PLUMAGE PLUMAGE--TX
San Antonio Area’s Only Fine Art Magazine
Jan. 2017 Issue
FREE
NEO GEO The Minimalist Realm Louis, Jorge & Marc
Albert Gonzales Rise of the New Contemporary
Mystica DaLuz’s Metaphysical Paintings
Viva Vives Aftermarket Wonderment Reviews/ Commentary/ Exhibitions/ News/ Events
Photography and Design by: Gabriel Diego Delgado
Albert Gonzales, “Wabi Sabi”, Acrylic on Canvas, 12” x 12” / ph. 210.723.1338
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IN THIS ISSUE
56
Galleries Galore
64
Press Releases
Listing of current art galleries in the SA, TX region
What’s Happening in the San Antonio Region
PLUMAGE PLUMAGE--TX Jan. 2017 Issue
PUBLISHER Gabriel Diego Delgado Contributing Writers Gabriel Diego Delgado
IN EVERY ISSUE A Note from the Publisher –P.8
All artwork photography courtesy of Gabriel Diego Delgado and notated contributions when appropriate
On the Cover—P.10
Prices are for current artwork, and can change at any time
Contributors— P.11
© 2017 Delgado Consulting and Appraising Boerne, Texas 78006 210-723-1338 Edited by Gabriel Diego Delgado, Melissa Belgara Design by: Gabriel Diego Delgado
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Russell Stephenson “Ancient of Days” 210.723.1338
48” x 48” Oil on Panel
delgadoconsultingandappraising@gmail.com
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PLUMAGE PLUMAGE--TX
FEATURES Feb. 20156 Issue No. 9
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THE NEW GENERATION
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NEO GEO Louis, Marc, and Jorge
Albert Gonzales
36 STEVEN DALUZ MYSTICA
48 JOSE VIVESATSARA AFTERMARKET
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A Note from the Publisher This is the first edition of Plumage-TX for the 2017 year. As you will see, there are several changes to the overall aesthetic of the publication. The focus for the magazine has been maturing over the last year, and I have decided to contribute more attention on the greater San Antonio region to give respect and attention to the multiple platforms of the art world of South Texas. Like previous predecessors, the literary criticisms of the art world are the insights of the writers, the personal interpretation of the work , and the opinionated relevance of the creative making process. We hope that you enjoy the first 2017 version of Plumage-TX and the four spotlight articles.
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, artist narratives, interviews, criticism and a cohort of other art related stories from within the gallery walls to the major metro centers. I hope you find this informative and hope you continue to follow the artistic happenings around you in your local neighborhoods.
Sincerely,
Gabriel Diego Delgado, Publisher delgadoconsultingandappraising@gmail.com gabrieldelgadoartstudio@yahoo.com
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On the Cover
High up on a Ferris Wheel with my seven year old, we looked out across the vast Texas Hill Country to the outer realm of Kendall County. It was a sight to behold. High above the colorful tent tops and vibrant swirl designs looking up at us, the wind was clean and clear. Around and around we went, each time straining to see further and further into the horizon. Memories? Yes‌ but so much more. High above you see the great vastness of this land and appreciate all that is Texas. Moments like this are gold, frozen in the collective memory of all that witness. Art is that way too...gold...for all that witness...
SUBSCRIBE & FOLLOW NOW!
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Contributors
Gabriel Diego Delgado is the owner of Delgado Consulting and Appraising and is the former Gallery Director at .R. Mooney Galleries in Boerne, Texas. He has spent almost a decade in Nonprofit Art Management- working as a Curator of Exhibitions at the Station Museum of Contemporary Art and ArtCar Museum, both in Houston; and as Project Manager of Research and Development at the Museo Alameda, a Smithsonian Affiliate, San Antonio. He is a Freelance Curator and has been an Arts Reviewer and critic for over a dozen local, regional and national publications. 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.
Margie Barker Email:
mbarkerart@satx.rr.com Ph. 210.695.8439
He is competent to appraise fine art and personal property in affiliation with the code of ethics and USPAP standards for the International Society of Appraisers (ISA).
Cactus* Landscapes* Commissions PLUME-TX Magazine /
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Jay Hester, “The Healer”, 48” x 60”, oil on canvas
“TEXAS—Stories of the Land” Photography and Design by: Gabriel Diego Delgado
Join Jay as the December Artist of the Month Reception December 15, 5:30-7:30
Phone: (830) 896-2553
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Fax: (830) 257-5206
Mailing Address: P.O. Box 294300, Kerrville, TX 78029-4300 Street Address: 1550 Bandera Highway, Kerrville, TX 78028
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Sidney Sinclair Fine Art New Works Available Call or Email for Inquiry and Acquisition sidneysinclairlee@gmail.com
Delgado Consulting and Appraising Ph. 210-723-1338 Delgadoconsultingandappraising@gmail.com
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Albert
Artist Spotlight
Credit: Detail, Carolyn Crump, “Cherished Times”
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The Donald… (No Not That One)
…and Albert
“A Compare and Contrast of the Contemporary”
Gonzales
Image courtesy of the Artist and Frankie Fernandez
By: Gabriel Diego Delgado Images courtesy of the Artist and Frankie Fernandez
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Artist Spotlight
lbert Gonzales Vs.
The World By: Gabriel Diego Delgado
Image courtesy of the Artist and Frankie Fernandez
I first met internationally renowned artist, Donald Baechler at Kent State University, he had arrived per an invitation from University Sculpture Department Chairman and Professor, Paul O’Keefe and Painting Instructor, Craig Lucas. The artist residency program at the university included a one-on-one student participatory engagement while I was an undergraduate. About eight months later, I took an expedition to New York City with O’Keefe and Lucas to do some research which included a trip to Donald Baechler’s studio in Manhattan. There, I was able to become more familiar with his work and his processes, his mindset and personality; “ I am drawn to Gonzales’s reinforcing the visual heavy lines and pop art concepts after taking his workshop in sensibilities. He is bucking Ohio. His collaged the trends. He printed swatches of childhood images; exhibits...need to balls, balloons, experiment, the drive to trucks, and toys made up his gigantic produce, and the innocent pop art cartoonish receptivity.” masterpieces. But, what rests within the nostalgic crevices of this art world whirlwind was seeing Baechler’s black and white flower paintings.
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When I see the artwork of local San Antonio artist, Albert Gonzales, I cannot help but look back on my experience with Donald Baechler some twenty odd years ago.
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Image courtesy of the Artist and Frankie Fernandez
At that time in New York, Baechler’s floral paintings had rocked the contemporary pop art world and caused stir within the New York and European galleries. They bucked the trends and exploded on the art scene, ever-climbing up and up in art market value; to be auctioned and re-auctioned. Heavy with black lines, or fully muted in a black silhouette of cartoonish garishness, this new body of work catapulted Baechler’s career even further in the echelons of high art luxury standards. Baechler was trending, growing in reputation and a great investment; eventually resting on top of the Art World. Viewing Gonzales’ flower paintings sends me right back to NYC, circa 1998 and the nostalgic memory of Baechler’s studio. I am drawn to Gonzales’s heavy lines and pop art sensibilities. He is bucking the trends. He exhibits the same need to experiment, the drive to produce, and the innocent cartoonish receptivity. The florals are beyond whimsical. They reflect educated mark making and intellectual decisions; a kind of borderline process painting aesthetic- mixed with banality. “Each flower and vase I paint isn’t really anatomically correct. The water doesn't really ever comply with laws of physics. For me that's symbolic because we are all imperfect. But I believe it's something we all strive for. When people see my paintings I want the viewer to make the choice if they find perfection in imperfection.” Gonzales experiments with each decision within the painting, relying on composition, application, and manipulation to forge ahead. The flowers are painted under the abstract ground. The flowers are painted over the abstract ground. The flowers are the abstraction. The flowers are the subject and the rendered image. Explosive color choices juxtapose the bold
“Each flower and vase I paint isn’t really anatomically correct….For me that's symbolic because we are all imperfect. But I believe it's something we all strive for.” PLUME-TX Magazine /
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Artist Spotlight
black outlines. Gonzales is selling hundreds of these paintings every year. Like Baechler, he is working on multiple bodies of work at a time, not to be pigeon-holed as the flower guy, but letting the artwork evolve as he moves through the progression of the creative process. Something is driving Gonzales’s dedication, his force, his punch, his art and his mojo. There is a buzz around him, not made by the collectors, the appreciators, or the sales, but something more abstract. Gonzales has taken it upon himself to travel and see various institutional art collections, educating himself on the historical importance of categorical artistic lineages. From Philadelphia, Pennsylvania to New York, New York, his-self guided education has proved to be beneficial. In these great cities, Gonzales would see masterpieces like, “Bouquet of Anemones” and “Blue Still Life” 1907, and be deeply affected.
Image courtesy of the Artist
“May 2016, they [the flower paintings] became a lot clearer, that’s when I got back from studying the Barnes collection…and seeing Matisse’s work in
“I had a dream that night I landed back home and it was of color cutouts floating down to a canvas. I felt as if Matisse was giving me some sort of signal to try new techniques for my art work.”
person changed my outlook on colors”, says Gonzales. “I had a dream that night I landed back home and it was of color cut-outs floating down to a canvas. I felt as if Matisse was giving me some sort of signal to try new techniques for my art work.” His trip to New York City in October of 2016 with the San Antonio based, Hausmann Millworks group of art professionals would grant him an opportunity to see the coveted Hispanic Society of America collection. Here, he
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Image courtesy of the Artist
was able to broaden his understanding of the masters like El Greco, Vazquez, and Arrieta and see rooms, corridors and collections inaccessible to the general public. With his simplistically minimal abstract flower paintings, Gonzales gives voice to the new and upcoming generation of artists of San Antonio. “These flowers are now a big part of my life. I now refer to them as Wabi Sabi. Just like the flowers I paint, I myself am not perfect but I embrace them for what they are and what they stand for,” he says. Yes, Gonzales is a relatively new artist on the San Antonio scene, but in one year he has been in a host of group exhibitions, had a solo exhibition, opened his own artist run gallery, sold hundreds of paintings, and has been acquisitioned into the UTSA permanent art collection. Who knows what next year brings, but I am sure Gonzales will keep moving forward with the same energy he is capturing now, ready to shake the establishment and buck the trends once again.
“Just like the flowers I paint, I myself am not perfect but I embrace them for what they are and what they stand for…” PLUME-TX Magazine /
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January 14
Julie Jarvis
Creative Journaling
February 11
Bill Hensley
Intermediate Sketching
March 11
Don Darst
Oil Painting
April 15
Marin Phillips
Plein Aire
May 13
Kristen LaRue
Soul Storyteller
June 10
Paula Lay
Watercolor
For More Information and to Register, Go To: www.hccarts.org The Mission of the HCCArts is to develop and sustain an environment that supports and promotes awareness, appreciation, education and access to all the Arts in Kendall County and the other eighteen Hill Country counties which include Bexar (San Antonio) and Travis (Austin).
$10.00 OFF COUPON GOOD FOR ONE MINI-WORKSHOP *MENTION THIS AD WHEN REGISTERING*
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METRIC REALM New Works by Louis Vega Trevino, Jorge Puron, Marc Wiegand at Mercury Projects– San Antonio
By: Gabriel Diego Delgado Images courtesy of the Artists & Author
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NEO GEOMETRIC REALM
n viewing the new works by San Antonio artists Louis Vega Trevino, Jorge Purón, and Marc Wiegand at Mercury Project, in the titled exhibition, Neo Geometric Realm –what needs to be understood is the conceptual underpinnings of the art, the chosen title, and the conceptual connotations. Without accounting for these intellectual peripherals, the audience might not truly appreciate all aspects of this contemporary exhibition. Although smaller in scale than most group exhibitions, 13 plus paintings by these three artists are exhibited around the gallery and main lobby giving an alternating visual of varied takes on post-minimal geometric abstractions. Visually vacillating from Louis to Jorge to Marc, there is a great democratic approach to the layout of the exhibition which shows common respect and admiration for each other, with no one artist stealing the spotlight. With showing artwork similar in application, aesthetic and revered historical contexts, that is often hard to do. Now let’s jump into the thick of it. Yes these are pretty paintings to look at, yes they are minimal, yes they are colorful, and yes they are arrangements of simple geometric shapes that make up a comprised composition of the artists’ liking, but there is more, yes more, but you have to spend the time to allow these thoughts to mature. The Tate Gallery in London, states that “Neo-Geo is short for neo-geometric conceptualism…artwork that is influenced by the style of earlier developments in the twentieth century art – such as minimalism, pop art, and op art.” New York Times writer, Grace Glueck wrote in 1987 on Neo-Geo, is that “part of the problem is that in true post-Modernist spirit, much of the art does not really constitute a movement, but a raid on movements of the past.” Yes indeed, there has to be permission to draw from the past to move forward, and these three artists are doing just that. With a strong sense of placement and unique artistic choices, each artist arrives at this particular place in time, this era of art history, armed with knowledge and understanding of what came before him, but the courage to move beyond it – a fearlessness to explore unexplored avenues in their own work. This is one of the non-visual underlying conceptual perimetric points that I have uncovered. On Op-Art, the Tate states, “The effects created by op art ranged from the subtle, to the disturbing and disorienting. Op painting used a framework of purely geometric forms as the basis for its effects and also drew on color theory and the physiology and psychology of perception.” Good now we are getting somewhere...Bullseye Jorge Purón!
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“I wanted a cleaner look…I Jorge Purón, an artist mostly known for over two decades of Abstract Expressionism, delivers hard –edged “halo-ized” wanted to get rid of excessive paintings that seem to almost vibrate; concocted out of a mixer of overt color theory decisions using bold brushstrokes, I wanted more complimentary colors that seem to head-butt each other to more subtle almost submissive, passive aggressive qualities open space…” of restrained and refined line quality that would make Barnett Newman proud. To reinforce a point, sometimes these almost invisible lines book-end and border some larger shapes, giving these flat shapes the appearances of having shadows and/ or glowing geometric halos; a small package with major impact. So, change is inevitable, this we all know. Shape-Shifter Blue Red, a foursquare of blue diamonds with compromised red accents by Purón was one of his first multi-paneled color based paintings. “This ‘shift’ came about out of a necessity”, he said. “I had limited space in my new studio. I became interested in how color and space could be disturbed by a single line. Five years ago I made a shift in my life. I had a sort of epiphany. I wanted a cleaner look…I wanted to get rid of excessive brushstrokes, I wanted more open space. This affected my personal life too. I purged…I saw I had excessive amounts of clothes and shoes…I started to get rid of things. Then, I looked for different ways to do my art.”
Jorge Purón, Shape-Shifter Blue Red, Enamel on Canvas, 69” x 69”
In his series called Plurilinea, he is investigating intersecting points. “This series started when I bought my new house”, Purón says. “It is right by some overhead train tracks on the east side [of San Antonio]…my house shakes when a train goes by.” Visually, the artwork is inheritably tied to these formal structures – intersecting grids of urban development, industrial movement and delineation of accessibility through mathematical engineering. But, Purón goes beyond this, “there is a philosophical aspect of the paintings”, he says. “The ideas of where will the roads take you, where can you go…the choices for the paths…which road will you go down?” This artist’s fundamental understanding of his own art adequately reflects another point. As quoted by Glueck, Neo-Geo artist, Peter Halley wrote, ‘‘Simulation, is the fact of technical mediation replacing the natural thing…i.e. air conditioning is a simulation of air; movies are a simulation of life; life is simulated by bio-mechanical manipulations.”
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Jorge Puron, Plurilinea #7, Enamel on Canvas, 24 “ x 24”, detail
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Jorge Puron, Plurilinea #5, Enamel on Canvas, 50”“ x 50”, detail
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Here, Purón starts at the simulation of the technical, the overhead train tracks, sees these structures daily, an unconscious meditation due to repetition, but purposefully morphs these concepts into a ‘visual language of modern life.’ A prime example of all this can be seen in the red and blue triangle shaped painting, Plurilinea #8. The intersecting lines, the refined aesthetic, and the minimal composition. “The geometry of the shaped canvas is an influence of Louis Vega Trevino”, he proudly admits. “He is the master of shaped canvases. We often visit each other’s studios and talk about ideas and critique each other’s work.” By affirming the obvious, Purón gives credit to his fellow peer, and displays a regard of mutual recognition for a like-minded artist in the same field of defined minimalism. There is a dichotomy that Purón explains. “It is restraint vs. the older abstraction. The older work satisfied an emotional side. The new work satisfies an intellectual side.” “Do you wonder what road you can take and where it will lead Mr. Purón?” You have already taken the metaphysical road, my friend. But, you unwittingly took the audience with you - starting at the subliminal, going past the conceptual and arriving at the physical. Minimalism – the movement in art to strip down emotion, and symbology; nix the biography of the artist and metaphors. Minimalists concentrated on form, properties of the material and achieved a nihilistic approach to abstraction with a refined and often mechanical preciseness to the artwork. L.T.V. you got this. Installation detail with Vega Trevino and Wiegand
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Louis Vega Trevino, “Poster”, Oil on Canvas, 38” x 46”“ x 24”
Louis Vega Trevino, a prolific artist who calls San Antonio home illustrates his passion to keep evolving, to keep changing, and to give the world his best foot forward in all his artistic endeavors. This can be seen in his new artwork for Neo Geometric Realm with his ‘re-shaped’ canvases. Usually Trevino has a singular or a set of segmented geometric-shaped canvases arranged on a wall to make new obtuse or acute forms. Now, Trevino has switched up his game; launching a fundamental break through. No longer is he dependent on the compositional arrangements he can make with his painterly sections, but the seemingly arbitrary shapes themselves are now made out of a single piece of constructed and stretch canvas; retooling his belt in Fort Worth at the Modern Art Museum. Here, he saw the retrospective of Modernist painter, Frank Stella. “I saw how he [Frank Stella] cut open the canvas, like a butterfly, to cover those angles and edges [of the shaped canvases]. This gave me sense of a new direction”, says Trevino. “First I “…there are shapes would make the within shapes…I think shapes, and not color them. Then, the paintings are put into the segment what I have done shapes of what I usually make. So now there are areas of white left takes Cojones. To blank…of white enamel…there are shapes within shapes…I think what I have done takes Cojones. To leave this much white on the canvas takes leave this much white confidence”, he says.
on the canvas takes confidence”, he says.”
In the new work, Trevino is relying as much on the negative space in the composition as he is the segmented and inserted stripe painting areas. A visual paradox of origami-esque configurations, the painted segments seem to fold and flip over and under the negative space. There is more than just a symbiotic relationship between the shapes in the canvas. They rely, play, bend, bounce, cover and intersect one another. In Poster Trevino gives us an angled bowtie shape impregnated with a centralized green serape-like form that seems to be overtaking a small red triangle on the upper right of the composition. Although the green form dominates in size, the small triangle mimics the three white negative spaces; giving it more clout. It’s like there is power in numbers, the red triangle kicks ass by association in this small pictorial of a geometric battle royal. All pigments in “Poster” are painted in the signature Louis Vega Trevino feathered and blended lines of color rhythms.
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Louis Vega Trevino, “Forever”, Oil on Canvas, 58” x79”, detail
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Louis Vega Trevino, “Purity, Oil on Canvas, 49” x 46”, detail
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South Town Louis Vega Trevino, “Direct”, Oil on Canvas, 53” x 40”
In a two piece configuration titled Direct, Trevino marries the two worlds; the old with the new to show how they can intermingle in some sort of artist cross-species, Dr. Moreau experiment. In my feeble attempt to understand the complexity of Direct, I struggle to place it into a categorical realm where I can analyze it. It is as if an Oriental fan is placed above a half torn piece of the elementary school magic box game where I would give my favorite color, and the word “black’ is spelled outb.l.a.c.k …and I flip up the side of the open puzzle to reveal who has a crush on me. But instead, the flips are angled paintings within shapes, born of one another, made out of the left over spaces. Angles, edges, and corners are matched and mirrored to give birth to new shapes, new edges and new compositions. The hovering aspect
of the top shape is almost like a comforting mother, looming over her offspring. Protecting it, nurturing it and guiding it. There is not a menacing feeling between the two but more of a protector of innocence. I feel this is only the beginning of a new journey for Trevino as he progresses past the pieces of a whole to give rise to new patterns. He has anxiously arrived at a new commencement of conceptual application. Watch for Trevino to continue exploding forward with his unique minimalist structure with new support, interest, and collectors in Dallas and Houston. Neo Geo as a mislabeled movement and quasi-contemporary genre, is a “language concerned with the ‘geometricisation’ of modern life”, says the Tate. So, here’s looking at you Marc Wiegand!
“Angles, edges, and corners are matched and mirrored to give birth to new shapes, new edges and new compositions.”
Wiegand, a San Antonio Attorney at Law, is an analytical-type professional turned artist. An avid supporter of the Texas art community, Wiegand is drawing on his methodical approaches to understanding his environment to arrive at an art-making process and constructed visual conclusion; a change from appreciator to producer. Unlit light boxes of various sizes are interspersed between Trevino and Purón’s line paintings. These light boxes consist of various sizes of cut and colored Plexiglas. The arrangements of the plastic glass within the frame allude to metropolitan environments, miniature cityscapes that are enclosed; hidden behind a protective barrier. Segments of frosted acrylic obscure parts of the composition, while others act as windows to these Peter Halley-ish constructs. In other arrangements within the exhibition, Wiegand has various
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Marc Wiegand, El Incontable Una Vez, Acrylic and fluorescent panel, 7.5” x 40” x 3.5”
adornments of the traditional tic-tac-toe board inlaid with rolling dice; sculptural 3-D ‘paintings’ that cluster like some strewn kids game across the wall. In El Incontable Una Vez (The Uncountable Once), an acrylic and fluorescent panel measuring 7.5” x 40” x 3.5”, we almost see an architectural rendition of the contemporary office space. As if the artist took a side profile of an office, sliced off the internal wall and showed the dissected side of urban America. Heavy borders of grey acrylic give the arrangement a movie film feel, with us viewing the passing of the images. The blurred effect of the outside Plexiglas gives a notion of movement. The glowing edges of the acrylic in the framed composition give off an eerie halo of office fluorescence. Neo-Pop Marc Wiegand, Installation detail furniture, desks, tables, rooms, and more show the current conditions of ubercontemporary office life; morphing into a Post-Pop hyper-color reality of urban revitalization.
“Neo-Pop furniture, desks, tables, rooms, and more show the current conditions of ubercontemporary office life; morphing into a Post-Pop hypercolor reality of urban revitalization.
Yes, Neo Geometric Realm takes you on a journey through decades of intellectual art history discourse, showing you individual takes on minimalist principles and how precisions, dedication and formal compositional decisions can bring about change and evolution. Marc Wiegand, “ El Atardecer (Evening), Acrylic and fluorescent panel, 12” x 14” x 1.5”
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Steven DeLuz, “Portal”, Encaustic on Panel, 12” x 12” , detail
Alamo Heights
By: Gabriel Diego Delgado Images courtesy of the Artists & Anarte Gallery
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Alamo Heights
“
M
ystica”, San Antonio artist, Steven DaLuz’s solo exhibition at Anate Gallery is on view from
December 8, 2016 – January 17, 2017. Consisting of fifteen encaustic paintings, both large scale and intimately precious, these new works delve into the metaphysical realm of spirituality and transcendental journeys. Radiating auras of chakra-esque light illuminates impressionistic figures that seem to be levitating in atmospheric anomalies. Nebular layers of beeswax, pigment, gold leaf, and varnish congeal and coagulate displaying painterly versions of artistic aureoles and microcosms of unparalleled agglomerations. Hung between the smaller works are four life-size figurative paintings that gaze upon us like some sort of hallucinatory apparitions, giving promise to the afterlife, and manifesting ethereal qualities of unexplainable repose for otherworldly dimensions. “There is an idea of a loss and a connection with those loved ones that have passed on”, he says when discussing the new series. “There is a mysterious aspect of life beyond the physical…” What is unique in “Mystica” is the juxtaposition of scale in the new work. DaLuz, known more for his lifesize angelic beings and seductively spiritual landscapes explores the limiting aspects of his painterly surface, restricting his composition to navigate the parameters of twelve to eighteen inches, instead of four to six feet. “I think the smaller works have a broader appeal”, says DaLuz. “Sometimes collectors get outpriced or outsized… these [the smaller paintings in the exhibition] are more approachable.” “They [the paintings] call you to come closer”, he explains. “The collectors can relate to them”, says Gallery Director, Ana Montoya. And, DaLuz is right, the gallery patronage responded favorably to the exhibition, with a near sell-out on opening night. This notion of spirituality and transcendence has interested DaLuz for many years, but took a turn last year. “It has become amplified in my own life”, he says. With his recent heart attack, DaLuz came faceto-face with his own mortality. “The temporary things began to matter less to me.”
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“There is a mysterious aspect of life beyond the physical…” -DaLuz
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“Harbinger”, encaustic on panel, 24” x 18”
“There are aspects of physicality to the form, but all at once an ephemeral loss of form…a translucency of form”
“What I am attempting is to provide a vision of space between the other world and here”, he explains while gesturing to “Crossover”, the life-size image of a shadowy Dia de los Muertos maiden poised in a crimson dress and adorned with a veil. “She is manifesting herself to the ofrendas and the marigolds at the alter”, he explains. When discussing his more impressionistic qualities vs. the minute detail of his previous portraits, DaLuz understands the complexity of imagery and non-imagery. “The full aspects of inner beings are difficult to show. I have to restrain myself from putting in too much detail and exercise discipline by saying more with what is left unsaid. The audience can connect to the work, it doesn’t need detail. It has challenged me to convey emotions on such a small scale.” “Portal”, a 12” x 12” square encaustic painting, hung close to the gallery door is a prime example of DaLuz’s visual cues of transition. In this painting, there is a central figure of a woman, ascending or descending a grey staircase. Atop of the steps appears a door, full of effulgent light. It beacons the audience and the figure alike. There is an argent quality to the glow; inviting yet mysterious.
“Portal”, encaustic on panel, 12” x 12”
“Doors and doorways are tremendous metaphysical element…they are a portal to another plane, but can also be physical, like a promotion; say in a career…the portal doesn’t need to mean like the afterlife, but can mean the next chapter in life…the unanxious, the mundane”, DaLuz conveys. “Harbinger”, a 24” x 18” is an encaustic painting that captures all the textural elements of DaLuz’s new painting series. A centralized figure is seen levitating in a lambent light; energy projected outward from within. It gazes out at us from the depths of some ghostly abyss. “There are aspects of physicality to the form, but all at once an ephemeral loss of form…a translucency of form”, says DaLuz. “There is an opalescence of color; the encaustic allows the pigment to become jewels.”
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Alamo Heights
“Transference”, encaustic on panel, 12” x 12”
“Cocoon”, encaustic on panel, 12” x 12”
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“Messenger”, encaustic on panel, 12” x 12”
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Alamo Heights
When asked about the similarities between some of the work, Daluz talked about smaller studies for larger depictions and continuations of thought and understanding. “Chrysalis” was painted after “Harbinger”. I carried on further with the nature of humanity to the inner being. We are a spirit full of energy and life. We are part of the substance of the tapestry of the universe” Other paintings in the exhibition portray the sense of out-of-body experiences, a transcendental exiting of the soul from the physical vessel. Some forms act as guides or reflections of ancient times when man straddled the spirit realm with his own meager existence. Still others project apparitions that want us to see them, glowing in the foggy haze of mist with warning or understanding. However, Daluz’s paintings do evoke a strong sense of personal emotion. With that said, I believe the showcase- spotlight painting of the “Mystica” exhibition is “Reunion”. “Reunion” captures the parent/ child relationship in the afterlife; a reunion of souls, the guardian and the dependent. “There is a nebulous quality of what is beyond them…the future”, say DaLuz.
“The hope that yes ‘they’ are there waiting for us, in some heavenly atmospheric realm where pain is void and love is everlasting. We want to believe and we need to believe.”
So much meaning can be projected onto an image like “Reunion”. Each viewer can and will seek individualized meaning in the forms. We decipher the painterly implications by using our own baggage, our own losses, our own sympathies, and our tragedies. But, what the painting conveys above all this…all the multitudes of individualized meanings and selfish wants and needs of our own desires…is HOPE! The hope that yes ‘they’ are there waiting for us, in some heavenly atmospheric realm where pain is void and love is everlasting. We want to believe and we need to believe. I sincerely conclude that “Reunion” exemplifies the notion that we can cling to ‘hope’ in order to one day reunite with loved ones who continue to care about us and we them; awaiting our arrival to the ethereal plane of divine existence. “Mystica” is a powerful exhibition built from smaller paintings that act as building blocks; elements and structures that combine to give support to the age old questions of “What is out there? Where are we from? Where are we going?
Steven DaLuz shows us answers. These answers bring more questions, but for now, we can meditate on the universe and understand our role in the cycle of life and death, and begin to apprehend the mystical aspects of the other worlds and planes…space and time…living and the dead…hauntings, spirits, and reminders of our own mortality. For more information go to www.anartegallery09.com Anarte Gallery 7959 Broadway #404 San Antonio, TX 78209 Email: anartegallery@me.com Phone: 210.826.5674 Gallery Hours: Monday by Appointment Tuesday—Saturday 12pm—5 pm
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“Reunion”, encaustic on panel, 5” x 5”
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New Works Available
Jim Hatchett “...his ‘action paintings’ are juxtaposed with explosive movements; Tai Chi inspired sweeps of color and intuitive gestural marks that seem be driven from NewtoWorks Available an outer worldly phantasm of galactic divination .” -G.D.D delgadoconsultingandappraising@gmail.com 210.723.1338
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By: Gabriel Diego Delgado Images courtesy of the Author
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J V A
OSE
IVES-
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The Surfacing of Masterpieces A Reexamination of Jose Vives-Atsra When a large estate or collection of work by a deceased artist appears on the aftermarket, there can be a genuine buzz about it, especially if the artist is highly coveted, reputable and was local. This is the case of San Antonio artist, Jose Vives-Atsara. There was over a dozen paintings by Vives-Atsara that had become available in the private aftermarket in San Antonio, Texas toward the end of 2016. Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. He studied art at Saint Raymond College and the School of Fine Arts in Barcelona. Vives-Atsara came to San Antonio in 1956. “Within twenty years, he became one of Texas's most distinguished artists. His use of a palette knife in painting allowed him to blend rich pure pigments into a powerful statement of color directly on the canvas”, says the J.R. Mooney Galleries. He was also the Artist-In-Resident at Incarnate Word College, San Antonio, Texas from 1959 to 1964. Although Jose Vives-Atsara has a collector base of international status, his beloved home of San Antonio offered many opportunities for success. Early collectors of his art included dignitaries, politicians, philanthropists, socialites, wealthy patrons, and the like. With such a strong base of supporters, his art began to circulate among the more esteemed public figures like former Texas Governor, John Connally and Soprano Opera singer, Dorothy Kristen. Vives -Atsara is currently represented in such collections as the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas and the State Capitals of many southern states of the United States. His work is also in many private collections in the United States, Spain, Mexico and Venezuela. Highlights of his decades-long artistic career include a city of San Antonio-initiated gift of two paintings to Pope John Paul II for the Vatican presented by Archbishop Patrick Flores in 1987 and painting acquisitions to the art collection of Juan Carlos, King of Spain.
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Jose Vives-Atsara, “Landscape Texas”, Oil on Canvas, 12” x16”
In 2013 I was fortunate enough to accompany Mr. Robert Mooney, former owner and President of J.R. Mooney Galleries of Fine Art, to the home of the late Jose Vives-Atsara, as a business invitation by the family. Mr. Mooney and I were able to catalog over 125 original artworks still in the family’s estate, including sketches and paintings; not counting the stacks, boxes, and archived prints and reproductions. With this excursion into the behindthe-scenes of Vives-Atsara’s studio, I saw the magnificent
masterpieces which were for the family’s home and collection; the best Texas scenes, the exquisite florals and charismatic portraits. This experience, along with selling his art while as an art consultant and gallery director cultivated my interest in his artwork and career. Speaking about his visual aesthetic, VivesAtsara remarks, “My using a palette knife – a spatula – happened accidently. The professors that taught me always used brushes. I experimented with the spatula, and I like the result; it added improved texture and spontaneity to my paintings.” Vives-Atsara’s love for art was as important as his love for America. Struggling to secure his visa, after a return home to Catalonia, Spain in 1958, he found himself unable to return. With family in tow, he was granted temporary status and was able to reenter into the warm climate of Texas. In showing his love for his adopted city of San Antonio, Vives-Atsara painted magnificent scenes of the Missions, Brackenridge “...Vives-Atsara Park, Sunken Gardens, the river and other picturesque images of the captured the essence metropolitan. In the biography, Jose Vives-Atsara: His Life and His Art, author, Nancy Glass West describes the mission paintings: “…San Jose Mission, Mission Concepcion, Mission San Juan Capistrano, Mission San Francisco de la Espada, and the Alamo (San Antonio de Valero)…Each mission has distinct architectural features and a unique history, but all five reflect San Antonio’s religious heritage. VivesAtsara captured the essence of each structure, displaying both his reverence for religious solidarity and his love for the Texas scene.”
of each structure, displaying both his reverence for religious solidarity and his love for the Texas scene.”
This statement by the author is very true in regards to one of the paintings that had been released on the private aftermarket - “The Season of Joy and Peace over San Antonio”, dated 1996. In this painting, Vives-Atsara delivers a wonderful composition of the Alamo Mission from the left side profile; outside the courtyard. Derived from and reflective of a similar art piece titled, “The Alamo”, created in 1966 and painted for his solo exhibition at the Witte Memorial Museum and donated to the city of San Antonio. In “The Alamo”, 1966, VivesAtsara painted the left façade of the mission as a background element in the composition. He places the viewer in the entrance walkway leading onto the grounds. There is a strong presence of a live oak tree acting as the anchoring element in the left side of the immediate foreground. The courtyard walls act as the middle ground, giving a visual break between the two layers of these depths of field. Fast-forward 30 years, and witness “The Season of Joy and Peace over San Antonio”. What is unique about this painting, one that is almost identical to its predecessor,
is the change of tonality. The artist has matured in technique and deliverance, adding another level of atmospheric distinction with the deliberate addressing of the Texas twilight. This newer painting is darker in overall tone. There is a glowing ember of rose colored light that seems to illuminate aspects of the painting; dancing across linear elements of the Alamo’s scalloped roofline, branches and rocks. Angelic white light seems to emanate from the white clouds on the upper right corner, radiating down onto the
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Vintage Insert Top: “The Alamo”, Jose Vives-Atsara, painted 1966. Reproduction of original painting. Plate Right: “The Season of Joy and Peace over San Antonio”, Jose Vives-Atsara, painted 1996.
“To be auctioned on Sept. 5, 1996 to benefit the Cancer Therapy and Research Center of San Antonio, Texas.”
Plate Above: Inscription on back dust cover of the “The Season of Joy and Peace over San
Antonio”, Jose Vives-Atsara, painted 1996.
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Jose Vives-Atsara, “The Season of Joy and Peace over San Antonio”, Oil on Canvas, 16” x 20”
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World Heritage site. The tree, walkway, and courtyard wall are all there, but there is something equally important. Painted behind the leaved branches of the live oak tree flutters the red, white, and blue pride of the Lone Star State – The Texas Flag. This instinctively clever addition to “The Season of Joy and Peace over San Antonio”, Vives-Atsara cements his dedication, pride, and unending devotion of patriotic endearment to the state that adopted him. Adding to the origin of this wonderful mission painting is the inscription on the back dust cover. Written in VivesAtsara’s own handwriting, he not only notes his signature, title, date created, and artist inventory number; we are given a side note of exhibition history. The caption reads: “To be auctioned on Sept. 5, 1996 to benefit the Cancer Therapy and Research Center of San Antonio, Texas.” Researching this painting, I can speculated that the painting was created specifically for this event on behalf of the UT Medicine and Health and Science Center, and that the family purchased it that night. This piece of the puzzle is very important when we discuss historical provenance and lineage of ownership to show importance of collectorship. Another importance aspect of “The Season of Joy and Peace over San Antonio” is the auction market for VivesAtsara’s mission paintings. Over the last 20 years (1997-2017), only two missions have seen recorded auction aftermarket sales. This is a distinct indication that they are very unique, coveted and seldom seen on the auction circuit. Sales of these historic paintings, if any, are speculated to only surface in private sales through active collectors. In those two auction records, both are years old, with nothing denoted in the current art market climate. And, of these two results, both surpassed auction house estimates; ending in sales of $10,980.00 and $17,500.00 respectively for mid-sized oil paintings.
Jose Vives-Atsara, “Wildflowers”, Oil on Canvas, 16” x 20”
Always a showman with great charismatic enthusiasm, Vives-Atsara solidified his name in Texas Art History, one that would cross oceans to international acclaim.
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Jose Vives-Atsara, “Camino A Las Casas”, Oil on Canvas, 9” x 12”
Jose Vives-Atsara, “Casas En Las Montanas”, Oil on Canvas, 16” x 20”
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Listing
www.bluestarartscomplex.com/map/
List of “Current� Galleries This is a listing of San Antonio art galleries, museums and creative spaces. The list, like the diverse art culture in San Antonio, is evolving. Please call or check websites for the most current information. Anarte 7959 Broadway # 404, San Antonio, TX 78209 (210) 826-5674
Artpace 445 North Main Avenue, San Antonio, TX 78205 (210) 212-4900 Gallery Hours: Wednesday-Sunday 12-5pm, and by appointment www.artpace.org info@artpace.org
Gallery Hours: Tuesday- Saturday 12-5 pm Bihl Haus Arts www.anartegallery09.com 2803 Fredericksburg Rd. San Antonio, TX anartegallery@me.com (210) 383-9723 Gallery Hours: 1-4pm Fridays and Saturdays Artistic Endeavors 134 W. Olmos Dr. San Antonio, TX 78212
or by appointment www.bihlhausarts.org
(210) 222-2497 Gallery Hours: Closed Sunday & Tuesday Open the rest of the week 11am-5 pm Denise Barron, Owner Jerry M. Hayes, Manager www.artend.com info@artend.com
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Blue Star Contemporary Art Museum 116 Blue Star San Antonio, TX 78204 (210) 227-6960 Gallery Hours: Thursdays 12:00 pm to 8:00 pm Fridays-Sundays 12:00 pm to 6:00 pm www.bluestarart.org
Charles Morin Fine Art Beuhler Fine Arts 6708 San Pedro Avenue, San Antonio, TX 78216 (210) 288-6544 Gallery Hours: by appointment only paulb@stic.net http://www.beuhlerfineart.com/ Home_Page.html
1020 Austin Hwy, San Antonio, TX 78209 (210) 368-9314, (210) 710-6305 Gallery Hours: Mon-Fri 10:00-5:30, Saturday 10-4 PM www.vintagetexaspaintings.com vintagetexaspaintings@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 http://www.cinnabarart.com/
(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
http://www.briscoemuseum.org/
Gallery Hours: Monday – Friday 9:30 am – 5:30 pm http://circa1800fineartgallery.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 http://www.katysilva.net/
http://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 https://www.facebook.com/flightSA/timeline
(210) 784-1179 Gallery Hours: Tues - Sun: 10 am - 5 pm, Mon: CLOSED http://www.tamusa-ecac.com/ ecac@tamusa.tamus.edu
Flop House 118 Lonestar Blvd. San Antonio, TX Gallery Hours: by appointment or special event https://www.facebook.com/pages/The-Flop-House-artgallery/143864483855
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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.
http://www.guadalupeculturalarts.org/contact-us/
info@inverarte.com http://www.inverarteartgallery.com/about.php
Hildebrand Art Gallery 735 West Hildebrand Ave. San Antonio, TX 78212
J.R. Mooney Galleries of Fine Art
(210) 854-0019
8302 Broadway Street San Antonio, TX 78209
Gallery Hours: Monday-Saturday 11-4 pm (usually)
305 S. Main St. Ste. 400 Boerne, TX 78006
http://hildebrandartgallery.com/contact/
(210) 828-8214 (SA) (800) 537-9609 (Toll Free)
High Wire Arts
(830) 816-5106 (Boerne)
326 W Josephine St San Antonio, TX
Gallery Hours: Hours: Mon - Sat 9 am to 6 pm (SA)
(210) 827-7652
Hours: Tues - Sat 10 am to 5 pm (Boerne)
Gallery Hours: by appointment only
www.jrmooneygalleries.com
Cindy Palmer, owner artist http://highwirearts.com/contact-us/
Lawrence Markey 311 Sixth Street, San Antonio, TX 78215
Hunt Gallery
(210) 228-9966
4225 McCullough Ave San Antonio, TX 78212
Gallery Hours: Tuesday-Friday, noon - 5 pm, and by appointment
(210) 822-6527 Gallery Hours: Tue-Fri, 10-5:30, Sat 10-3
info@lawrencemarkey.com
http://www.huntgallery.net/ Little Studio Gallery Presa House 725 S. Presa San Antonio, TX 78210 www.facebook.com/PresaHouse
418 Villita St # 2300, San Antonio, TX 78205 (210) 227-8893 Gallery Hours: Mon-Sat: 10:00 am - 6:00 pm http://fb.lavillita.com/ romabrit@juno.com
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The McNay
River Art Group Gallery
6000 North New Braunfels Avenue, San Antonio, 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
(210) 226-8752 Gallery Hours: Monday - Saturday 10:00 AM - 6:00 PM Sunday-11:00 AM - 4:00 PM http://www.riverartgroup.com/
Thursday 10 am–9 pm Saturday 10 am–5 pm www.mcnayart.org
REM Gallery 219 E Park Ave San Antonio, TX 78212 (210) 224-1227
NanEtte Richardson Fine Art
Gallery Hours: Fridays and Saturdays 12-6 PM
555 East Basse Road, Suite 105 San Antonio, TX 78209
Gallery Manager: Keith Onken
(210) 930-1343 Gallery Hours: Mon-Sat 10-5 http://www.nanetterichardsonfineart.com/
Gallery Assistant: Tessa Martinez remgallery@aol.com http://www.remgallery.com/?reload
NRFineArtGallery@aol.com Robert Hughes Gallery The Paint Yard 1216 Hoefgen Ave San Antonio, TX 78210 (210) 416-8092 (210) 229-1707 Gallery Hours: Tue-Sat: 12:00 pm - 8:00 pm Sun: 12:00 pm - 6:00 pm
875 E Ashby Pl. Ste. 1105 San Antonio, TX 78212 (210) 602-2495 (210) 846-6867 Gallery Hours: By appointment only http://www.roberthughesgallery.com/
scott.paintyard@gmail.com
info@roberthughesgallery.com
Parchman Stremmel Gallery
Ruiz-Healy Art
7726 Broadway Street San Antonio, TX 78209
201-A East Olmos Drive San Antonio, TX 78212
(210) 824-8990
(210) 804-2219
Gallery Hours: Tue - Fri, 10am- 5pm Sat, 10am3pm
Gallery Hours: Tuesday through Saturday 11:00 – 4:00 pm
Karen Calvert, Art Consultant Jenelle Esparza, Gallery Assistant www.psgart.com
Patricia Ruiz-Healy, Proprietor/Director Alana Coates, Associate Director Casandra Lomeli, Senior Gallery Assistant http://www.ruizhealyart.com/
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Listing
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@att.net
Sunday 11-4 (Navarro only) https://www.swschool.org/ exhibits@swschool.org
San Antonio Museum of Art 200 West Jones Avenue San Antonio, TX 78215 (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
Terminal 136 136 Blue Star St. San Antonio, TX 78204 (210) 458-4391 Gallery Hours: Thursday, Friday, & Saturday: Noon- 5pm http://art.utsa.edu/terminal-136
info@samuseum.org samuseum.org
3rd Space Art Gallery 141 Cassiano St. San Antonio, TX 78204
Saysi 1518 S Alamo St San Antonio TX 78204 (210) 212-8666 Gallery Hours: by appointment or special event http://saysi.org/
Gallery Hours: Open Every Second Saturday of the Month 7pm to 10 pm or By Appointment http://www.arttothethirdpower.com/3rd-space-art-gallery--6mm.html contact@arttothethirdpower.com
The Witte 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@wittemuseum.org
The South Texas Popular Culture Center
www.wittemuseum.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
http://www.stpcc.org
https://www.facebook.com/RGallerySTX/info/?tab=overview
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(210) 650-2243
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
https://www.facebook.com/Lucha.gallery/timeline
http://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
http://tatumoriginals.com/
http://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
http://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 http://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 afternoons
Gallery Hours: by appointment or special event
https://www.facebook.com/Barney-Smiths-Toilet-Seat-ArtMuseum-258301387544372/
https://www.facebook.com/Silkwรถrm-Studio-andGallery-451967248174995/timeline
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
https://www.facebook.com/MovementGallery/timeline
www.zollieglass.com
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Listing
Melinda Martinez Studio Gallery
Sala Diaz
628 S Presa St. San Antonio, TX 78210
517 Stieren St, San Antonio, TX 78210
210-328-1077
(972) 900 0047
Gallery Hours: by appointment or special event
Gallery Hours: Thus – Sat, 2pm – 7pm & by appointment
http://melindamartinezstudio.weebly.com/
Anjali Gupta, Director
melindamartinezstudio@yahoo.com
salad517@gmail.com http://www.saladiazart.org/
Gravelmouth Gallery 1906 S Flores St. San Antonio, TX
Equinox Gallery
Gallery Hours: by appointment or special event
418 Villita St, Bldg 4
http://www.gravelmouthgallery.com/
San Antonio, TX (210) 281-0706
Musical Bridges Around the World
Gallery Hours: Monday-Sunday, 10-6 pm
23705 W Ih 10, Ste 101 San Antonio, TX
Custom order requests by appointment.
(210) 464-1534
http://www.equinoxjewelrygallery.com/
Gallery Hours: Mon-Fri 10-5 http://www.musicalbridges.org/
1906 Gallery 1906 S Flores, San Antonio, TX 78204
Provenance Art Gallery 1906 S. Flores, San Antonio, TX 78204
https://www.facebook.com/pages/1906Gallery/170113056349644?fref=ts
Gallery Hours: Every 2nd Saturday of the Month, 7pm 10 pm and by appointment http://artandprovenance.blogspot.com/p/provenancegallery.html
Clamp Light Artist Studios and Gallery clamplightstudios@gmail.com
Mercury Project 538 Roosevelt, San Antonio, TX (210) 478-9133 Gallery Hours: Monday to Friday 9-5 Saturday and Sunday by Appt. mailto:aw@mercuryproject.net http://www.mercuryproject.net/index.html
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**List Compiled by Gina Martinez and edited by Gabriel Diego Delgado
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Press Release FOR IMMEDIATE RELEASE October 27, 2016
CONTACT Rudy Arispe: 210.438.2088 Kellen McIntyre: 210.383.9723
On and Off Fredericksburg Road Studio Tour Reaches 10 Year Milestone 70 Artists will Participate in Neighborhood Gallery Walk February 18-19 Bihl Haus Arts will celebrate the 10th anniversary of the On and Off Fredericksburg Road Studio Tour during the annual gallery walk from 11 a.m. to 6 p.m. Saturday, February, 18 and Noon to 5 p.m. on Sunday, February 19, in San Antonio’s historic Deco District. “The On and Off Fredericksburg Road Studio Tour is the longest running and currently the only annual, art studio tour in San Antonio,” Kellen McIntyre, Bihl Haus Arts executive director, said. “We have evolved tremendously since its inception 10 years ago. The event gets stronger each year.” “Fred,” as the event is known, is a self-guided tour of private homes, art studios and galleries of more than 70 artists, including painters, sculptors, photographers and metal smiths. In addition, more than 200 musicians, poets, and theater and dance groups help make this community event one of the most diverse studio tours in the nation. Last year, more than 2,500 locals and visitors walked, biked and drove up and down a 5-mile stretch of Fredericksburg Road to get a first-hand look at the artists working in their studios and to purchase their art, McIntyre said. Attendees can purchase either the hardcopy color catalog consisting of a map to help people plan their route, artist bios and an image of their work, or the online catalog for $10. For more information, visit www.OnandOffFred.org or call Bihl Haus Arts at (210) 383-9723. McIntyre, who has lived in the Monticello neighborhood of the Deco District for the past 20 years, was a founding member of the studio tour, which was created in 2006. Now in its 10th year, she envisions the art showcase as helping t brand and bring exposure and economic growth to the Fredericksburg Road Cultural Corridor. “I’m proud to say that there has been an investment and development in the neighborhood as an indirect result of the exposure that the Fred Studio Tour has provided to the area over the years,” she said. The Deco District, she adds, has become a hot spot for many of the Alamo City’s artists. In fact, all artists featured in Fred live and/or work in the surrounding Fredericksburg Road communities: Alta Vista, Beacon Hill, Jefferson, Keystone, Los Angeles Heights, Monticello Park and Woodlawn Lake. ###
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