News & Events

Garry Knox Bennett at Velvet da Vinci Gallery

 

Garry Knox Bennett: Full Circle 
October 1 – 31, 2014

American furniture maker, woodworker, and metal artist Garry Knox Bennett has been celebrated for his whimsical and innovative sculptural and functional objects for over 40 years. Garry Knox Bennett: Full Circle marks the California native artist’s 80th birthday this October, highlighting a body of new works made in the spirt of the 1960’s. Inspired by his background as a jeweler and metal plater, the show will feature 50 sculptural roach clips, a popular item sold at the artist’s historic San Francisco shop Squirkenworks almost 4 decades ago. For one time only, Velvet da Vinci turns from gallery to head shop, in honor of Bennett’s important historic and contemporary contributions to the Craft field.

Bennett’s work can be found in the permanent collections of the Museum of Art and Design in New York, the De Young Museum in San Francisco, the Mint Museum of Arts and Design in Charlotte NC, the Museum of Fine Arts in Boston, the Oakland Museum, the San Francisco Museum of Modern Art, and Washington DC’s Smithsonian American Art Museum’s Renwick Gallery. A graduate of the California College of Arts And Crafts, Bennett was featured in a solo retrospective exhibition at the Museum of Art and Design in New York City in 2001 and has been the recipient of numerous awards such as the Smithsonian Museum’s Renwick Alliance Award (2011), the Furniture Society’s Lifetime Achievement Award (2004), the American Craft Council College of Fellows (1996), and the Merit Grant National Endowment for the Arts (1984). The artist has lived and works in Oakland, CA for nearly 40 years.

More information here.

Nicole Chesney in the Wall Street Journal

 
Journal Reports:
Art Glass Offers Clear Advantages to Collectors
Dealers and Collectors Say There Are Opportunities at All Points on the Price Spectrum
 
Read the article here.

Mary Kocol on Lenscratch

MARY KOCOL: ICE GARDEN

"There is an interesting phenomenon when a loved one passes.  Often there are physical talisman’s that are with the person in their last days that become touch stones for memory.  For my mother, I plucked gardenias from a bush in my garden and placed them on her pillow, knowing that she loved the fragrance.  I never pass that plant without thinking of my mother. For photographer Mary Kocol, it was the  flora of her mother’s garden.  Her beautifully frozen flowers are a testament to not only her mother’s memory, but to the fragility and beauty of life."

Continue reading here.

 

Lana Z Caplan News

 

Lana Z CaplanFirst Corn of the Summer, Highland Lake, ME

 

Latest: Lana Z Caplan has started to post a theme per week on her Tumblr. The theme last week was "End of Summer Road Trips" and this week is "Summer Nights."

August: Interview with Lana Z Caplan on 365artists365days

             Lana Z Caplan's photos in Oranbeg NET 07/Oranbeg NET 08

July: Lana Z Caplan on L E N S C A T C H: Summer Fun Exhibition

June: In Conversation: Nelson and Caplan: Big Red & Shiny

 

 

Joo Lee Kang and Peri Schwartz in The Boston Globe

GALLERIES

Patches of color

By Cate McQuaid

  | GLOBE CORRESPONDENT   SEPTEMBER 09, 2014

 

Peri Schwartz also dodges nimbly between representation and abstraction. Her paintings at Gallery NAGA depict interiors of her own studio, which melt into planes of pungent color.

Like Friedman’s “Flight” series, “Studio XXXV” feels more about the artist’s choices than it is about any objective reality: hovering swatches of tangy orange and icy blue, a clean black block, its top streaked with verticals. Perhaps they’re book spines. Schwartz uses every patch of color to build a sense of space, yet the patches themselves look flat and deliciously smeary, as if on her way to pictorial depth, she fell in love with a particularly bright and sensuous dollop of paint.

Where Schwartz’s work is sunny and spacious, Joo Lee Kang’s is dark and intimate, and nearly colorless. Kang also has a show at NAGA. She draws mutant animals and insects among still lifes with shells and plants.

Kang’s work grows ever more detailed and precise. It’s strange, then, that her drawings of animals seem to play fast and loose with proportion. I don’t think the lamb (or goat?) with extra legs is truly close to the size of the featherless rooster in “Still Life With Shells #1.” The mutations are disconcerting enough; the odd sizes just feel off.

The same may be true of her creepy and wonderful insect drawings, but only an entomologist would know. The bugs often appear to merge with the cut flowers, as if there are no natural boundaries. In “Still Life With Insects #4,” an insect with huge black eyes sprouts from a blossom like a bug-eyed jack-in-the-box. Pieces like this feel reminiscent of Dutch and Flemish still life paintings of rotting feasts, fed upon by flies — only Kang puts it all under a microscope.

 

Pages