Archive for the 'Artists' Category


March 22, 2009
Dr. Alex Feng pulling herbsDr. Alex Feng pulling herbs


Well, this post isn’t about my art, but it is about my health. After a month of a horrible cold, along with a slew of other minor unrelated ailments, I decided to try a new acupuncturist. I went to see Dr. Alex Feng, recommended to me by my ENT, Dr. William Lewis. My voice recovered substantially by the next morning.

This was followed by the adventure of searching for a glass saucepan or a crockpot to simmer the herbs. Off to Oakland Chinatown Tuesday evening where the ceramic pots were not appealing, so I found something on Craig’s List, which had me driving out to Livermore on Thursday.


A finger of fog, Mt. Tam in the distance. on a crystal clear day

A finger of fog, Mt. Tam in the distance. on a crystal clear day

On Wednesday I drove to Sebastopol to see Holly Downing, whom I’ve known since 1970 when we traded art work. Here’s Holly, from her web page:


Holly Downing, at her etching press

Holly Downing, at her etching press

We talked art and life, at Nepalese lunch in Sebastopol, talking more art and life. Then we drove into Santa Rosa to visit with Daniel Lienau, a print dealer, of Annex Galleries. I wanted to talk with him further about hosting a 100th anniversary exhibition for California Society of Printmakers. He agreed. It would be a “salon” style show like this:

Annex Galleries, a well-known print gallery in Santa Rosa

Annex Galleries, a well-known print gallery in Santa Rosa


Friday the 13th! I Should Have Known!

March 16, 2009

My work in the Jury Assembly Room and Hiro, Toshi, and Hayashi.

Toshi was back in the U.S. with two of his colleagues from Sapporo, Hiro and Hayashi. They’re studying the relationships between art and community, and I was their Oakland tour guide. It was Friday the 13th.

First stop: Manual E. Wiley Superior Courthouse, 3rd floor, where I have about 30 framed pieces on loan, courtesy of Judge McKibben. This is an example of art in a public space that could have been rented through a rental gallery.  

Some of my work in the 3rd floor hallway. Toshi (left) and Hayashi (center) with my Oil & Water monotypes.

Some of my work in the 3rd floor hallway. Toshi (left) and Hayashi (center) with my Oil & Water monotypes.

Next we headed off to Pro Arts, an exemplar of an artist supported non-profit arts organization. They were quite taken with April Banks’ installation on the politics of chocolate production.


Hayaski, Toshi, Hiro and April Banks' chocolate production installation.


Next we headed off to 1300 Clay Street, at Andrea Voight’s suggestion. Too bad I locked the keys in the rental car! I called a cab because they only had one more hour before galleries closed. We headed off to Johansson Projects at 23rd and Telegraph. I spent the next 40 minutes on the phone with Dollar Rent-a-Car’s mobile assist while they chatted with owner Kimberly, who spent a good deal of time with them (and remembered me by name from way back when I bought a piece by Rock Paper Scissors across the street. I’d arranged for the cabbie to stay with us, just in case we had time to visit a few more galleries, which we didn’t. He got us back to the rental car in time to meet Knock-a-Lock, who used an air jack to get into the car!

45 minutes on the phone, 5 minutes at the car to extract the keys!

45 minutes on the phone, 5 minutes at the car to extract the keys!

Studio 13 – Sharing Creative Space

March 16, 2009

Rental agreement (left), principles & guidelines (center), contact (right)

On Wednesday, March 11, a young artist named James Cordas, with Analisa’s permission, started moving his stuff in to Studio 13 upstairs. Basically, he’s subletting a small portion of the studio. When I saw the mounds of stuff he had, including some BIG drums, I freaked out. This was actually good! I spent the afternoon hammering out a subleasing rental agreement and a statement of “Shared creative space principles and guidelines”. Both are pretty good! It’s good to get more creative energy into the Filbert Street Studios complex.

A Disjointed Week

February 6, 2009

larsOff to see my framer Lars at North Berkeley Framing again. Beautiful Bad #1 (Hot Ivy Mike) was accepted into a show at the College of Marin.

ellen-mykalaportfolioI deliver a portfolio with more than 45 monoprints and etchings to Kala for their one day Open Studio on January 31. Staff member Ellen Lake takes a look through it. I’m too distressed over my relationship with one of my sisters to send out notices to friends. I sold two pieces though: one to a friend, one to someone I don’t know.


At the monthly meeting of the California Society of Printmakers I think I antagonize everyone during the discussion of setting up online dues payment, which I favor. Still knocked off center over the sister fallout? Shown, left to right: Lila Wahrhaftig, Publicity; Peter Leone McCormick , Treasurer; Barbara Milman, President; Gary Comoglio , Exhibitions.

Inaugural Week

January 26, 2009

toothbrush-work1Toothbrushes lined up to be photographed.

Besides my relief and jubilation at the inauguration of Barack Obama, work on the International Toothbrush Collection continued: editing records; photographing toothbrushes, renaming, cropping, and color adjusting image files; uploading image files to the server; linking image files to data records. My biennial blitz will have to become annual!

stretched-canvasGreat art car pulls through again!

I’ve been yearning to start painting again. When I heard that Vera Fields was selling stretchers and canvas of her late husband, the prolific  San Francisco painter Curtis Fields, I claimed the four largest ones for myself. Twice I drove to San Francisco to strap the canvases to the roof of my car. On the first day I had 3 stretchers on top, and one sticking out back. On the second day I strapped a 4′ by 8′ stretched canvas on top. Colette the cat greets me.framerAt my framer’s.

On January 11 I had delivered two re-framed works to the SFMOMA Artists’ Gallery in Fort Mason (see below) and picked up one that also needed some attention.  If I can’t fix them myself, I bring them to my framer, Lars Lucker, owner of North Berkeley Framing. I love chatting with Lars. You can see one of his own drawings on the left side of the photo above. He’s been my framer since 1987!

art-groupMarsha discussing her new series of paintings.

I went to my art group, my second meeting with them, for just an hour. I  met with Erica Kremenak (left) and Marsha Balian (right). We got hooked up together through Jamie Brunson. I had to leave early to attend a panel discussion in San Francisco on the Holocaust Effect in Contemporary Art. Analisa Goodin moderated.

splash-flierFlier announcing the afternoon seminar.

It was an interesting and difficult seminar. Lots of post-modern language, which is tough enough to read but listening in the dark is even more difficult. Lots of words like transgressive, representations, sacrilized crammed into one sentence while images of art made by secondary witnesses to the Holocaust capture one’s attention. I plan to see several of the artists who spoke again.

The Compound

January 13, 2009

I’ve been driving by The Compound Studios and Gallery  for months. It wasn’t until mid-October, at the height of pre-election frenzy, that I noticed their side wall, with it’s overtly anti-McCain, anti-Palin, anti-war painting.

compound1Closer to Election Day the Wall, as I’d come to think of it, looked more festive and positive. Like this: compound21

Later, around the Holidays, I noticed a message sprayed in white near the bottom of the Wall, along the San Francisco portion of the city sky lines that had been painted for the McCain piece along the length of the building. Like this:compound3

Then a bit of unfinished graffiti proceeded the New Year:


Most recently, about a week before President-Elect Barack Obama’s Inauguration, the Wall said goodbye to Bush, like this:compound4

So  impressed have I been with the changing Wall that I went to the January opening reception of the Compound Gallery to meet the creator. His name is Matt Reynoso. Turns out he did the soldier/business men mural on San Pablo Avenue at Adeline. Also turns out that next door at Blankspace Gallery was the opening reception for the excellent exhibit, Forty Four Presidents, by his wife Lena Reynoso, who calls herself Curator of Oddities.

I’m impressed.

Studio 13

January 12, 2009

1-12studio13-4We (Carmen Violich-Goodin, Analisa Goodin, Eddie Gesso and I)  decided on January 8, 2009 to add some additional artists and, by extension more, creative energy to Studio 13.  

A few days later I found a serviceable table on wheels at the San Pablo Flea Market for the new painter, Brigitte Reisz, who is joining us. We’re very excited to have her join our art community!

Claude, shown in the photo below, helped me load the glass into my hatch back and the table on top. The table needed some work, so I covered one side of the erratically etched glass with with contact paper. 1-12studio135

Behind of Scenes of Art

January 11, 2009


This is not a bribe! Writing a check to have my work reviewed

Left: Vicky Chen holding my piece, "Fog". Right: This is not a bribe! Writing a check to have my work reviewed

1. Drive to Pro Arts, at their request, to retrieve 2 of my shaped pieces from the Emeryville series that they want to “de-accession”.
2. Write Pro Arts a check so their juror will review two more images of my work. The artist always pays…

My piece I take home to reframe

L: Andrea re-accessions my 2 returned pieces. R: My piece I take home to reframe

3. Drive to SF MOMA Artists Gallery at Fort Mason, at their request.
4. Return and re-accession/sign-in two pieces that needed to have their glass replaced with plexiglass.
5. De-accession/sign-out one piece that needs to be reframed.
6. Learn that art rentals and sales are down, down, down, like the rest of the economy. 

7. Drive home, grab dinner. Drive to Kala to meet some of the new artists in residence (AIRs) and hear Jackson Fahnestock, Whitney Vosburgh, and Patrick Rowe talk about their work.


Patrick Rowe talking about his art work

Patrick Rowe talking about his art work