Winter 2015 edition of plumage tx vol 1 12 3 2015

PLUMAGE PLUMAGE--TX

Winter 2015 Issue

Hill Country Magazine FREE

Women Who Dare Feminism in the arts

Doc Spellmon The Doctor is in

Texas Vintage

Outside In Personal Reflec on of Naïve Art of Naïve Art

Provenance in Boerne

Windberg Cri cal Essay

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 Insight of the Outside Naïve Art Analysis

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PLUMAGE PLUMAGE--TX Winter 2015 Issue

Frames New selec ons of home decor

PUBLISHER Gabriel Diego Delgado Contribu ng Writers Gabriel Diego Delgado

IN EVERY ISSUE

Katherine Shevchenko

A Note from the Publisher –P.8

Melissa Adriana Belgara Gina Mar nez

On the Cover—P.10 All artwork photography courtesy of J.R. Mooney Galleries of Fine Art Prices are for current artwork, and can change at any me

Contributors— P.11

© 2015 JR Mooney Galleries

Designer’s Quill—P.52

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

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PLUMAGE PLUMAGE--TX

FEATURES Winter 2015 Issue No. 8

32

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New Acquis ons Recent selec ons at J.R. Mooney Galleries of Boerne

Women Who Dare

42

Ar st Analysis

Rolla Taylor A er Market Stories

The “Doc” Is In Art Consultant Cri cal Analysis on Doc Spellmon

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64

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 gabrieldelgadoartstudio@yahoo.com gabrield@jrmooneygalleries.com

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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.

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Contributors

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.

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.

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.

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”

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

Insight of the Outside “My Personal Experience with Naïve Art” By: Gabriel Diego Delgado

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Gallery & Community

I

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

by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art 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

by Michael Stravato; Courtesy of the Sta on Museum of Contemporary Art 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

“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…”

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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 Image courtesy of Jon Read 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.

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Gallery & Community

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,

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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.

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Gallery & Community

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”.

“A pictorial assimila on of the heavyset house slave who took care of the slave children…”

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

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Gallery & Community

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

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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.

“Outsider Art should not be dismissed, ignored or deemed irrelevant. In most cases, these ar sts exist on the peripherals of today’s society…”

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.

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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.

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Gallery News

New Gallery Acquisitions “An Art Consultant’s Analysis”

By Gina Martinez “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.

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“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,

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Photography and Design by: Gabriel Diego Delgado

Come See Our New Lines of Custom Framing Designs

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Women Who Dare “Reflections from an Artist’s Perspective” Curated by Anel I. Flores and Sarah Castillo

Written by Katherine Shevchenko

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San Antonio Spotlight “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.

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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.”

“...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.

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San Antonio Spotlight

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.

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“...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.”

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.

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San Antonio Spotlight

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.

“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.”

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

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

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,

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Design by Katherine Shevchenko

Design by Katherine Shevchenko

Cri cal Analysis

The “DOC” Is In

The Art of F.L. “Doc” Spellmon: A Closer Look By: Katherine Shevchenko

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Cri cal Analysis

I

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.

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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,

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Cri cal Analysis

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.

“...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.”

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

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Cri cal Analysis

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.

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Photography and Design by: Gabriel Diego Delgado

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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.

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Home Accessories

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.

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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

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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

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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,

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

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Fine Art for All Occasions Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015,

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305 S. Main St

San Antonio, TX

Boerne, TX

78209

78006

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Fine Art for All Occasions

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“Texas Vintage” -Spotlight- ©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne,TX

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 Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015,

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Photography and Design by: Gabriel Diego Delgado

Value

Fair Market / After Market

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Summaries of Current Art Market Selec ons from A er Market

Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

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 Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015,

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Value

Fair Market / After Market Summaries of Current Art Market Selec ons from A er Market

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.

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

“Irish Flats SA”

“Old Stone Shed”

“The Guilbeau House”

12.3” x 16”

16” x 20”

12” x 16”

Unknown date

Unknown date

1962

Oil on Canvas

Oil on Canvas

Oil on Canvasboard

Sold 04/30/2014

Sold 10/18/2014,

Sold 08/10/2013

Dallas Auc on Gallery 2235 Monitor Street Dallas, TX 75207

Heritage Auc ons 3500 Maple Avenue Dallas, TX 75219

Altermann Galleries 345 Camino del Monte Sol Santa Fe, NM 87501

*Source: www.askart.com

*Source: www.askart.com

*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.

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.

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.

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 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.

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Art Opening 70 / PLUME‐TX Magazine

The “Texas Vintage” exhibi on

Behind the Scenes

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of Boerne

Opening Night

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Events

B

oerne

2

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

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Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015

New to Boerne By: Melisa Adriana Belgara

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

Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015,

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