BOOK SIGNING WITH SARASOTA ARCHITECT CARL ABBOTT FAIA

Friday, March 29, 2013 (2pm-5pm)
Barnes and Noble, Sarasota

The work of locally-rooted Architect Carl Abbott FAIA has been published by ORO Editions internationally in a 256-page hard-cover book full of breath-taking photography of selected projects from the Architect’s repertoire.

Friday, March 29, 2013 (2pm-5pm)
Barnes and Noble, Sarasota

Internationally noted Architect Carl Abbott will sign books on his work at the Sarasota Barnes and Noble Friday March 29, 2013 from 2 ‘til 5 pm.

published by O R O Editions
published by O R O Editions

In/Formed By the Land, features the award-winning Architecture of modernist Carl Abbott melding his interests in ancient design concepts, sculptural forms, and the ever- changing dance of light and Nature.

The work of locally-rooted Architect Carl Abbott FAIA has been published by ORO Editions internationally in a 256-page hard-cover book full of breath-taking photography of selected projects from the Architect’s repertoire. Friday March 29th, the Architect will be at the Sarasota Barnes and Noble at 4010 S. Tamiami Trail, Sarasota, FL 34231, to sign books and speak with fans interested in modern architecture and its local roots in the Sarasota School of Architecture. Abbott’s book ‘IN/FORMED by the LAND: The Architecture of Carl Abbott’ has just been released and will be available for sale at the event.

Abbott received his degree from UF and his Masters Master’s under Paul Rudolph at Yale then worked in Hawaii, in New York with I.M. Pei, and in London with Yale classmates Richard Rogers and Norman Foster. He became part of the recognized Sarasota School of Architecture — for over four decades the firm has been one of the most highly awarded in the Florida /Caribbean Region.

Sarasota Barnes and Noble at 4010 S. Tamiami Trail, Sarasota, FL 34231

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Interview with Yolanda Sanchez

Cuban born abstract painter, Yolanda Sanchez, earned an MFA from Yale in the mid 90’s, 15 years after earning a Ph.D. Clinical Psychology from Florida State. While at Yale, she studied with the British painter, John Walker, who became a mentor, and with Andrew Forge and David Pease, among others.

Currently, Yolanda lives and works in Miami Beach, Florida and her work joins 16 other contemporary abstract painters as part of Selby Gallery’s newest exhibition Abstract, adj.: Expressing a quality apart from an object opening Friday, February 22 – April 3, 2013 at the Ringling College of Art and Design. Below, Tim Jaeger interviews Sanchez about her work, process, and abstraction.

Yolanda Sanchez, Something in the Air, oil on canvas, 2012, 70" x 60"
Yolanda Sanchez, Something in the Air, oil on canvas, 2012, 70″ x 60″

sVA: For those who have a hard time understanding abstract art, what is it?

YS: I am sure there are many definitions of “abstract art.” I like to think of it as a simplification, a sort of “boiling down” to what is essential. One can also think of it as a synthesis or condensation of an image or feelings or events, which in turn, are translated into a composition based on relationships between color, marks and/or shapes. For some artists, this definition would not even apply as some artists believe that abstraction is wholly devoid of content. My work, however, is, in fact, loosely based on the natural world – but “abstracted” or condensed into a series of marks and gestures that, together with color, create the work.

sVA: Why did you choose abstract as your creative style of choice?

YS: I think that abstraction chose me! For a long time, I was a figurative painter, but gradually, I came to feel that working figuratively was limiting for me – that I could do more or say more of what I wanted by working abstractly. The change was made gradually, however. Over time, and little by little, I began to eliminate the recognizable imagery, until it disappeared. It took a while to feel comfortable with this. Abstraction allows me a great deal more freedom to work with the tools I have – color, light, mark and gesture – and to some extent, facilitates more of a dialogue with the viewer – it allows the viewer greater opportunity to enter into interaction with the work, to project their own interpretation of what may be going on. I am influenced by calligraphy, poetry and Asian painting primarily in terms of mark-making and the handling of space. Abstraction allows me to integrate these influences in a non-literal way. I am not trying to make paintings that look Asian, but rather I want to access the invisible forces that drive that particular aesthetic.

sVA: Describe your creative process.

YS: Making art for me is a way of paying attention, of being more present in the world. It is my desire to become a more “finely tuned observer” and to live more in the moment. My work is primarily driven by color and I usually start with a certain palette in mind, although color may change as I work. My work is process-oriented – meaning that the work evolves as it is made. In other words, I create the work as I do it. I let the painting speak to me and I never really know where it will end up. Some works come about easily; others are more hard-won. I wish I knew what conditions lead to one or the other, but I don’t! My work is spiritually based to a large extent, and thus, being in the right frame of mind is very important. Sometimes I meditate before I start to work or I will read poetry. Poetry is a key element to my work – it is another portal to what I want to access – as is calligraphy and dance. I am interested inmovement (I had early training in dance), and how movement and stillness relate to one another (this is what calligraphy and dance have in common.)

sVA: Do you think that painting abstract allows you more freedom?

YS: Working abstractly allows me to create a space that is fluid, impermanent and changing; it leaves something that is unsaid and that is incomplete. I like the idea of something being “incomplete” as it makes the work more interesting and permits the viewer to complete the work.

sVA: Abstract art evokes a lot of emotions through color and composition. Can you tell us how you use color and composition to evoke emotion in your pieces?

YS: As I said above, my work is primarily steered by color, mark and gesture. These are my tools to communicate what I desire. Of the three, color is most important to me and it is the essence of the work. I do not form particular associations of color to particular emotions. These relationships are open-ended and different for each painting. My use of a certain shade of pink for one painting does not necessarily crossover for another painting. White is a key “color” in the work and it has a positive presence. The composition itself – the relationship between the painted and unpainted spaces (white) and the accumulation of marks – also plays an important role in conveying a distinct feeling or emotion. The work, as I said, is a condensation of feelings or experiences. The work is not about language nor does it necessarily want interpretation – but aims to achieve a sensual, visual pleasure.

In some ways, I am trying to create an intermediate space that is really between inner and outer worlds. I am, in a way, painting “the in-between” and once labeled an entire show “Meditations on the Between.”

sVA: What has been your greatest difficulty as an abstract artist and how did you overcome it?

YS: I think the biggest challenge in making abstract art for me was to really grant myself the freedom that it tolerates. There is a certain safety in painting figuratively. Painting without a lot of structure is sometimes harder than you would think. This continues to test me. Also, I am constantly striving for simplification, and yet, my works have a complexity to them that I believe really reflects who I am. As I evolve, I hope that my work will follow. You show your true face in your work – it is inevitable.

sVA: What is next for you?

Ys: I have several series in mind at the moment. One idea comes from a book entitled “Music of Silence” in which the hours of the day are given special, sacred significance (as they are in a monastery). Each hour has an individual character and presence. The challenge is to interpret this – in a non-literal way – and to make works that convey the essence and message of each hour.

Want to see more of Yolanda Sanchez’s work?

http://www.markelfinearts.com/artist/Yolanda_Sanchez/works/
http://www.jjohnsongallery.com/artist-page/yolanda-sanchez.html

Feb. 22 – April 3, 2013
Contemporary Abstract Painting
Selby Galleries I & II: The resurgence of Abstract Painting in contemporary art provides this opportunity to explore current trends in relation to the historic movement through the exhibition of eight working painters ranging in age from their thirties’ to their eighties’ who are inspired by nature, music, mathematics, the spiritual and new media.
• Artists Talk and Preview: Thurs., Feb. 21, 7 p.m.
• Opening Reception & Performances: Fri., Feb. 22, 5-7 p.m.
• Director’s Tour: Mon., Feb. 25, 11:30 a.m.

Installation-Abstract, adj.- Expressing a quality apart from an object
Installation-Abstract, adj.- Expressing a quality apart from an object

Cassia Kite solo show at Palmetto Art Center

October 5 – October 30, 2012
Palmetto Art Center, FL

On Friday evening, October 5th, from 5 – 9PM, PAC invites the public to come see ROOTS: The Regeneration Series — new works based on Cassia Kite’s passive and active emotional declination of her past.

October 5 – October 30, 2012
Palmetto Art Center, FL

On Friday evening, October 5th, from 5 – 9PM, PAC invites the public to come see ROOTS: The Regeneration Series — new works based on Cassia Kite’s passive and active emotional declination of her past.

“It is my hope to bring a resolve to intense feelings of nostalgia that create grievances between my present existence and my past experiences” says Kite. “Although I cannot recover past experiences, return to places I have a longing to be, or communicate physically with individuals that have influenced me, I can recall and regenerate them to the canvas in an attempt to construct these sentimental, fleeting memories from my past to the present.”

Cassie Kite was born and raised in Auburn, Nebraska and attended Northwest Missouri State University earning a B.F.A in painting and sculpture, along with a B.S in Art Education. In the summer of 2006, Kite moved to St. Petersburg, Florida from Atlanta, Georgia to work with both the Museum of Fine Arts and the Salvador Dali Museum.

In Homage To: Origins, Cassia Kite

As an art educator, Kite previously taught K-5 art within the Pinellas County Public School System between July 2006 and June 2010. She completed a Masters in Curriculum and Instruction, with an emphasis in School Improvement, Teacher Leadership and Technology at the University of Florida in December 2010. Currently, Kite is the Painting, Printmaking and Modern and Contemporary Art History Instructor at IMG Academy in Bradenton, Florida. She resides in Sarasota where she continues to work in her home studio.

Cassia Kite’s solo show’s Opening Reception coincides with Historic Downtown Palmetto’s family friendly and increasingly popular “First Friday.” Slick’s Car Garage will also be open with classic cars, bikes and rockin’ tunes. For those who cannot attend the opening reception, PAC Gallery is open Monday – Friday, Noon – 2PM, closed on Wednesdays. The show will continue through October 30th.

PAC is located in historic downtown Palmetto at 907 5th Street West – right next door to Growers’ Hardware. For more information or directions, visit PalmettoArtCenter.com or call (941) 518-2109. Free admission, family friendly and most welcoming to all.

The Palmetto Art Center is located at:
907 5th Street West, Palmetto, Florida, 34221.
Right next door to Grower’s Hardware Store

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Box on 5TH presents BOX: 3

September 15, 2012
Box on 5th, Ybor City

Ybor City’s newest arts space, Box on 5th, kicks off their fall season with BOX: 3, a group exhibition opening to the public on September 15. This is the third exhibition at Box on 5th, featuring paintings and works on paper by George Anderton, Zesch Fallon, and Anthony Record.

Anthony Record, Prayin’

The opening reception takes place Saturday, September 15 from 7:30 to 10 p.m. at Box on 5th (1801 E. 5th Avenue, corner of 18th Street, Ybor City). Additional gallery hours are available by appointment.

Box on 5th is an art space and lounge located in historic Ybor City, Florida, dedicated to highlighting local emerging and mid-career artists through exhibitions, events, and private parties. Box on 5th promotes artists working in all media and organizes exhibitions that engage the community while providing a refreshing new venue for art, books, and discussion.

The Bluebird Books Bus traveling literary will also display a curated selection of art books throughout the exhibition schedule. Free admission and beverages available. For more information, please email or boxon5th@gmail.com.


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You Have One New Message by Danny Olda

Street Art brings more than just irreverence for private property and leaves more than only trite scribble. The Morean Arts Center featuring twenty Florida-based artists from various points on the street art continuum.

by Danny Olda

It’s a curious road from graffiti to street art. A blank wall sans ownership or permission may be a common canvas to both. Street Art, though, brings more than just irreverence for private property and leaves more than only trite scribble. The Morean Arts Center’s current survey of Floridian Urban Art is aptly titled Leave a Message: Urban Art in Florida. The exhibit featured twenty Florida-based artists from various points on the street art continuum.

Tes One
Tes One, Call Waiting, 2012, Mixed Media

From the graphic design end of the continuum: a couple of pieces seemed to gain inclusion to the exhibit merely because of a street art aesthetic rather than Leaving any real substantive Message. In a way, this may have well been the intention of the curator, though. Southern California’s style of street art which has evolved in the Low Brow art movement and design style has a particularly strong foothold here in Florida. The Morean Arts Center’s exhibit isn’t so much a survey of Floridian artists as a survey of street art in Florida. In this context, its commercial use can’t be ignored.

Bask
Bask, Bask in Your Thought Crimes, 2012, Mixed Media

Perhaps the most interesting facet of the show is what is most interesting about street art exhibits in general: the tricky move from the brick wall to the gallery wall. The simple change of context from street to gallery has always been a touchy one. Even legendary street artists such as Banksy or Shepard Fairey risked relinquishing any and all cred simply by exhibiting in an institutionally accepted setting.

Street artists can ignore the implications of exhibiting in a proper gallery, put up a mural on the dry wall that any other day would’ve been on a brick wall and yet achieve desirable results. The best work in the exhibit, though, addresses the potentially pretentious gallery setting.

Dolla
Dolla, Untitled, 2012, Spray Paint with mixed media

This is readily seen in Allen Leper Hampton’s wonderfully witty sculpture Big Black Diamond. The sculpture is in the shape of a thirty-six inch brilliant cut diamond. While the diamond screams materialism and wealth, the materials it appears to be made of are more closely associated with homelessness: cardboard, tape, black paint. Hampton’s other two pieces featured in the show are priced $500 and $250. Big Black Diamond, however, carries a price tag of $10,000 – more of a statement than an actual cost. It’s easy to grasp what Hampton may be getting at about fetishizing over art objects and growing class gaps.

Allen Leper Hampton
Allen Leper Hampton, Big Black Diamond, 2012, Big black diamond

Big Black Diamond also illustrates the best of street-art gallery exhibits. The sculpture fits the street art label, but not because it’s spray painted or makes use of stock street art imagery. Big Black Diamond pulls its street style out of its irreverence and subversive nature.

Allen Leper Hampton
Allen Leper Hampton, Girl, 2012, Aerosol

Poverty, wealth, sex, boredom, rebellion, – we got the message. The thoughts on the minds of wall-writing-youth are heavy; they’ve outgrown graffiti and into street art. Leave a Message managed to show that not only is the medium impossible to ignore, but the message foolish to overlook.

Tes One
Tes One, Watercolors, 2012, Acrylic on wood panels

Danny Olda is our Tampa Correspondent and publisher of
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Morean Art Center
719 Central Avenue St. Petersburg, FL 33701 / (727) 821-5623

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