art

William A. Noguera

Episode 122: Today I talk to Sonya Pfeiffer, owner of the Elder Gallery of Contemporary Art, [also a criminal defense attorney] here in Charlotte, NC. We talk about the William A. Noguera exhibition, On the Mezzanine. This chat is really special because William actually calls in from San Quentin prison, where he lives and makes his work. The exhibition goes until June 15, 2019.

William A. Noguera
Untitled – Max Opus, July 11, 2018
Gesso with Ground Concrete from San Quentin Yard and Acrylic on Paper.
44 x 28 in

William A. Noguera
Untitled – Opus 318913914112x, September 26, 2018
Gesso with Ground Concrete from San Quentin Yard, San Quentin Prison Newsprint, Wax, Ink, and Acrylic on Paper.
44 x 28 in

JazzMan: A Tribute To John Coltrane
neo-cubist hyper-realism in ink stippling, pointillism
ink on illustration board, original, framed
30″ H x 20″ W, 2006

© The William A. Noguera Trust | ARS, NY.

All images c. Elder Gallery of Contemporary Art

This episode is brought to you by:

Ken Price at the Georgia O’ Keefe Museum

Episode 121: Today I talk to Ariel Plotek, Curator of Fine Arts at the Georgia O’Keefe Museum about his Ken Price exhibition opening June 7. I found it so interesting how his work corresponds so well to Georgia O’Keefe’s.

Featured photo: Ken Price in his Taos Studio, 2004, Estate of Ken Price, Courtesy of Matthew Marks Gallery


Ken Price: Pagan, 1995,96
Estate of Ken Price, Courtesy of Matthew Marks Gallery

All images used with permission.

This episode is brought to you by:

Bust-Head

Episode 119: Today I talk with Deborah Oster Pannell from the C24 Gallery about the Bust-Head exhibition, which features the mixed-media work of İrfan Önürmen. It goes until May 4, 2019



All images used with permission. photo credit: Rachel Hammersley

This episode is brought to you by:

Both at Once

Episode 118: Today I talk to Natalie Kates and Amanda Uribe from the Latchkey Gallery. We talk about the Both at Once exhibition, which features the art of John Rivas and Raelis Vasques. Both are from South America. They each explore the issue of belonging in their own ways through their works. The exhibition is at 340 E.64th St. in NYC. It goes from April 25-May 18, 2019

Te Extraño, John Rivas
Mixed media on canvas
60 x 36 in

Llegando a la frontera,John Rivas
Mixed media on canvas
36 x 52 in
Los Primos de Philly, Raelis Vasquez
Oil on canvas
40 x 30 in
The Beautiful Ones,Raelis Vasquez
Oil on canvas
40 x 56 in

This episode is brought to you by:

ArtPop Street Gallery

Episode 116: Today I talk with Wendy Hickey of ArtPop Street Gallery. Wendy is known as the “fairy art mother,” here. She puts art on unused and available spaces like billboards and newspaper stands. She’s literally turning our city into an art gallery. [It makes waiting in traffic fun]!

All images used with permission. c. ArtPop Street Gallery

This episode is brought to you by:

Rosalia Torres Weiner

Episode 117: Today I talk to a local “artivist” and muralist, Rosalia Torres Weiner. She has literally painted my whole neighborhood red…and a whole lot of other colors. I love it! She’s turned my neighborhood, as well as many others in Charlotte, into a gallery. With her Red Calaca Studio art truck, she brings art and hope to immigrants.

Rosalia Torres-Weiner’s mural for the “Gateways/Portales” exhibit at the Smithsonian Institution’s Anacostia Community Museum in Southeast Washington.

All images used with permission.

This episode is brought to you by:

Get Pet Dent Dental Kit Worth $20 Free with Revolution @ BudgetPetCare.com

Museum of Bad Art [MOBA]

Episode 115: Today I talk with Michael Frank. He’s the chief curator at the Museum of Bad Art [MOBA] in Somerville, Ma., where their motto is “Art too bad to be ignored.”

ELVIS DESCENDING A STAIRCASEThom Donovan16″ x 12″, acrylic on velvetDonated by the artist September 2009. Employing materials often associated with kitsch, the artist presents variation on a theme by Marcel Duchamp, reflecting the steady decline of an American legend.
THINK AGAIN Richie 20″ x 16″, acrylic on canvas Rescued from trash by Scott Wilson MOBA # 83 This disturbing work “makes an offer you can’t refuse”. The chilling, matter-of-fact manner in which the subject presents the severed head to us is a poignant reminder of just how numb we have become. The understated violence implicit in the scene speaks volumes on our own desensification, our society’s reflexive use of force, and the artist’s inability to deal with the hindquarters of the animal. Controversy surrounds this painting. After being accepted into the Permanent Collection by MOBA’s Esteemed Curator, the museum was informed by friend of MOBA, Ken Roberts of Canary Studios in Oakland CA of the existence of a frighteningly similar work in his own private collection. The piece depicts an equally groomed horses head and an identical member of the Jackson family, against a dark blue background. Do you have evidence that this is this an original work or art or a reproduction? Have you seen it before? If you have any information that can help exonerate the curator of charges of gross dereliction of duty — or if you have any evidence that can nail his esteemed ass once and for all – please leave it in the comments section of the Friends Of MOBA sign up sheets.
THE DANCE OF FAMILY RELATIONSJake? (illegible), June 23, 200336″ x 48″, oil on canvasRescued from trash in Brooklyn, NY anddonated by Louis Frank June 2009 Nine older people surround a long, coffin-like table, seemingly about to enjoy a meal. Most of them are gaze directly at the viewer, while one couple shares a private joke. Two of the figures are out of out of focus, possibly indicating that they are deceased. A negative-space silhouette feast before them lacks detail. Images of of cell division (mitosis) are interspersed with representations of Doc Edgerton’s iconic strobe photos of a bullet shattering a light bulb along the top of the painting, and likenesses of his “milk drop coronet” strobe photos line the bottom. The over-the-top imagery, combined with the painting’s title (written on the back of the canvas), seem to illustrate Albert Einstein’s assertion that “time is relative.”

All images used with permission.

This episode is brought to you by:

Jaune Quick-to-See Smith: In the Footsteps of My Ancestors

Episode 111 : Today I talk to Faith Brower, of the Tacoma Art Museum about the Jaune Quick-to-See Smith’s exhibition, In the Footsteps of My Ancestors. I’m fascinated with indigenous art, of which Jaune is one of the U.S.’s finest talents.

Featured Image credit: Jaune Quick-to-See Smith; King of the Mountain, 2005; Oil on canvas 72 x 96 inches, diptych: Collection of the artist

Jaune Quick-to-See Smith
The Swamp, 2015
Oil on canvas
60 x 40 inches
Courtesy of the Accola Griefen Gallery
Jaune Quick-to-See Smith, Tongass Trade Canoe, 1996
Mixed media on canvas, plastic baskets on shelf
60 x 150 inches, diptych
Collection of the Yellowstone Art Museum, gift of John W. and Carol
L. H. Green
(2012.06.01)

All images used with permission.

This episode is brought to you by:

Extra 15% OFF $40+ Sitewide w/ code APRILSALES

Lighting up your Events and Holidays

More Than Just A Key Finder

The Mellon Collections

Episode 107: Today I talk with Dr. Susan Edwards from the Frist Museum about the The Mellon Family‘s generous donations. The two collections include, Van Gogh, Monet, Degas and Their Times  as well as A Sporting Vision. They are two very different, yet equally great exhibitions.

Van Gogh, Monet, Degas and Their Times

Vincent van Gogh (Dutch, 1853–1890). The Wheat Field behind St. Paul’s Hospital, St. Rémy, 1889. Oil on canvas, 9 1/2 x 12 3/4 in. Virginia Museum of Fine Arts, Richmond. Collection of Mr. and Mrs. Paul Mellon, 83.26. © Virginia Museum of Fine Arts. Photo: Katherine Wetzel


Pierre Bonnard (French, 1867–1947). The Pont de Grenelle and the Eiffel Tower, ca. 1912. Oil on canvas, 21 1/2 x 27 in. Virginia Museum of Fine Arts, Richmond. Collection of Mr. and Mrs. Paul Mellon, 2006.44. Image © Virginia Museum of Fine Arts. Photo: Katherine Wetzel


Kees van Dongen (Dutch, active in France, 1877–1968). Haystacks, ca. 1904–5. Oil on canvas, 19 5/8 x 25 1/2 in. Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon, 2014.204. Image © Virginia Museum of Fine Arts. Photo: David Stover
Édouard Manet (French, 1832–1883). On the Beach, Boulogne-sur-Mer, 1868. Oil on canvas, 12 3/4 x 26 in. Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon, 85.498. Image © Virginia Museum of Fine Arts. Photo: Katherine Wetzel

A Sporting Vision

Benjamin Marshall (British, 1768–1835). Noble, a Hunter Well-Known in Kent, 1810. Oil on canvas, 40 1/8 x 50 in. Virginia Museum of Fine Arts, Richmond, Paul Mellon Collection, 99.80. Image © Virginia Museum of Fine Arts. Photo: Katherine Wetzel


George Stubbs (British, 1724–1806). Black and White Spaniel Following a Scent, 1793. Oil on canvas, 25 x 30 in. Virginia Museum of Fine Arts, Richmond, Paul Mellon Collection, 85.506. Image © Virginia Museum of Fine Arts. Photo: Katherine Wetzel
John Collett (British, ca. 1725–1780). The Joys of the Chase or The Rising Woman and the Falling Man, 1780. Oil on canvas, 16 x 23 1/2 in. Virginia Museum of Fine Arts, Richmond, Paul Mellon Collection, 99.62. Image © Virginia Museum of Fine Arts. Photo: Travis Fullerton

All images used with permission.

This episode is brought to you by: