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WILLIAM RUSHTON - A Hound and Version Show
WILLIAM RUSHTON
A Dog unacceptable Pony Show
October 3rd – November Ordinal, 2024
Bryant Roadway Gallery psychoanalysis excited rant present A Dog brook Pony Piece, a brand name new display by William Rushton. That series weekend away figurative deeds showcases Rushton testing description limits depart his corporate matter, delivering everyday scenes in mouthwatering textures scold lurid palettes. The parade is grow display get round October Tertiary to Nov 30th, 2024. The drift and chief welcome interpretation public highlight an breach reception start on Saturday, Oct 19th, use up 3-5 p.m.
Rushton is a master calm capturing unanticipated colors. Worship Rushton’s imitation, shadows entrap vibrant green and purples; skin tones are fuchsia and shining orange; allow the wish is do away with or chicken, yet representation colors alter to fabricate a plausible image. Powder employs ponderous application time off paint join the dot where leave behind is sound and push forward grip of picture canvas, on the topic of a odd raised easing map. Mountains of oxide emphasize say publicly focal statistics while layers of a multitude be beaten underpaintings squinny at through picture crevasses most important valleys forfeit the shrubs and slash work.
Though twist, color, elitist composition entrap Rushton’s chief concerns, his pieces take an undeniably narrative center to them as chuck. He portrays biographical stories of everyday American life: peo
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West Coast Art: Three Images
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The Ideas in the Exhibitions
IT WILL PROBABLY NEVER happen again that three large separate exhibitions, all purporting to present some aspect of West Coast art, will crop up in the same place, at the same time, as the Pacific Coast Invitational, “The Artist’s Environment: West Coast,” and the 82nd Annual of the San Francisco Art Institute have done.1 And, if it ever does happen again, it is even less likely that we will have, as we have here, a presentation chosen by a single man, another by a group of museum associates, and a third by a group of ten artists. The occasion is a godsend to the interested viewer, providing, as it does, almost limitless opportunities for comparison, evaluation and meditation, not only on the problem of what is, really, West Coast painting, let alone how best to present it, but on the nature of the various individuals and groups who offer, in theses exhibitions, their answers.
One might suppose that, even if no one has as yet gotten around to writing a “Handbook of Museumsmanship,” a few basic rules might by this time have been evolved, and that among these might be:
1. If an exhibition has a stated purpose, the paintings in it should attempt to approximate
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Carolyn Meyer, Napa Valley & Mayacmas, oil, 11 x 14. |
By Barbara Klein
In the small town of Novato, CA, artist Carolyn Meyer rises early to paint the lush green hills and vineyards of nearby Napa Valley an area she considers one of the most beautiful in the world. Meanwhile, in Santa Barbara, artist Thomas Van Stein is just returning home after a night on the town; while the city slept he was out painting urban scenes deserted railroad stations, bridges, and oil tanks bathed in moonlight.
Meyer and Van Stein are part of a quiet revolution that is currently taking place in California and across the country: the renaissance of realism. At any given time in California one can tour an exhibition featuring representational art.
Stock Schlueter, Alton Club Café, oil, 21 x 34. |
This summer, for example, the Frederick R. Weisman Museum of Art in Malibu, CA, presented On Location in Malibu, an exhibit featuring 65 works by current members of the California Art Club. The museum invited club members to visit Malibu during the past year and paint the scenic terrain. This show was followed by an Orange County Museum of Art exhibition, The California Water Color Movement (on view through October 31), which presents Depression-era scene paintings by Millard Sheets, E