Sculpture Source

Jane Woolverton working in her studio.

Since the middle ages, owning tapestries has traditionally been a sign of aristocracy or even nobility.  They represented the education and pastimes of the privileged elite.  Whether illustrating biblical and mythological scenes, or the thrills of the hunt, these wall hangings were steeped in the history and myths of their time.  Jane Woolverton’s latest works in Festive Remnants are not inspired by Ovid or Moses, nor do they even have warp and weft, but they can be considered tapestries.  What’s more, they perfectly reflect the sensibilities of this day and age just as their predecessors did.

Light playfully bounces through one, two or three successive sheets of deceptively atmospheric layers.  The layers cast shadows on the back wall that are almost as energetic as is the wildly colored plastic fabric itself.  They seem to vibrate with the anticipation of telling us their narrative – not of past gods, unicorns and hunting dogs, but of abstraction, energy and a still yet to be defined future.  As in the piece, “4th of July,” the explosion of red, white and blue symbolically reflects an age of dynamism and change.

One first sees the textile association, and the repeated, but ever-changing patterns; a pleasing riot of colors, or a more subtle translucent veil, depending on whether Woolverton has painted the plastic refuse or left it as she found it.  Upon approaching –and these are indeed very approachable- the material used suddenly comes into focus: recycled six-pack holders held together with plastic filaments.   It has become fashionable to use recycled materials in sculpture, but Woolverton surprises because she is able to transcend the material not simply into other shapes or functions, but into another emotional place.

The works in Jane Woolverton’s, Festive Remnants, yearn to tell us a narrative unlike those ever found on the woven wall adornments of previous ages.  It is one of energy, playfulness, fluidity and change.  What tapestry could be more reflective of this day and age?

Since they are so incredibly difficult to capture photographically, come and see them in person!

Sculpturesite's Booth at LA Art Show

Can you really distinguish yourself when you are but one of 110 galleries in a show of over 15,000 works of art from a myriad of genres including painting, sculpture, works on paper, photography and video?  Is it possible to stand out in a crowd of an estimated 35,000 serious collectors and dedicated art enthusiast all buzzing around a 720,000 sq/ft convention center?  Sculpturesite Gallery answered those questions at the FADA LA Art Show with a resounding – yes, you can!

The event started inauspiciously with rain, rain and more rain.  On average, the sun shines on Los Angeles 338 days a year. Sunny Southern California did not, at first, live up to its promise.  However, while it tended to dampen a few heads and shoulders it could not dampen the enthusiasm of the thousands who attended.  And when the flood of water finally receded on Saturday, the flood of people arrived.  John Denning and Brigitte Micmacker, the owners of Sculpturesite, were more than ready to receive them.

Word spread quickly.  There was a booth near the food court, open at three sides, perfect for foot traffic, which was meticulously planned and presented.  It looked more like a gallery than a booth.  In conversational circles of attendees, Sculpturesite’s space was called “the best booth for sculpture,” and while there, you could see “the best works in the entire show.”  Said another attendee: “your booth is such a breath of fresh air – so lively and light.” It was obviously attracting attention.

“Dark Blue Rain-Curtain”, a massive, yet delicate cast glass piece by Mary Shaffer and “Summer”, a hyper-realistic swimmer resting on an inner-tube (both in meticulously painted resin) by Carole Feuerman were described by many as show stoppers.  The same could be said for the majestic Jeffery Laudenslager kinetic piece, “Hokusai.”  It had a prominent place in the middle of the food court -but will soon relocate to its new permanent home in Malibu.  The rest of the collection was wonderfully varied allowing something for everyone.  Jane Woolverton’s delicate recycled, plastic tapestries played off the monumental material and feel of Benjamin Brown’s steel and glass and Hans Van de Bovenkamp’s bronze.  Brad Howe’s playful mobiles stood in perfect contrast to the elegant pieces of Clement Meadmore.  These sculptures did speak for themselves but for those who wanted more, Mary Shaffer, Carole Feuerman, Jeffery Laudenslager, Brad Howe, Benjamin Brown and John Denning were all present to talk about their work.

All who attended had a memorable experience.  We at Sculpturesite greatly appreciate all who attended. If you would like more information on any of the works or artists you saw, please let us know. If you were unable to see the show, we will be glad to send more photos. And please stop by Sculpturesite Gallery.  Many of the pieces that we displayed at the LA Art Show are now currently on exhibition in San Francisco.  We will see you soon!

Toxic paint fumes, heavy metals, and frequent trips to the landfill are some of the negatives that have historically come with the territory of creating art. However, “the times, they are a-changin.” A new breed of artist is emerging who is concerned with global warming while remaining committed to crafting fine art of the highest caliber.

A New Leaf Gallery is currently featuring two such vanguard artists’ works.

Gale Hart, a Sacramento-based artist who creates innovative functional sculpture influenced by contemporary graphic design, is passionate about making art that is kinder to the environment. This sensibility has permeated her work throughout her career.

“The opportunity for artists to be green is out there: what’s lacking is the commitment,” states Gale. “It’s too easy to be toxic.”

Gale uses 95% production remnants and scrap steel in her work because new steel fabrication is one of the world’s worst polluters: the extraction and production process destroys landscapes, pollutes waterways and blackens skies with toxic smoke.

Equally alarming, since most new steel is now produced in China, its “embodied energy cost,” or quantity of non-renewable resources used to create and ship the product to the United States, is one of the highest among the most commonly used fine sculpture materials.

To mitigate this negative environmental impact, Gale uses recycled steel sourced locally in Central California. She picks up a load at a time, traveling a distance of less than 100 miles and saving the 7000 miles required to ship new steel from Shandong Port in China to the Port of Oakland, CA.

Gale is in the process of completing the green picture by transitioning the finishes she uses on her work from spray paint and latex to water-based paints with an eco-friendly clear coat.

“It’s a constant struggle to be mindful and do without petroleum products, but it’s absolutely the right thing to do.” Gale says.

James Woessner is a Sausalito, CA-based artist with a completely different product but equal passion for environmental sustainability. By repurposing materials in new ways to create his whimsical, colorful figures, James starts with the three R’s of environmental consciousness (REduce, REuse, REcycle) and adds a fourth: REplace.

James’ new collection entitled “Floating Heads” utilizes found objects that wash up on the beachfront near his houseboat studio on the San Francisco Bay waterfront. His sculpture “Regina” is fabricated from a cast-off Regina floor sweeper, wooden kitchen spoon, tray handle, bamboo skewers, and rusty pieces of metal.

“Old Flattop” communicates a green message by using a men’s shoe heel as an ear and a fork as a nose, anchoring the whole arrangement with 400 copper nails gathered from the beach in  Sausalito. His “Aviso” makes clever re-use of a hammerhead, saw blades, and a gas cap.

James says, “True art is a response to the imagination, which can never be allowed to stagnate.” Like the ebb and flow of ocean currents in the Bay, or the steady movement from mindless waste to eco-consciousness in our society, James innovative approach to “worthless” materials keeps his work fresh and constantly innovative.

Please visit A New Leaf Gallery to view Gale Hart and James Woessner’s latest eco-friendly work.

You’ve browsed the Internet, visited several gallery websites and have located a piece of sculpture that you absolutely love. Problem is…you know nothing about the gallery selling the piece.

By asking yourself some questions to help gauge the overall quality and professionalism of the gallery, you’ll be more likely to enjoy a positive overall art-buying experience. Following are a few questions a potential online sculpture buyer may want to ponder:

Quality website
Is the gallery’s website well-organized and easy to navigate? Do pages load quickly, without errors? Is the content timely, without typos and out-of-date information? Are works displayed professionally with well-shot, high-quality images, multiple image views, dimensions, descriptive text, and pricing?

These are all signs of a professional gallery that takes its online business seriously. The gallery devotes staff time and resources into making the online experience easy and informative for the buyer.

Staff professionalism
Do gallery staff respond promptly, efficiently, and cheerfully to your emails and calls? This demonstrates the efficiency and organization of the gallery, and is a good indicator of whether the purchasing and shipping or delivery process will be smooth and worry-free.

Helpfulness and hard work
Do gallery staff provide detailed, complete answers to your questions? Are additional photos and information about the piece you’re interested in enthusiastically provided? Are staff willing to contact the artist directly to get clarification or more detailed information for you?

Extensive follow-up and personal assistance indicate a desire to ensure you have all the data required to make a thoughtful, educated purchase instead of an impulse buy that may be regretted later.

Mutual understanding and trust
Can gallery staff clearly articulate your needs and constraints, including your price range, time frame, desired style, and any concerns you have about art placement? Are other options in different price ranges presented for your consideration? Are staff knowledgeable about art, and genuinely enthusiastic about your inquiry? Do staff suggest sculpture offered by other venues which might also be of interest?

These are signs that the gallery is listening to what is important to you, and that your best interests and long-term satisfaction are being taken to heart.

To make a purchase you will be happy with over the long term when buying sight-unseen, you need to trust the gallery’s art knowledge, ability to understand and respond to your needs and finesse at “matching” the best piece of art with those needs.

Visit A New Leaf Gallery and Sculpturesite Gallery’s websites, or call and let us know how we can assist you in acquiring the perfect sculpture.

Often, visitors to A New Leaf Gallery are surprised to learn that many sculpture collectors are “window-shoppers,” but not in the traditional sense of the word. Many collectors nowadays locate, evaluate, and even purchase artwork over the Internet.

Sculpture is offered online through a variety of sources: sculpture studios and cooperatives, auction houses and non-profit auctions, art retailers and portal sites, and art galleries. Each virtual venue has its benefits, but eager shoppers also need to be wary of the potential pitfalls of buying sculpture online.

Although buying direct from a sculptor or co-op may seem appealing, your selection will be limited to the work of that particular artist or group of artists. Evaluating different choices will necessitate visiting a number of different artist sites. This can be a time-consuming and frustrating process since many (but not all) of these sites are non-intuitive to use and can be poorly executed.

Buying successfully at an online auction requires some saavy. To avoid overpaying or acquiring a piece you will be unhappy with later, you need some knowledge of the sculpture market, as well as up-to-date information on the valuation of the work that caught your eye. And you may have difficulty locating a piece that interests you, since sculpture offerings at auction are few and far between.

Art retailers and portal sites do sell a vast collection of art. The problem to watch out for here can be quality. Very often, the profit motive far exceeds the quality of the work being offered. If you are looking for gallery or museum-quality work, you may be better off looking elsewhere.

Of course I’m biased, but I believe that the benefits of purchasing online from a gallery are several. For one, a lot of the legwork involved in locating sculpture in a style and medium you enjoy has already been done for you. A gallery acts as curator, selecting only the highest-quality work of leading artists from all over the world. If you see a few works that appeal to you on the homepage, you will often appreciate most of that gallery’s selections.

When purchasing from a reputable gallery, the staff will work hard to represent your interests as well as the artist’s.  You can be assured that the price of your favorite piece is representative of its true value in the marketplace, because gallery staff are both art market experts and shrewd businesspeople. They work with artists to price their pieces in a way that accurately reflects their value and does not take advantage of the customer.

Gallery staff act as go-betweens before, during and after the transaction. By working with a gallery, you will gain an objective, 360-degree picture of the piece you’re interested in purchasing. Staff associates will do research on your behalf on the medium, process and maintenance of the piece you’re considering, and can suggest other works that may be of interest to you. They can broker a commission of a unique sculpture created just for you. And their familiarity with packing, crating and shipping will make sure your selection arrives at your door quickly and intact.

Most of the sculpture offered for sale at A New Leaf Gallery and Sculpturesite Gallery’s websites can still be shipped for Christmas delivery: visit us today!

Detail of "Grieving," by Jerry Ross Barrish

We participate in consumption – the satisfaction of wants resulting chiefly in destruction, deterioration, or transformation.  The objects we create experience consumption – the progressive wasting away of the body. It is an efficiently detached relationship.  Whatever emotional connection, if any, to our belongings we have, eventually they lose their hold on our attention and we consign them to landfills or the depths of the sea.  We have little time for empathy when ephemerality is the standard.  But some of these castaways are resilient.  They push against our enmity.  They resurface or wash ashore.

This is when Jerry Ross Barrish finds them and breaths life into the inanimate. This is not creation ex nihilo but creation ex vetus adveho novus – out of the old comes the new.  They combine and reconstitute into more than the sum of their plastic parts while still maintaining the markings and scars of their former life.  Bent, distorted industrial drainage tubes, series 73681-82000, become a subtle set of controposto hips and legs.  “Made in Mexico” containers transform into a hunched torso. The curve of a misused snorkel creates a cradling arm and hand.  A cratered and scuffed toy ball marked “Supper Tuff” is a makeshift, downcast, mournful head.  Refuse - discarded, unwanted, isolated – reconstitutes itself through anthropomorphic redemption.  But this is not all.  Barrish has one more act of transformation and transcendence.  As if in defiance for the once consumed, he has cast several of these assembled detritus into bronze.  Ephemerality is now corporealized.  Ironically, decay is permanently preserved. Long after the consumers themselves have passed away through consumption, those who were once the objects of consumption will live on.

Through this multi-layered transformation, Barrish requires a reconsideration of human empathy.  His objects of castaway materials take on the form and likeness of those who have discarded them.  But they are more than human in form.  They are also human in substance.  Feeling. Emotive. Empathetic.  Despite their lowly genesis, they have transcended their own fleeting material by communicating the very thing that was originally denied them.  They have the last laugh.  Yet, these do not seem to have the disposition of vengeful irony.  They remember their humble history.  They do not gloat.  They look back on us and give in the face of thoughtless waste.  They were treated apathetically yet they reveal what can be of highest nobility - emotion. Joy. Sorrow. Play. Contemplation. The desirable attributes of the consumer have been mastered by the consumed.  Roles have reversed.

At A New Leaf Gallery and Sculpturesite Gallery, we represent more than a few women artists. While most of their work elicits admiration and appreciation, it is sometimes amusing, sometimes frustrating to notice the reactions to pieces by three of these women in particular.

Gale Hart and Lin Emery both create metal sculpture. Lin crafts exquisite kinetic creations of folded, finely welded aluminum. Gale works in reclaimed steel and stenciled automotive paint to turn out pieces with a more industrial bent.

Since both artists have gender-neutral names, visitors are often surprised to learn that these talented metalworkers are women. Comments ranging from, “But it’s so well-engineered, I thought the artist was a man,” to “Is she a big, brawny sort of gal?” have provoked a few (secretly) rolled eyes and playfully tactful comments along the lines of, “You know, sometimes we gals like to play with fire, too!” from our staff.

In contrast, Jane Burton’s large-scale ceramic work deals with the complex and often contradictory themes of womanhood. Sgraffito journal entries applied in oxides to elongated nudes with angel wings (Diva), metal halos (Aura) and golden removable breasts (DD: The Trophy Wife) embody each piece with a personal and very feminine spirit.

Reaction to Jane’s work usually falls along gender lines. Women typically love the pieces, as they communicate the experience of being a woman in a direct, universal language.

Men can be drawn to Jane’s sensual figures, but others show a neutral reaction to all but DD: The Trophy Wife. While women burst into peals of knowing laughter upon seeing the, uh…ample and perfectly shaped golden breasts dangling from a ribbon around the figure’s neck, men either guffaw self-consciously or re-focus everyone’s attention by commenting on an adjacent piece.

We would love to hear from you if you have experienced similar reactions to breaking traditional gender roles in the art world.

Sculpturesite Gallery

Brigitte Micmacker: Bella and JP, this is your first joint exhibition, although you have worked together for nine years and have even been called the “odd couple”. How did your relationship begin?

Bella Feldman: In 2000 I had a sequence of three exhibits in different parts of the country.  I needed more help than the assistant I had then, Chris French.  I asked a former student if she knew anybody and she sent JP my way. He was only hired on a temporary basis but, when I returned from a much needed vacation, Chris who had been with me for four or five years decided to leave and so JP fell into the job.  He turned out to be the best assistant I have ever had.

B.M.: Bella, when you began exhibiting as a sculptor thirty-five years ago, as well as when you established yourself in a long career as a professor, and as the chair of the sculpture department at a major art college, beginning in 1965 in a field then mostly entirely dominated by men, what did you have to do to be considered a respected professional, and not a “woman sculptor”?

Bella: I needed to be desperate enough for the job to endure the insults in the then all-male Sculpture Department. When the head of my department tried to get rid of me so he could give my job to a male protégé of his, I had to take the case to the then Board of Equalization which dealt with cases of discrimination.  I won. His successor managed to get rid of the entire department in order to hire his own.  I stood my ground tenaciously. When he resigned in a pique I became Chair.  But for 20 years I had to deal with the man’s hostility in as civilized a fashion as I could muster.  My endurance was fueled by the research which showed there wasn’t a woman teaching sculpture within a 100 mile radius of my home.  It was considered a male profession.  I continued to teach and to exhibit with considerable acclaim and that won me respect as a professional.

In 1996 I was awarded an exhibition at the Fresno Museum “California Woman Sculptor of the Year.”  My 8 year old granddaughter when she came to the opening looked at the sign and, without prompting, said “If it was a man artist, they wouldn’t have written ‘Man Artist of the Year.’”  I have received many honors and awards over time.  I am very, very good at what I do, but I believe a man with these honors, etc. would have fared better than I as a woman did.

B.M.: JP, you studied jewelry and metal art at the California College of Art and Crafts in Oakland (now CCA) where Bella taught for 35 years, yet you never took any classes from her. When you first walked into Bella’s studio to work as an assistant in 2000, do you remember what first struck you about Bella?

JP Long: I had long admired Bella’s work and jumped at the opportunity to work for her. What first struck me about Bella was that she was definitely from the East Coast. Strong, direct, and blatantly honest—which I respond to very well, having grown up in New England.

B.M.: (JP) How old were you? Were you looking for a mentor at that point?

JP: I was 21 when Bella hired me. As you mentioned before, I graduated with a degree in Jewelry/Metal Arts, which was excellent training. That department still believed in teaching technical skill. But I always wanted to go big. So when the opportunity to work for Bella arose, it was the perfect situation. All my life I’ve looked for mentors, and I’ve been fortunate in having had a number of wonderful teachers—most of whom were powerful women.

Bella Feldman, "Untitled"

(Interview Continued)

B.M.: Bella, For many years your sculptures have been both rooted in the love of material and craft and the playful, yet often dark interpretation of aspects of the human condition, creating what critic Harold Rosenberg called “anxious objects”. How do these images of objects come to you?

Bella: Regarding Anxious Objects.  I have lived through at least five wars that the U.S. has been engaged in.  As a child I listened to Hitler’s speeches, witnessing my parents’ dread and anxiety for their relatives (Polish Jews).  We seem now to be perpetually at war.  I am pessimistic about mankind’s future, but I diffuse my anxiety with “black” humor. These images arise from my subconscious which has been fueled by the times I’ve lived and continue to live in.

B.M.: (Bella) The juxtaposition of glass elements to the metal in more recent years, and now color, has given a bit more lightness, delicacy to your work. Does this correspond to a place in your life where making art has become smoother, less of a struggle?

Bella: Regarding the use of glass.  Lightness and delicacy is not new to my work.  For a number of years I worked with fiberglass and resin membranes which looked like they could float away despite their size.  I have always used tension as part of my sculpture vocabulary. I turned to using glass with metal because of the contrast and the vocabulary of tension set up using these materials in the same sculpture. The Sculpture Department of CCA is located right next to the Glass Department, so I developed a familiarity with the material.  I was told by the Glass Department that it wouldn’t work to blow glass into metal forms as I did in my Flask series and War Toy series, but I did and it worked and now a lot of people do it.

B.M.: (Bella) You now spend several months per year in Europe, where you have a very small studio space. How has this affected your art?

Bella: My partner lives in Europe and we go back and forth—neither of us willing to pull up stakes. I always have to do art and so I started to work in two dimensions in watercolor, pastel, and collage in a 9×9 foot room. You are what you do and now I am working in a 2D/3D mode in my Oakland studio of which you can see examples in this show.

B.M.: JP, you have participated in some of the decision making about Bella’s work, and have brought into the studio some ideas and techniques that she has integrated into her sculpture. At what point did you feel that Bella was interested in your input? Did this come naturally for both of you?

Bella: JP has contributed to the problem solving which is different from the decision making.  The decisions are mine.

JP: Bella usually says my suggestions were off the mark when I first started working for her—which I totally disagree with. There’s no question that I’ve learned an amazing amount from her. But it did take a couple months for her to start trusting my judgment.

B.M.: (JP) Did this make it easier or harder for you to begin finding your own way in sculpture?

JP: Easier. The hardest part of establishing a career in the arts, I think, is discipline. As the saying goes, practice makes perfect, and Bella gave me the opportunity to be constantly making art, three days a week for her and four days a week for me.

JP Long, "Impression 5"

(Interview continued)

B.M.: (JP) Did you also seek Bella’s input into your work?

JP: As I said before, Bella is an East Coaster. I don’t think it’s possible for her not to state her opinion. But yes, I would purposefully leave new pieces out for critique.

B.M.: Bella, you introduced JP to our gallery, as well as to other dealers. You were very persistent about mentoring JP. This is rather uncommon, as often masters develop feelings of jealousy when one of their protégés becomes successful. Was this ever an issue for you?

Bella: I have to admit I become uncomfortable when some of his work resembles mine too closely.  But jealousy, no.  He is a wonderful, bright, talented young man.  I am glad that is he doing well and I am gratified that I could help him on his way.

B.M.: How about you, JP?

JP: There’s a saying among musicians: there’s no new tune, just how you play it. Artworks are always embedded in a history, a context, and part of what makes art so rich is how it references the past while pointing toward the future—in other words, how a work of art occupies its “now” in the history of art. As I’ve heard Bella say time and again, quoting Picasso, “Good artists borrow, great artists steal.”

B.M.: Bella, what was your favorite aspect of teaching? What was most challenging?

Bella: The favorite part of my teaching was encountering interesting and talented young people and to be able to guide them where my own experience and knowledge could be of use.  I have very good critical and verbal skills and I was able to give easily understood, straightforward critiques of students’ work as well as recommendations for clearer ways of expressing their ideas.  Many teachers do not have that gift.  It helped being a born and bred New Yorker; it’s not the California style to be direct. The most challenging part of my teaching years was dealing with the sexist politics.

B.M.: Bella and JP, what do you think is most unusual about your relationship?

Bella: I think we’re unusually congenial despite the differences in our ages, gender, and life experiences.  Our thinking and temperaments are very similar.

B.M.: Bella and JP, how do you feel that this joint exhibition expresses this relationship?

Bella: This exhibition illustrates the crossover as well as the differentiation of ideas between us.

B.M.: Bella and JP, what other sculptors’ works do you admire most?

Bella: Sculptors I admire. Of contemporary sculptors, I would name Martin Puryear, Louise Bourgeois, Chillida, Max Ernst, Picasso, David Smith, Julio Gonzalez, and many more.

JP: I’m also a fan of Puryear, as well as the other artists Bella mentioned. But I would also add Dan Clayman, Sol Lewitt, Richard Serra, and Heiki Seppa.

B.M.: Thanks to both of you.