An Abundance of A. Huber.....new show

Germany's Alexandra Huber has not forgotten her childhood, nor has she turned her back on freely using lines and color that explode off the page, leaving boundaries behind. Her playful works, reminiscent of Dubuffet and Basquiat, deal with relationships and inner feelings, without the screening of the superego. She challenges the viewer to examine themselves as they consider her works. What is in your Suitcase of Intentions? And in this economy, what surprise does you Shopping Bag to Go contain? The highly saturated Poet's Eye nudges us to fantasize what processes flow through the mind of someone so gifted and unique, while trying not to get lost in the deeply saturated colors.

This comprehensive show of over 50 works runs from March 1st through June 1st at the gallery in Connecticut, and much of the art is on-line at Beverly Kaye Gallery

This is a private space, open at your convenience. Huber's work ranges from 6" x6" pieces to works which are 25" x 19", as are the three artworks pictured above. Don't miss this very exciting show!

These images are courtesy of Hans Seidenabel, Munich.

Intuit presents Black Barbers and the Artistry of the Barbershops

Black Barbers and the Artistry of the Barbershop

Saturday, March 13, 11 am
Free and open to the public
(This notification is from the group called Intuit in Chicago. I highly recommend membership here!)

In conjunction with the exhibition The Treasure of Ulysses Davis, Quincy Mills, Assistant Professor of History at Vassar College, will give a presentation on the social and political culture of African American barbershops in the mid Twentieth-Century. Black barbershops have historically been places where commerce, culture and community intersect to inform African Americans' individual and collective freedom.

Ulysses Davis cut hair and created sculptures inside his barbershop in Savannah, Georgia, as an expression of his economic and artistic freedom. Barbering provided him the skill to maintain control of his economic life and the barbershop provided him the space to exercise his artistic creativity.

My friend the very accomplished hooker......

Article from Hand/Eye

Article from Hand/Eye Magazine:"It's not what you think: Leslie Giuliani hooks rugs with a contemporary folk feel.One of the best things about being a rug hooker is telling people you are a “Hooker.” You get a laugh every time. I have been hooking for about 20 years now, having learned the craft in a continuing education class at a local high school. I have knit and sewn my whole life, and have a BFA in painting. Pictoral rug hooking brings my worlds of “art” and “craft” together. Although I have hooked many rugs for the floor, I enjoy making pictoral pieces for the wall. Changing the context from utility to decorative arts allows viewers to take their time and look at the image at eye level, to get to see the nuances of the craft more closely. traditional craft of rug hooking creates rugs by simply pulling loops of yarn or cut strips of fabric through a stiff woven base material such as burlap, linen, or rug warp. You only have to master one stitch: very simple. The backing is stretched over a frame or is hooped to maintain a tight, flat working area. The rug is worked in sections by re-stretching the backing to expose the next working area. The loops are pulled through the backing material using a crochet-type hook mounted in a handle (usually wood) for leverage. All loops and strip ends are pulled to the top side to keep the underside free from snags and to allow it to be durable, since rugs are meant to be walked on. It’s the sheer density of the loops that keeps the rug together." You can read the rest of this article when you click on the link. Congratulations Leslie!It's not what you think: Leslie Giuliani hooks rugs with a contemporary folk feel.One of the best thingsabout being a rug hookeare a “Hooker.” You get a laugh every time. I have been hooking for about 20 years now, having learned the craft in a continuing education class at a local high school. I have knit and sewn my whole life, and have a BFA in painting. Pictoral rug hooking brings my worlds of “art” and “craft” together. Although I have hooked many rugs for the floor, I enjoy making pictoral pieces for the wall. Changing the context from utility to decorative arts allows viewers to take their time and look at the image at eye level, to get to see the nuances of the craft more closely. traditional craft of rug hooking creates rugs by simply pulling loops of yarn or cut strips of fabric through a stiff woven base material such as burlap, linen, or rug warp. You only have to master one stitch: very simple. The backing is stretched over a frame or is hooped to maintain a tight, flat working area. The rug is worked in sections by re-stretching the backing to expose the next working area. The loops are pulled through the backing material using a crochet-type hook mounted in a handle (usually wood) for leverage. All loops and strip ends are pulled to the top side to keep the underside free from snags and to allow it to be durable, since rugs are meant to be walked on. It’s the sheer density of the loops that keeps the rug together." You can read the rest of this article when yArticle from Hand/Eye Magazine:"It's not what you think: Leslie Giuliani hooks rugs with a contemporary folk feel.One of the best things about being a rug hooker is telling people you are a “Hooker.” You get a laugh every time. I have been hooking for about 20 years now, having learned the craft in a continuing education class at a local high school. I have knit and sewn my whole life, and have a BFA in painting. Pictoral rug hooking brings my worlds of “art” and “craft” together. Although I have hooked many rugs for the floor, I enjoy making pictoral pieces for the wall. Changing the context from utility to decorative arts allows viewers to take their time and look at the image at eye level, to get to see the nuances of the craft more closely. traditional craft of rug hooking creates rugs by simply pulling loops of yarn or cut strips of fabric through a stiff woven base material such as burlap, linen, or rug warp. You only have to master one stitch: very simple. The backing is stretched over a frame or is hooped to maintain a tight, flat working area. The rug is worked in sections by re-stretching the backing to expose the next working area. The loops are pulled through the backing material using a crochet-type hook mounted in a handle (usually wood) for leverage. All loops and strip ends are pulled to the top side to keep the underside free from snags and to allow it to be durable, since rugs are meant to be walked on. It’s the sheer density of the loops that keeps the rug together." You can read the rest of this article when you click on the link. Congratulations Leslie!Article from Hand/Eye Magazine:"It's not what you think: Leslie Giuliani hooks rugs with a contemporary folk feel.One of the best things about being a rug hooker is telling people you are a “Hooker.” You get a laugh every time. I have been hooking for about 20 years now, having learned the craft in a continuing education class at a local high school. I have knit and sewn my whole life, and have a BFA in painting. Pictoral rug hooking brings my worlds of “art” and “craft” together. Although I have hooked many rugs for the floor, I enjoy making pictoral pieces for the wall. Changing the context from utility to decorative arts allows viewers to take their time and look at the image t eye level, to get to see the nuances of the craft more closely. The traditional craft of rug hooking creates rugs by simply pulling loops of yarn or cut strips of fabric through a stiff woven base material such as burlap, linen, or rug warp. You only have to master one stitch: very simple. The backing is stretched over a frame or is hooped to maintain a tight, flat working area. The rug is worked in sections by re-stretching the backing to expose the next working area. The loops are pulled through the backing material using a crochet-type hook mounted in a handle (usually wood) for leverage. All loops and strip ends are pulled to the top side to keep the underside free from snags and to allow it to be durable, since rugs are meant to be walked on. It’s the sheer density of the loops that keeps the rug together." You can read the rest of this article when you click on the link. Congratulations Leslie!

From Intuit, a new and very important exhibition

The Treasure of Ulysses Davis

February 12, 2010 - May 15, 2010
Opening Reception: Friday, February 12, 5-8pm

The Treasure of Ulysses Davis debuted at the High Museum in Atlanta and traveled to the American Folk Art Museum in New York and the Menello Museum of Art in Florida, before arriving in Chicago. Organized by Susan Crawley of the High Museum of Art in collaboration with the King-Tisdell Cottage Foundation of Savannah, Georgia, this retrospective features about 109 pieces, including 78 from the King-Tisdell Cottage Foundation, which acquired most of Davis’s work after he died, fulfilling his desire to keep his corpus intact. The title comes from Davis’s explanation of why he disliked parting with his work: “They’re my treasure. If I sold these, I’d be really poor." The exhibition will increase public knowledge of and appreciation for the work of this much admired but rarely seen sculptor.

Laura N. James, praying out loud

With an Antiguan heritage and a love for detail and storytelling, in the year 2000, Laura N. James made a spectacular group of paintings for a Book of Gospels , for the Roman Catholic Church. There is a diverse cast of characters represented, of all shades and nationalities, and the artwork is gorgeous! But this young New Yorker also paints Jazz figures which seduce the eye with their colors and movement, and her series, "Nannies and Other Mothers" grabs at your heart. Women who leave their own families far behind to come to the United States to care for the children of others is a powerful and often neglected subject. She handles it with a grace and compassion for all involved and the paintings are luscious.