Untitled, Acrylic and Charcoal, Carla Jerome, 2018, Photo Romi CortierUntitled, Acrylic and Charcoal, Carla Jerome, 2018, Photo Romi CortierAbstract Art by Carla Jerome, 2018, Photo Romi CortierUntitled, Acrylic and Charcoal, Carla Jerome, 2018, Photo Romi CortierUntitled, Acrylic and Charcoal, Carla Jerome, 2018, Photo Romi Cortier
I recently attended the art opening of client Carla Jerome at FIG Gallery in Santa Monica at the 26th Street Art Center, formerly known as the Bergamot Station Arts Center. Yes, as of January 1, 2018 the Arts Center is now under new ownership with a new name.
Carla’s exhibit explored abstraction, inspired by her previous figurative work. To quote Carla, My work is a continuous conflict, balancing challenges and seeking equilibrium. I avoid creating art that dictates a certain response. I believe that ‘art’ allows each of us to interject ourselves into it, to find a unique meaning. She uses layers of charcoal and acrylic paint to build her painting, until it’s complete.
One of the things that resonated with me about Carla’s work, is her use of color. The emotional quality of her color palettes are either soothing, think cool lavender and blues tones, or energizing, with her use of red and orange tones. I also like the subtle line work that references her love of architecture. Shapes of buildings and chairs overlap, creating layered landscapes that shift into and out of focus. The end result are works that are easy to live with, and works that could fit into a wide range of architectural environments.
Presidential Portrait of Barack Obama, Kehinde Wiley, Oil on Canvas, 2018Artist Kehinde Wiley and President Barack Obama, Smithsonian National Portrait Gallery, Official Portrait Unveiling.
President Barack Obama’s official Portrait by Kehinde Wiley was unveiled at the Smithsonian National Portrait Gallery, Monday February 12th, 2018. The portrait has been met with criticism by some, and applauded by others. I for one am a huge fan of Wiley’s portrait. That said, I wanted to try and wrap my mind around some of the controversy that I’d seen on social media from those who felt it wasn’t ‘on par’ with the tone and tenor of previous Presidential Portraits. So I decided to do some research…
John F. Kennedy Presidential Portrait, Elaine de Kooning, Smithsonian National Portrait GalleryWilliam Jefferson Clinton, Presidential Portrait by Chuck Close, Smithsonian National Portrait Gallery
What I discovered is that President Barack Obama wasn’t the first to buck classic portraiture for his official portrait. Both John F. Kennedy and Bill Clinton are represented by the avant-garde artist of their day. As is frequently the case, stories on social media are tailored to reinforce a specific point of view. Namely, that Obama was wack for choosing such an outrageous artist that didn’t represent the traditional norms of the office. When taking a closer look at the ‘norms’, one can clearly see that there’s been a broader range of painting styles presented at the Smithsonian over the years. Follow the link below to view all of the Presidential Portraits from the last century.
I’ve been a fan of Kehinde Wiley for over a decade, and was thrilled to see his paintings on the tv show EMPIRE. It’s a brilliant choice to have a fictional character like Lucious Lyon, a black music mogul, fill his home with the art of such a highly regarded black artist, thus supporting those at the top of his community.
Kehinde Wiley, Studio Portrait
Here are a few more examples of Wiley’s work.
Starlit Nights, Oil on Canvas, Kehinde Wiley, 2005LL Cool J, Oil on Canvas, Kehinde Wiley, 2005Jean de Carondelet III, Oil on Canvas, Kehinde Wiley, 2013
As an artist, I absolutely love the magnificent size of his paintings, as well as the lusciousness of the background behind his subjects. His ability to beautifully render skin tones is out of this world, and to quote Obama: I was struck by the degree to which they challenged our ideas of power and privilege. Kehinde juxtaposes contemporary urban culture with centuries old postures and wallpaper like backgrounds.
When I composed my own painting of President Barack Obama in 2011, I also chose a lush green background to represent his emotional life. I wanted my image to be reminiscent of a gothic stain glass window with the presidential seal as his halo. My overall theme was about the religious fervor surrounding the election of our first African American President. The ionic column represents democracy, with the red and blue states being represented on their respective sides of the column, blue on the left, red on the right.
Obama and the Tree of Knowledge, Oil on Canvas, Artist Romi Cortier
For Wiley, he wove chrysanthemum into the greenery of the background (the official flower of Chicago), and Jasmine for Hawaii, as well as African Blues symbolic of Obama’s heritage. Like the fictional character Lucious Lyon, President Barack Obama chose one of the finest artist from the black community to forever represent the first African American President in the Smithsonian National Portrait Gallery. It was a bold choice that I absolutely applaud, and I believe it will certainly pass the test of time. Great men must be ahead of the curve, not behind it, paving the way for others to follow.
Buddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierBuddha by Metis Atash, L A Art Show, 2018, Photo Romi CortierLA Art Show, Romi Cortier, Recio Young, JD Miller, and Melanie Engle
The Buddha’s of artist Metis Atash took the L A Art Show by storm. Covered in nearly 20 thousand Swarovski crystals, her Buddha’s radiated light in every direction, enticing patrons to take countless photos and videos of her sculptures. JD Miller of the Dallas based Samuel Lynne Galleries, was a fantastic host on both days of our visit to the art show.
We were there opening night, and then again on the fourth and final day of the show. Opening night was fun and very conversational with several gallery owners and artists. Therefore, we didn’t make it to every booth. So we returned early Sunday morning and made our way to the booths that we’d missed. Our last stop was back were we’d begun… at the Buddha’s!
Atash sculpts in fiberglass, covers her creations with acrylic paint, and then meticulously bathes each piece by hand in upwards of 20,000 Swarovski crystals. The completed works can be an homage to icons like Chanel, Lichtenstein, Warhol, or Hirst, with a zen vibe rooted in Daoism. Her artwork has been exhibited in select galleries throughout the United States, Canada, and Europe, and has been featured in Vogue, Elle Decor, Architectural Digest and Haute Living. And most recently her work has been seen on CNBC’s the Secret Lives of the Super Rich.
If one of these beautiful creations is in your future, then reach out to Samuel Lynne Galleries in Dallas and tell them Romi sent you.
Veuve Clicquot Polo Classic Fan, 2017, Photo Romi Cortier‘Contemplation’ by Mary Cassatt, 1891 -92Veuve Clicquot Polo Classic, 2017, Will Rogers State Park, Photo Romi CortierWoman with a Parasol, Claude Monet, 1875Veuve Clicquot Polo Classic, 2017, Will Rogers State Park, Photo Romi Cortier‘Racehorses’ Edgar Degas, 1895, National Gallery of CanadaVeuve Clicquot Polo Classic, 2017, Will Rogers State Park, Photo Romi CortierSunday Afternoon on the Island of La Grand Jatte, Georges Seurat, 1884-86, Art Institute of Chicago
I recently attended the Veuve Clicquot Polo Classic in Los Angeles. It was my first time attending this event, and my first time watching a polo match. The temperatures were pushing 90 on this very hot October day. In an attempt to stay cool, attendees were huddled under a sea of orange Veuve Clicquot umbrella’s as far as the eye could see. We tried our best to purchase one, but they’d quickly sold out. Thank goodness for the complimentary orange fans and the faintest summer breeze.
As the day unfolded, I began to glimpse familiar visions of moments I’d seen before in museums, namely impressionist paintings. It’s so odd to feel as if you’re living inside a painting, experiencing some sort of art deja vu. Impressionist paintings were inspired by everyday life, so why not this day? It was beautiful in every direction: polo ponies, orange umbrella’s, beautifully dressed people wearing the latest trends. To be honest, it was more fun watching the guests jockeying for photos ops at the branded photo stations, then it was actually watching the polo match.
However, as everyone stood for the National Anthem, I was both proud and humbled. I was also reminded of George Seurat’s Sunday Afternoon on the Island of La Grand Jatte. The beautifully groomed jockeys on manicured polo ponies reminded me of Edgar Degas’s Racehorses. And when a sea of women took to the field at half time to stomp the divots… and of course take a few selfies, I was reminded of Claude Monet’s Woman with a Parasol. It’s amazing how much life changes, and yet stays the same. Maybe we all dream the same dream. To see. To be seen. To make a difference. And to look absolutely fantastic while we do it.
‘Hitch Hiker’ Acrylic, Ink and Vellum on Archival Paper, Micheal Muller & Sage Vaughn, Photo Romi Cortier‘Attacker 1’, Acrylic, Ink and Vellum on Archival Photograph Paper, Michael Muller & Sage Vaughn, Photo Romi Cortier‘Echo Chamber’, Acrylic, Ink & Vellum on Archival Photograph Paper, Michael Muller & Sage Vaughn, Photo Romi Cortier‘Peeper’, Acrylic, Ink and Vellum on Archival Photograph Paper, Micheal Muller & Sage Vaughn, Photo Romi Cortier‘Garden Party Crasher’, Acrylic, Ink, and Vellum on Archival Photograph Paper, Michael fuller & Sage Vaughn, Photo Romi Cortier‘Attacker 2’, Acrylic, Ink and Vellum on Archival Photograph Paper, Michael Miller & Sage Vaughn, Photo Romi Cortier
I LOVED the recent art exhibition of Michael Muller and Sage Vaughn. I’ve been aware of Sage’s paintings for years, but I’ve never had the opportunity to see his work in person. This recent exhibit featured Vaughn’s painting over the photographic images of Michael Muller. Most images were 48″ x 60″ and some as large as 60″ x 90″, ranging in price from $16,000 – $22,000. I was elated to see so many red sold dots on the pieces.
Over the last decade Sage has had multiple solo shows, from New York to London to Germany and Geneva. There have also been several group exhibitions from Los Angeles to London, San Francisco to Belgium… it’s safe to say, Sage is everywhere. I wish I would have known about his work a decade ago, as it might have been a bit more affordable. But that’s what drives prices up: the international solo shows and a list of top notch collectors.
Below are a few more images of Sage’s work from his web site www.sagevaughn.com.
I’m not Trying to Forget, Acrylic, Ink and Vellum on Paper, Sage Vaughn, SageVaughn.comThe Gazer (R Prince) 2014, Oil, Acrylic, Ink and Vellum on Canvas, Sage Vaughn, SageVaughn.com
As an artist, I’ve been very enamored by Sage’s use of the Butterfly, combined with his drip paint technique. Below you can view a YouTube mural making video that I created in 2014 inspired directly by his paintings. I have no idea if he’s ever seen my work, but I do hope that he would be flattered and not offended by my interpretation of his beautiful fine art.
