraisal Studies.

“ISA”

Interna onal Society of Appraisers

This comple on of full coursework requirements and examina ons grants Gabriel Diego Delgado competent to appraise fine art and conduct fine art appraisal reports that are prepared in conformity with and are subjected to the current version of the Interna onal Society of Appraisers Appraisal Report Wri ng Standards and Code of Ethics and will be reported in conformity with the current version of The Appraisal Founda on’s Uniform Standards of Professional Appraisal Prac ce (USPAP).

The Interna onal Society of Appraisers (ISA) is the largest of the professional personal property appraisal associa ons represen ng the most highly trained and rigorously tested independent appraisers in the United States and Canada. They are a not‐for‐profit, member‐driven associa on, formed to support the members’ needs and to enhance public trust by producing qualified and ethical appraisers who are recognized authori es in personal property appraising. ISA was founded in 1979. The Core Course in Appraisal Methodology is widely regarded as the most comprehensive in the industry, dis nguishing ISA as the leader in methodology, theory, principles, prac ces and ethics. ISA's membership is diverse and collegiate. The members include many of the country's most respected appraisers, consultants, curators, scholars, gallerists, estate liquidators, auc oneers, and dealers. The four main divisions are: An ques and Residen al contents; Fine Art; Gemstones and Jewelry; and Machinery and Equipment.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

J.R. Mooney Galleries of Fine Art, a full service fine art gallery, will now add fine art appraisal services to their extensive registry of already established fine art related capabili es, including fine art custom framing, home consulta ons, acquisi ons, procurements, and collec on building.

ABOUT J.R. MOONEY GALLERIES OF FINE ART J.R. Mooney Galleries of Fine Art is a full service Fine Art Retail Gallery, specializing in Texas Vintage, Local & Regional, and Contemporary Art; coupled with a world renowned custom frame shop.

J.R. Mooney Galleries of Fine Art was founded in San Antonio, Texas in 1947 by Joe and Adelle Mooney. Emerging as Modern Paint Company in 1947, with the largest selec on of professional ar st grade art supplies in San Antonio, the Mooney family eventually expanded their business. Modern Paint Company became J.R. Mooney Galleries of Fine Art to showcase local, regional and interna onal ar sts while diving into custom framing, ar st representa on and other unique a ributes. J.R. Mooney Galleries of Fine Art has an iden ty reflec ve of over a half‐ century existence; becoming custom framing experts and specializing in an array of museum quality art services. J.R. Mooney Galleries is currently providing fine art services at their signature Broadway address in San Antonio and at their Boerne loca on. J.R. Mooney Galleries of Fine Art has provided framing services for every American President since John Kennedy and every Texas Governor since John Connally. The galleries have also supplied the Va can, the Royal Palace in Madrid, Queen Beatrix of Holland, as well as major collec ons and collectors in Europe, Asia, South America and Australia.

J.R. Mooney Galleries of Fine Art 8302 Broadway St. San Antonio, TX 78209 (210) 828‐8214 & 305 S. Main St

Pictured above: Boerne Gallery Director, Gabriel Diego Delgado with pain ngs by San Antonio ar st, Cliff Cavin

Boerne, TX 78006 (830) 816‐5106

Gallery Hours: San Antonio – Mon. – Sat. 10 am – 6 pm / Boerne – Tues. – Sat. 10 am – 5 pm Admission is open to the public and FREE Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 35

Press Release For Contemporary Art Month’s annual exchange (CAMx), Black Cube, a Denver‐ based nomadic contemporary art museum, is partnering with Sala Diaz, a San Antonio‐based experimental nonprofit, to produce Mock Pavilion, a site‐specific ceramic installa on by Black Cube ar st fellow Stephanie Kantor. Mock Pavilion explores points of cultural transi on through the interpreta on of historic design mo fs from Europe, the Middle East and Asia.

Inspired by the repurposed domes c space of Sala Diaz, Mock Pavilion oscillates between referencing the interior of bourgeois homes, museum period rooms and cultural pavilions as places of visual and experienced pleasure. Four rooms, loosely grouped by historical period, feature over 1,600 hand‐painted les and 36 ceramic vessels, tapestries and custom wallpapers. One room draws inspira on from original tex le pa erns, a floral design extremely popular during the 14th century that traveled the trade routes between Europe, the Middle East and Asia, and was translated differently by each culture it reached.

Kantor’s vivid ceramic works defy categoriza on as pain ng, sculpture or po ery, and the ar st’s interpreta on of tradi onal pa erns creates a space of cultural amalgama on, hybridiza on and boundary blurring. Mock Pavilion ques ons cultural iden ty as defined by geopoli cal boundaries to highlight the shi ing nature of visual culture and the fluidity of the world around us.

Stephanie Kantor (b. 1985, Pi sburgh, PA, USA) living/working in Denver, CO received her MFA in Ceramics from University of Colorado Boulder (2015) and BFA from Penn State University (2009). Kantor's work explores the paradoxical aspects of culture, both expansive and local. She samples at will, an arbitrary collec on of misinterpreta ons, gentrifying foreign cultures. She u lizes ornamenta on and decora on to create a facade where her large‐scale ceramic objects speak to mul plicity, cultural diversity and ar fice. Kantor has exhibited na onally, including such venues as Pa erson Gallery (University Park, PA), Boulder Museum of Contemporary Art (Boulder, CO), the Nerman Museum of Contemporary Art (Overland Park, KS), Paragraph Gallery (Kansas City, MO) and Belger Crane Yard Studios (Kansas City, MO), among others.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

CAM Key Events for March 2016

March 3rd 6pm – 9pm: CAM Kick‐off at Blue Star Complex with Blue Star Contemporary Art Museum celebra ng their 30th year. h p://www.bluestarart.org March 3rd 6:30 pm: Crowning of Miss CAM Antonio. h p://www.bluestarart.org March 3rd 9pm – midnight: CAM Dance at the Brick at Blue Star Arts Complex. h p://brickatbluestar.com March 5th 7pm to 9pm: CAMx at Sala Diaz in Southtown, March 18th/7 pm. A collabora on with Denver, Colorado based Black Cube Nomadic Museum. h p://www.blackcubeart.org h p://www.saladiazart.org h p://lauriebri onnewell.com March 20th 12pm – 4pm: CAM Open Studios (all over the city) followed by an a er party at Zollie Glass Studios on S. Presa from 4pm – 8pm. h p://zollieglass.com March 25th 6pm – 10pm: CAM Closing Party & CAMMIE Awards at the LPF CHRISpark. h p://www.lindapacefounda on.org h p://chrispark.org/index.php ______________________________________________________________

**Stephanie Kantor, Mock Pavilion *** March 5 – 31, 2016 Sala Diaz, 517 S eren St, San Antonio, TX 78210 Opening Recep on: Saturday March 5th, 6‐10PM Public Hours: Thus – Sat, 2pm – 7pm & by appointment Free + open to the public.

Image courtesy of Nina Hassele & CAM

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 37

Press Release Join the J.R. Mooney Galleries of Fine Art ‐ Boerne on Saturday March 19, 2016 from 4 pm to 8 pm for an exci ng evening of Fine Art in “Switch 36.”

The artworks in “Switch 36” are a curated selec on of new pain ngs by local and regional ar sts from San Antonio and Boerne including Margie Barker, Seth Camm, Cliff Cavin, Bill Scheidt, Sidney Sinclair, and Russell Stephenson.

SWITCH 36 Six Pain ng by Six Ar sts

New artwork is always so exci ng! Ar sts have been known to covet new art for their upcoming exhibi ons at their galleries, hoping to garner abundant an cipated affec on for their ‘fresh off the easel’ crea ons. For the first major 2016 exhibi on at J.R. Mooney Galleries of Fine Art‐Boerne, our art consultant staff has diligently selected six new pain ngs from six ar sts’ studios to arrive at 36 new artworks for the ul mate Beginning of the New Year exhibi on. Current gallery prac ces frequently grant ar sts one solo exhibi on each year at their par cular galleries to spotlight their new art. But, in “Switch 36”, we break the rules!

J.R. Mooney Galleries combines this annual exhibi on tradi on to include 6 of its own ar sts; gran ng opportunity to showcase recent crea ons in a group exhibi on se ng; narrated under a conceptual connota on of six solo exhibi ons combined into one dynamic night! ‘Switching’ the galleries inventory of artwork to reflect the new and exci ng endeavors some of our ar sts are currently exploring in their respec ve studios.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

Margie Barker is inspired by her love of the land. She has painted everything from New Mexico aspens to the Grand Canyon’s majesty but it is to the flora and fauna of Texas that her brush irresis bly returns. Her oils, watercolors, and acrylics have won her a host of awards.

Seth Camm received his formal art training at the Pennsylvania Academy of Fine Arts, where he received his MFA. A erwards his studies con nued with master figura ve painter Nelson Shanks and then to Norway to study with eminent painter Odd Nerdrum. Camm has had many one‐man shows and received many awards for his art, of recent dis nc on the San Antonio Art League Museum’s Ar st of the Year of 2014.

Cliff Cavin, an ar s c purist guided by a me‐honored aesthe c principle and mentored by great painters like Warren Hunter, George Hughey, William Reese and Wilson Hurley. Cliff Cavin, a San Antonio painter, finds comfort and freedom in tradi onal Impressionis c Landscape Pain ng. Focusing his a en ons to the vast openness of the South Texas region and the expansive deserts of New Mexico, Cavin’s intui ve choreographed ar s c calcula ons in his scenic and visual color soirées create stylized pain ngs that capture the ambiance of subtle environmental illumina ons.

Bill Scheidt began his ar s c career as a painter in 1987. Largely self‐taught, he has studied at the Sco sdale Ar sts School, as well as with Roy Andersen, Joe Beeler, Jim Norton, R. S. Riddick and Bruce Greene in Cowboy Ar sts of America workshops. His subject ma er includes North American wildlife, the Na ve American and the life of the cowboy. Bill has won numerous coveted awards and significant group exhibi ons include: The Mountain Oyster Club in Tucson, Arizona; The Phippen Western Art Show in Presco , Arizona; The Peppertree Art Show in Santa Ynez, California; The Alamo Kiwanis Western Invita onal in San Antonio, Texas; The Roundup and Collectors Classic in Kerrville, Texas and shows by the Texas Wild Bunch, Professional Ar sts.

Sidney Sinclair earned her Bachelors of Arts Degree at Trinity University in San Antonio, Texas, with a short s nt at the Warren Hunter School of Art in Texas. This fourth genera on Texan has studied with interna onal, na onal, and regional ar sts. Sidney studied watercolor pain ng under Darryl Tro of Australia, and oil pain ng with ar sts David Leffel and Gregg Kruetz of the Art Student League in New York City, among many other notables; rounding out a stellar academic course of s ll life and portraiture with na onally recognized gallerist and western painter, Jay Hester. Sidney`s work has appeared in American Art Review, Country Lifestyle, Food & Leisure magazines, Boerne Business Monthly Magazine, San Antonio Woman Magazine, and Plumage‐ TX Magazine.

Russell Stephenson is a Texas ar st and a regionally well‐recognized contemporary painter with gallery representa on in five Texas galleries, including Houston, Amarillo, San Antonio, Boerne and Dallas, with representa on in Santa Fe since 2015.

Stephenson has mastered an unrelen ng painterly approach to the gorgeous godliness of our great state of Texas. Radiant browns and various tones of burnt sienna seem to meddle perfectly with contras ng cool slate grays, snowy silvers and wispy whites; where atmospheric amalgama ons of colors are ever approachable, diges ble and delicate in their ephemeral and abstracted beauty. Bastrop fires, unrelen ng skylines, sublime mentali es, conceptual collec veness, universal experiences, mental constructs and intui ve automa sm all play a role in Russell Stephenson’s pain ngs. A tribute to the Texas sky, the flat plains of Midland‐Odessa area, the rolling Hill Country, and the wide‐open plains of the Texas Panhandle topography, Stephenson depicts all that is our great state of Texas in minimally rendered but systema cally charged abstracted landscapes.

ABOUT J.R. MOONEY GALLERIES OF FINE ART J.R. Mooney Galleries of Fine Art is a full service Fine Art Retail Gallery, specializing in Texas Vintage, Local & Regional, and Contemporary Art; coupled with a world renowned custom frame shop.

J.R. Mooney Galleries of Fine Art was founded in San Antonio, Texas in 1947 by Joe and Adelle Mooney. Emerging as Modern Paint Company in 1947, with the largest selec on of professional ar st grade art supplies in San Antonio, the Mooney family eventually expanded their business.

Modern Paint Company became J.R. Mooney Galleries of Fine Art to showcase local, regional and interna onal ar sts while diving into custom framing, ar st representa on and other unique a ributes. J.R. Mooney Galleries of Fine Art has an iden ty reflec ve of over a half‐century existence; becoming custom framing experts and specializing in an array of museum quality art services. J.R. Mooney Galleries is currently providing fine art services at their signature Broadway address in San Antonio and at their Boerne loca on. J.R. Mooney Galleries of Fine Art has provided framing services for every American President since John Kennedy and every Texas Governor since John Connally. The galleries have also supplied the Va can, the Royal Palace in Madrid, Queen Beatrix of Holland, as well as major collec ons and collectors in Europe, Asia, South America and Australia.

Gallery Hours: San Antonio – Mon. – Sat. 10 am – 6 pm / Boerne – Tues. – Sat. 10 am – 5 pm Admission is open to the public and FREE

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 39

J

oin the J.R. Mooney Galleries– Boerne on Saturday,

March 19, 2016 from 4 pm—8 pm for an exciting evening of Fine Art in “Switch 36”. This exhibition includes six of the gallery’s artists showcasing six recent creations narrated under a theoretical inference of six solo exhibitions combined into one dynamic night as we ‘switch’ their respective inventories.

40 / PLUME‐TX Magazine

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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, Feb. 2016

PLUME‐TX Magazine / 41

Home Accessories

Maps, since their incep on, are widely used and have played an important role in history. Today, in addi on to their scholarly uses, maps have become an important addi on to interior design aesthe c.

The lines of longitude and la tude, country shapes, and topography are all components that come together create a body of work that is ar s c as well as informa ve. As a retail art gallery we know quali es of high‐end home décor can also be found in many kinds of maps.

House of Mercier, an art and interior accessories company based out of Peru, has several ar sts that specialize in crea ng maps in various elegant rendi ons especially for home interior design.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

The ar st Julius Salazar created a pain ng of a map of the Republic of Texas in 1836 that has been recently acquired by the J.R. Mooney Galleries of Fine Art. As an ar st, Julius has created many maps; some of them are from colonial or fron er mes, including maps of Texas and Tennessee. This par cular map is exci ng especially for history buffs and lovers of Texas alike. There is a striking contrast to the amount of detail shown in the Republic of Texas to the open interpreta on of the surrounding territories. The overall physical a ributes of the pain ng are visually pleasing. The gorgeous map is covered in gold leaf and is rendered in hues of blue and earth tones. The ci es in Texas are wri en in black but the names of the territories that border the Republic are shown in beau ful gold le ering.

The Republic of Texas por on of the map is comprehensive. The details are found in the towns and territories Julius lists and the topography he shows. Mountain chains and an extensive river system illustrate the different terrain that the new Texans fought for and built their homes upon. It includes towns that were already thriving like San Antonio and Galveston (the third capital of the Republic), but also shows places that were in the process of or yet to be established like Houston, which was officially founded in 1836, Corpus Chris (1839) and the “Aus n Colony” (Aus n became the final capital also in 1839).

The ar s c interpreta on of this map appears in the way that the ar st chose to represent other land and sea boundaries. The Gulf of Mexico is depicted by a swath of lighter blue. There is a gold and blue compass rose in the middle of the gulf with a fleur‐de‐lis affixed to it, a nod to the French and Spanish sailors who explored and colonized the area. Interes ngly, Julius denotes the surrounding borders by text, which elevates the focus on the Republic of Texas as opposed to the overall land composi on of the Americas. For example, there are no towns listed in Mexico or rivers shown in Arkansas. Land boundaries are listed by name rather than by usual mapping methods of topography or lines. For example, “Territorio de Nuevo Mexico” is wri en to the le of the Republic, a mix of the Spanish and English languages as perhaps a way to denote the mixing of culture. The country of Mexico, its territories, as well as the states Arkansas and Louisiana are also wri en in gold le ering.

Julius’ map contains his inclusion and treatment of Na ve American territories. He specifically lists the Cherokee, Creek, and Choctaw na ons to the right of the Republic. Julius’ map also shows the “Indian Territory” of the Arapaho and Cheyenne tribes north of the Republic. By lis ng all of these different socie es around Texas, Julius reminds the viewer of the already populated and mul cultural status of the Americas during the 1830s.

This pain ng also includes some enduring symbols of the Republic of Texas: the Alamo and the flag of the Republic. In the bo om le corner of the pain ng, where Mexico would be if Julius had con nued mapping the en re canvas, is a rendering of the Alamo flying the Republic of Texas flag adopted in 1839, which is now the state of Texas flag. It is symbolically placed there to show the victory of the Texans over Mexico by covering the land that it once belonged to.

In complimen ng contrast, in the top right side of the pain ng, there is a gold leaf framed portrait of an ar s c rendi on of a founding father of Texas and the tle of the map. Julius does not specify if the portrait is of Sam Houston, Stephen F. Aus n or another hero of the Republic. Instead, he lets the viewer decide, adding to the interpre ve quali es of this pain ng. These aspects give the overall feeling that this Republic is a work in progress, as history would further dictate.

This original artwork is available at the J.R. Mooney Gallery of Fine Arts in San Antonio. Look for other high‐end home décor available in the J.R. Mooney Gallery – Boerne loca on.

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 43

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

Informa ve opinion

Art World Predictions for 2016 By: Katherine Shevchenko

HEADLINE NEWS…….

Late Breaking TODAY IS: FEB. 29 , 2016 Time/Temp 8:54 am 34 ˚

and Accurate

Informa ve opinion

My Humble Opinion:

Art World Predic ons for 2016 T

here has been much

conten on regarding the art market and its uncertain trajectory. Commodity prices, such as oil and gas, reaching new lows has led the adventurous to seek out inves ng in artworks that have shown to accumulate value over me.

Sites such as Art Rank and a new specialized field of art investment advising have been offering services for investors to analyze the values of their aesthe c acquisi ons. The forecast for the art market future appears promising due to the con nuing recogni on of the value that contemporary ar sts are contribu ng to culture. J.J. Charlesworth, of Artnet News, has confidence that the art market will con nue to expand regardless, pertaining to the viability of high quality works produced by ar sts of renown. Charlesworth says, “scarcity and reputa on of the ar sts and the artworks” is what will perpetuate the market’s longevity.

“Some art collectors have taken to scanning through Instagram to seek out their next acquisi ons.”

Social media reigns supreme. Facebook and Instagram are the most viewed and prolific sites, used by galleries and ar sts alike. CEO Ryan Holmes of Hootsuite es mates that there are more than 2 billion ac ve social media users in the world. Some art collectors have taken to scanning through Instagram to seek out their next acquisi ons. Galleries have readily adapted to using Instagram as a promo onal tool and an ini al communiqué pla orm to interact with established and prospec ve clients. With an extraordinary amount of growth there is no slow down as

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online pla orms become indispensable components in the daily lexicon. However, a possible downside or posi ve, depending on the ar st’s intent, is where artworks are made to tailor to the square format, actually altering and influencing the art before it is made to conform to the media.

“For Texas and ar sts in the Hill Country area, I foresee a year with many challenges and opportuni es for growth, marked with produc veness and innova on especially evident in the prolific expansion of experimental spaces…”

Technology has been becoming more incorporated in the way we see and interact with art, but also as a medium itself. Ar sts are always finding ways to use art in more innova ve and intriguing ways, like mul media ar st Lisa Parks; she manipulates dishes of water to ripple with her brain waves with the use of an EEG headset. Ar sts are also crea ng pain ngs assisted with pain ng drones, and virtual reality art installa ons that are en rely dependent on being viewed through a specialized headset have been u lized in the gallery and museum se ng.

Environmental issues and climate change will con nue to be on the consciousness of ar sts. Olafur Eliasson’s installa on of massive ice chunks from the Arc c glaciers arranged in a clock forma on at the Place du Panthéon during the COP21 global climate summit in Paris, France, gradually melted away before the public’s eyes. This transient installa on was a concentrated effort to bring immediacy and awareness of the consequences of rising global temperatures in a searing undeniable metaphor. Art is a powerful method of bringing a en on to the most pressing and challenging issues of our mes and ar sts will be harnessing this to the full power in the coming year.

As much as there has been focus on the pressing concerns of the mes, there is always a flipside of art as commerce, and pas che merges into Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

PLUME‐TX Magazine / 49

Informa ve opinion

pop cultural appropria on and is used as a status object of materialism and excessive dollars, all shiny and gold plated, with li le much else behind the ar fice. Shock and awe will s ll play a part, and everything will be game to provoke and garner a en on to the artwork, in sync with the rapid fire blitz of media and meta ‐scanning approach that one takes in s muli, visualiza on borne of informa on overload and pressure cooked with short a en on spans. But, in contrast to that is the other side where there are ar sts that are crea ng more subtle and quiet works that demand a medita ve space. Not only will this be borne out of need, it will be an urgent counterpoint.

For Texas and ar sts in the Hill Country area, I foresee a year with many challenges and opportuni es for growth, marked with produc veness and innova on especially evident in the prolific expansion of experimental spaces, as in the fer le Southtown and South Flores areas of San Antonio. The need of answering to the call of the “experience economy” will be a way for ar sts of many disciplines to come to together and create mul sensory experiences that will welcome new collectors into experiencing and enjoying the arts that may not have done so in the past. There are many Photo Cap on: Google Deep Dream, a image recogni on so ware, is as a applica on that recognizes ins tu ons that are growing and changing, images and a empts to further intensify the image by accessing a vast visual data bank, and by doing so creates unexpected mul ple morphed results in the process, is an example of technology that is being used for crea ve applica ons by ar sts. as San Antonio’s crea ve scene evolves. The crux of 2016 will be: change is constant. Many new journeys will be set in mo on for ar sts to embark upon and embrace new pla orms to present art and to be more personalized and ingenious in communica ng with the public in a spirit of educa on and cultural discovery. © Katherine Shevchenko, Art Consultant

Sources: Charlesworth, JJ. "JJ Charlesworth On Why the Art Market Is a Bubble That's Not Going to Burst ‐ Artnet News." Artnet News. N.p., 06 July 2015. Web. 22 Jan. 2016. <h ps://news.artnet.com/art‐world/art‐and‐money‐super‐rich‐312541>.

Holmes, Ryan. "5 Trends That Will Change How Companies Use Social Media In 2016." Www.fastcompany.com. N.p., 9 Dec. 2015. Web. <h p:// www.fastcompany.com/3054347/the‐future‐of‐work/5‐trends‐that‐will‐change‐how‐companies‐use‐social‐media‐in‐2016#4>.

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Home Accessories

antastic rames Framing of the Month “Comic Book Collections” By: Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries

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Home Accessories Credit: Framing Design & Photo courtesy of Katherine Shevchenko

What be er way to enshrine your comic books than with a custom “...clear photo corners framing job!

that will hold them in place while keeping their integrity intact…”

This design was created in order to present the comic books without any obstruc on to viewing them, which is made possible by floa ng them on top of an archival and ph neutral Larson‐Juhl mat with the assistance of clear photo corners that will hold them in place while keeping their integrity intact. The slate grey backdrop made a perfect choice to complement all three of the comic book

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covers’ color pale es. The first frame, a scarlet red number by Monarch Moulding , is a stellar choice that helps to accentuate the bold colors used especially in the super heroes’ costumes. The finishing touch is the second frame, providing grounding to the whole piece with the use of FPF Moulding, with sa n black and glossy white lines, used as inner and outer accents, providing just enough interest, without over‐ whelming or drawing away a en on from the piece. Last, but not least, spacers have been inserted in be‐ tween the frame and the mat so the comic books will not touch the glass, preven ng them from adhering to the glass. Hope this gives you some ideas and inspira on that the possibili es are not just limited to pain ngs, prints and photos! Un l next me, happy framing!

Credit: Framing Design & Photo courtesy of Katherine Shevchenko

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Home Accessories

Closed Corner Frames By: Gabriel Diego Delgado

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

ghe elegance of the closed corner frame is something that cannot be ignored.

The truth lies in its visual appeal!

The 90 degree lines of the miter cut in the wood mouldings are invisible, hidden from our viewing experience. Cartouches are often used as the corner crest for the applique in the center of the joined section. Reaching its heyday in the Baroque and Rococo periods, the cartouche served an important role in the visual appeal of closed corner frames. 17th century cartouches often were employed to be reflective of the coat of arms of the bearer in the portraits. Corner mo fs, par cularly acanthus leaves, oak leaves and acorns were also used within the closed corner centers to act as elaborate , carved intricacies linking the architectural elements of the actual frame back to nature.

Made from composition, the appliques could be glued to the frame by warming the compound which was being applied to the gessoed wooden structure. The sizing , gesso, and glue in both parts would cool and harden, cementing the applique in place.

Composition was a mixture of whiting (calcium carbonate), hide glue, resins, linseed oil, and water.

The paste would be pressed into reverse‐carved molds made of shellac, let dry, and removed.

Some mes applied and then carved, pre‐exis ng box molds would be used to cast the “compo” to form decora ve and ornamental accents for the frames. These accents would be and are used with the closed corner frames as well as a host of other styles and me periods leading into today’s post‐neo‐ultra‐framing aesthe c.

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Custom Framing

Original Paintings

Conservation

Giclees & Prints

Museum Fine art Photography shadow boxes Ready-Mades More

Picture Lights

s

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!

1.800.537.9609 210.828.8214 830.816.5106

www.jrmooneygalleries.com

305 S. Main St Boerne, TX 78006

Come in today and have a consultation with one of our framing designers and be inspired!

Religious Iconology

“Papa Don’t Preach” The Iconography of Mendoza’s Madonna and Child By: Gina Mar nez nez

For those who know the collec on at J.R. Mooney Galleries of Fine Art, Diana Mendoza’s Madonna and Child icons are familiar. Her heavenly subject ma er and old world techniques are beau ful and classic. The gallery’s latest acquisi on, “Madonna Universal,” is an icon that is influenced by both the old Byzan ne and Renaissance styles yet retains a modern view on the iconic mother and child rela onship.

Mendoza’s pain ng technique includes heavy use of gold and silver leaf, symbolic colors choices and a solid background which is typical of icons from the Byzan ne era. The gold leaf represents holiness and heavenly light and was used extensively during this me period. The colors worn by the Virgin Mother and Christ child were also used to symbolize holy a ributes. Mary wears a predominantly blue robe with red cloth over her arms and a white veil. The baby Christ is swaddled in a white blanket. Gold leaf pa erns cover both. In Byzan ne icons blue symbolizes human life and red, divine life. White symbolized the uncreated light of God, which in this pain ng may be a premoni on of the works of the Savior. The background of the pain ng is solid gold; this is also typical of the Byzan ne icon style where there is no scene or narra ve depicted in the pain ng. The halo is a series of gold leaf dots and markings. Surprisingly this intricate pa ern does not get lost on the gold background but because of Mendoza’s technique appears embossed, as if the halo was imprinted by a heavenly seal.

“Madonna Universal” is an icon that blends the unique and familiar. It is familiar because it incorporates two styles of well‐known pain ng and unique because it challenges the rela onship of the Madonna to

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Child. Mendoza’s technique may be reminiscent of the Byzan ne era, but her figures retain a Renaissance quality. They are rounded, fleshy beings with life like quali es and human facial expressions.

Their rela onship is natural, a moment captured from everyday life, which contrasts many icons of the past where the mother/child rela onship is more rigid or regal. The Christ Child’s eyes in “Madonna Universal” are closed and there is a peaceful expression on His face while He sleeps. The Holy Mother quietly rests her chin gently near the head of the Child. Her eyes are almost closed, res ng comfortably while she holds her baby. She is depicted as a nurturer, a care giver. She is smiling and though ul.

With Mendoza’s background in educa on and the fact that she is a mother, there is li le specula on as to where she found inspira on for the pain ng.

What makes this Madonna universal is the way she holds the Child and the way He nestles her back. Any mother, or for that ma er, anyone who’s ever loved a child and held them in their arms will feel the special energy of joy and love found in this pain ng. The combina on of styles and the uniqueness of this piece is more greatly appreciated by reflec ng upon the history of Madonna and Child Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Religious Iconology

icons. Madonna and Child in early religious pain ngs are rare and weren’t popularized un l the Byzan ne era. Chris an religious art wasn’t introduced un l a er the Edict of Milan, issued by the emperors Constan ne I and Licinius in 313, which allowed for public Chris an worship. Images of Mary were depicted more a er 431 when she was officially recognized by the Church as the Mother of God. Early portrayals depicted her devout, childless, and praying and were first recorded in historical text in the 6th century. The Church went back and forth on its posi on concerning art and the portrayal of Holy beings. By the 7th century it shunned all non‐religious human images with the excep on of the Emperor and donor figures. A century later the opinion would change dras cally as religious icons were challenged by Byzan ne Imperial authority. This was due to a growing belief people had that the icons or other religious pain ngs were divinely created and that they were direct links to the saints themselves. The Church worried these pain ngs would become too powerful and that the people’s worship would center on them. The Church decided that showing religious figures was sinful.

The art was banned and those crea ng or in possession of such work would be accused of idolatry. This was more widely enforced in the eastern por ons of the empire and became known as Byzan ne Iconoclasm. Also influen al in Byzan ne Iconoclasm was the similar Islamic prohibi on against idolatrous images. This happened during the 7th and 8th centuries when the Islamic military regularly raided the empire. The icons were banned, reinstated and then banned again and it wasn’t un l later in the Comnenian period (1081–1185) that they became popular again, par ally due to the deple on of richer materials ar sts used at that me and also because a special screen for icons was introduced. Mary depicted with the Christ Child grew in popularity and became widespread around the 13th century. In these icons she was viewed as tender.

Painters wanted to show her feminine quali es. There were so many icons during this me period that they have been categorized. Encyclopedia Britannica describes these types of Madonna and Child icons: nikopoia (“bringer of victory”),

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“...she does not appear sad.

Instead she is calm, happy and warm. She does not turn away. In fact, she is in full embrace, caressing Him with total acceptance of His fate.”

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

where the Madonna and child sat on a throne and were seen as royalty; the hodēgētria (“she who points the way”), showing a standing Virgin holding the Child on her le arm; and the blachernio ssa (from the Church of the Blachernes, which contains the icon that is its prototype), which emphasizes her role as intercessor, showing her alone in a prayer posture, with the Child pictured in a medallion on her breast.

The Virgin also appears in the less‐frequently represented, more in mate types of the galaktotrophousa, in which she nurses the Child, and the glykophilousa, in which the Child caresses her cheek while she seems sadly to contemplate his coming Passion. As me passed and devo onal images became more popular in the West, the themes became less rigid and took on different meanings. Mendoza’s icon falls closest to the glykophilousa category. Her Madonna caresses the Christ Child’s cheek; but unlike this type of icon, she does not appear sad. Instead she is calm, happy and warm. She does not turn away. In fact, she is in full embrace, caressing Him with total acceptance of His fate. This Madonna is not afraid of what is to come or sad for the sacrifice her child will make. She shows no stress from the sacrifices she herself has already made. Instead she comforts Him, gives Him motherly love and protec on, while she s ll can. This is the hallmark of a mother.

Sources h p://www.historyofpainters.com/virginmary.htm h ps://simple.wikipedia.org/wiki/Madonna_and_Child h p://www.britannica.com/topic/Madonna‐religious‐art h p://www.guggenheim.org/new‐york/educa on/school‐educator‐programs/teacher‐resources/arts‐curriculum‐online?view=item&ca d=724&id=74 h p://maryqueeno heuniverse.com

h ps://en.wikipedia.org/wiki/Byzan ne_art h ps://en.wikipedia.org/wiki/Icon

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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

Samir Sammoun:

Art Consultant Spotlight “Beyyad, in homage to my father,” is the transla on of the tle of Samir Sammoun’s oil pain ng, “Beyyad homage a mon pere.” All the elements seem to be in unison, from the grasses on the sloping hills to the leaves adorning the trees; even the clouds in the distant sky appear to be following the same rhythmic flow and beat. Another unifying factor is the usage of an earth red undertone, which is revealed in various areas, crea ng a warm visual undercurrent.

Establishing such tones onto a canvas gives the ar st a middle baseline to organize the lightest and darkest values of a pain ng, crea ng unity. Amid all the colors within a pain ng there is an effect called simultaneous contrast, in which colors in a pain ng affect the percep on of each color that is next to it.

This phenomenon was studied in depth by French chemist Michel‐Eugène Chevreul in 1839 a er many experiments during his tenure at the Gobbelins Tex le Factory. What ini ally prompted his inves ga ons were the observa ons made when he observed different colored yarns were appearing different, but upon examina on, realized that the colors themselves were not changing, just their appearance in rela on to the others. His research in how light and color behave had significant impact on the Impressionists and how they painted. Essen ally, a color will appear different to the eye when it is placed next to different colors, yet be unaltered, depending on the colors and values surrounding it. In Chevruel’s words, “In the case

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where the eye sees at the same me two con guous colors, they will appear as dissimilar as possible, both in their op cal composi on [hue] and in the height of their tone [mixture with white or black].”

Simultaneous contrast factors in when an ar st decides to use a middle value tone, either brown or gray, instead of star ng the pain ng on plain white. Against white the darks will appear much darker than they actually are, especially the shadow areas on a lighter tone, but applied to a mid tone, the same color will not appear as intensely dark and will help key the value to a more naturalis c appearance, and avoid shadows looking like holes in the ground and skies being washed out. Another characteris c of simultaneous color contrast is that complementary colors will be more prominent when placed next together.

Brown undertones next to the greens of the grass appear more reddish, due to their proximity to the greens, which are a complementary color to red. Visually the greens bring out the reddish complement hue in the earthen browns. The grass also appears warm, even though green is a cool color, surrounded by hints of the reddish undertone and also interspersed with yellow, making the greens appear warmer than they actually are. The bright scarlet red flowers nestled amid the grassy field are brought out intensely in the foreground, due to their being a complement of green. As a general rule, warm tones come forward and cool tones recede back.

“Sammoun has used this to develop a sense of depth; a delicate balance is achieved when the right tones and values are established to create distance in a picture.”

Sammoun has used this to develop a sense of depth; a delicate balance is achieved when the right tones and values are established to create distance in a picture. As the image recedes the contrast and the intensity of the hues begin to diminish along with the range of values, just as one would observe in nature. A painter using this effect would do so to create a sense of atmospheric perspec ve in their pain ng; to mimic the illusion of depth from the natural world.

Amid the layering of many stroke applica ons, the rela onships between the pigments help enrich the viewing experience, yet the outcome never appears muddy. “Mon pere...” is definitely a pain ng that must be viewed in person to appreciate all the nuances present. Sammoun understands color theory and mechanics well, perhaps his technical background as an engineer plays a part in his crea ve process, with abili es to balance the intui ve and the analy cal demands that execu ng a pain ng can require.

© Katherine Shevchenko, Art Consultant‐J.R. Mooney Galleries, 2016 Sources: MacEvoy, Bruce. "Michel‐Eugène Chevreul's "Principles of Color Harmony and Contrast"" H p://www.handprint.com/. Bruce MacEvoy, 2015. Web. 11 Feb. 2016 McKinley, Richard. Ar sts Network. N.p., 5 May 2014. Web. 16 Feb. 2016.

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Photography and Design by: Gabriel Diego Delgado

Come See Our New Lines of Custom Framing Designs

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

Credit: All images courtesy of the ar st, Jay Hester

Congratula ons to Boerne, Texas ar st, Jay Hester on the comple on and installa on of his newest sculpture commission for the George P. Mitchell Campus at Texas A &M University Galveston.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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Events

B

oerne

2

"People were always the limiters of happiness except for the

very few that were as good as spring itself."

Make a promise to yourself to be like the "very few" that live for spring and therefore live happy! Below is a list of exciting events in and around the Texas Hill Country through the beginning of April 2016!

36th Annual Boerne Hill Country An ques Show Kendall County Fairgrounds Saturday ‐ February 27, 2016 ‐10 a.m. ‐ 5 p.m.

Sunday ‐ February 28, 2016 ‐ 10 a.m. ‐ 4 p.m.

This is the Only Original Real An ques Show in Boerne, Texas featuring over 60 exhibitor booths overflowing with the finest American an ques found in the market today. h p://www.texasan queshows.com/boerne‐an que‐show.htm

La Primavera Bike Race March 5‐6 h p://www.lagovista.org/d/12399038_47823.htm h ps://www.facebook.com/La‐Primavera‐at‐Lago‐Vista‐134521573277805/

Texas Independence Day Celebra on ‐ Doug Moreland and Brian Burns MARCH 5, 2016 12:00 PM ‐ 5:00 PM Free Show at Luckenbach Texas

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

New to Boerne By: Melisa Adriana Belgara

― Ernest Hemingway, A Moveable Feast: The Restored Edition RioFrioFest March 15‐16 The stunning Frio River in Concan, TX has become the new top Spring Break Des na on in Texas. Throw in a 5‐day "Texas Style" music and ac vity fes val h p://www.riofriofest.com/

Annual Easter Egg Hunt March 19 City of Boerne Parks & Recrea on Department ‐ Easter Egg Hunt 11:15 SHARP!!!

Over 15000 stuffed eggs!!!

Mobile food vendors will be available at this event. h p://www.ci.boerne.tx.us/631/Easter‐Egg‐Hunt

The Mud Dauber/Rock'N Billy Chili Fest at Luckenbach Texas March 19 12:00 PM ‐ 11:45 PM The best in Rock‐a‐Billy Music and a return to our Chili Cook Off Roots (Luckenbach and Terlingua are synonymous) A No Holds Barred Chili Cook Off... Get your team together and get ready to take the Luckenbach GOLD!! It will be benefi ng the Boys & Girls Club of Fredericksburg, Texas.

Hill Country Rallye March 31 ‐ April 3 Kerrville, TX Welcome all vintage, air‐cooled PORSCHES ranging in model and year from 1949 to 1989 h p://www.hillcountryrallye.org/home.html

Reviews/ Commentary/ Exhibi ons/ News/ Events, Feb. 2016

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New artworks by Russell Stephenson at J.R. Mooney Galleries‐Boerne. ‘”Enfold” 12” x 16”

“Flight Suspension 12” x 18”

THE METAPHYSICAL JOURNEY CONTINUES Available 3‐19‐2016 Call for purchasing inquiries ‘DreamState” 12” x 16”

830‐816‐5106