April 3, 2015 § Leave a comment
SAN FRANCISCO ARTIST Mark Ulriksen has painted 48 covers of The New Yorker during the last two decades. He’s become its go-to guy for wry reveries focusing on dogs and baseball — and their friends and fans.
Now Ulriksen has collected nearly 100 of his favorite paintings of dogs over the years and woven them into a hand-lettered heart-warming story in his new book, Dogs Rule, Nonchalantly.
Some of the paintings have a familiar look.
“Alta Plaza Park was the setting for some of my earliest dog paintings,” Ulriksen says. “One in particular, Dogs Only, was done for the Thomas Reynolds Gallery, one of the first galleries I showed with. One reason I’m pleased with that particular painting is because I was able to capture a recognizable city location, incorporate a lot of graphic shapes and paint an image about animal interactions.”
He adds: “I’ve always been attracted to patterns and shapes and the steps and paths leading up to Alta Plaza are really interesting. Plus being on a bluff leads to some very cinematic cropping of the attractive architecture circling the park. It’s still one of my favorite paintings and one of my favorite city parks.”
Ulriksen’s book is available locally at the pet boutique George at 2512 Sacramento Street.
“The aesthetics of George make it feel like an art gallery dedicated to all things pets,” says Ulriksen, “with an emphasis on my favorite type: dogs.”
So far the book has gotten enthusiastic reviews, both for the paintings and the text. One critic called it “an easy book to love.”
“I’m really pleased that a lot of emotions have been touched,” says Ulriksen, “because the book is both funny and sad.”
He singles out one review as a personal favorite:
“What a touching and whimsical book! My husband and I picked this up in a gift set at a winery and opened the book because we couldn’t resist the sweet cover. We started smiling, then chuckling, then laughing out loud and then crying. (We had lost our dear boy a while back.) Mark Ulriksen has captured the wonder that is dogs perfectly with his words and illustrations. Thanks for creating such a sweet bit of magic.”
March 11, 2015 § Leave a comment
BIG BRUSHES, a lot of paint and the simplification of shapes allowed Ken Auster to create impressionistic images of complicated scenes. Painting nature was fun, but he wanted more. Instead of going to the coast and looking west, he looked east and saw edges, cars and telephone poles. He rejoiced in this newfound ability to paint anything and everything — cafes, train stations, airports, street scenes and, of course, never far away was the beach, his first love.
Auster found a dynamic irony between the new man-made and the ancient coastline. The next step was an inside move. He started painting the interiors of bars and restaurants. He found a hidden dialogue that existed in the paintings and the warm and good feeling they created.
Read more: The art of surfing
March 9, 2015 § 1 Comment
ANYONE WHOSE APPETITE for painting has gone cold will find it inflamed again by “Botticelli to Braque: Masterpieces From the National Galleries of Scotland,” a spectacular exhibition at the de Young Museum in San Francisco.
Read more: “Scotland’s stupendous stash”
March 7, 2015 § 1 Comment
By PERI SCHWARTZ
It all began when John Seed, the art blogger for the Huffington Post and a Facebook friend, posted his interview with Sandy Ostrau. Her exhibition was at the Thomas Reynolds Gallery in San Francisco and the work captivated me. As a painter, I feel connected with the artists from the Bay Area and am strongly influenced by Richard Diebenkorn’s figurative work. Here was a gallery showing work that I related to.
I became FB friends with the gallery and loved what Thomas posted. Along with posts about work he was exhibiting, he put up interesting articles and photographs. I certainly would have missed the talk Gretchen Diebenkorn gave about her father if he hadn’t posted a link.
When he posted the painting “Inside Move” by Ken Auster in December, I shared it on FB. My cousin Charles in Boston fell in love with the painting, especially because it reminded him of a bar he used to go to in lower Manhattan. He showed it to Jackie, his wife. Charles’ birthday was approaching and Jackie wanted to buy him the painting as a surprise. I encouraged her, she called the gallery, and now they have a beautiful painting by Ken Auster in their living room.
February 19, 2015 § Leave a comment
By JONATHAN CURIEL
The 10 million people who read the June 8, 1962, issue of Life magazine saw an America that was undergoing profound cultural shifts. More people than ever were worried about weight gain (Kellogg’s advertised a cereal “for common sense weight control”). More people than ever were flying abroad (“Americans in a new age of world travel,” read one article teaser). And more people than ever were considering the art world’s “current resurgence of the figure in painting,” as the magazine labeled the trend.
Life devoted eight full pages to the art-world development, paying close attention to the work of Bay Area painters Elmer Bischoff, Paul Wonner, Richard Diebenkorn and David Park, whose featured painting in Life, “Woman with Coffeepot,” offered an unforgettable image: A woman both beautiful and monstrous, whose body was a pastiche of thick, colorful paint strokes that were like bandages on a burn victim. Park, who painted “Woman with Coffeepot” in 1958, was straddling the line between abstraction and representation. The people in Park’s paintings from this period seemed half-finished and even primitive, as if they were a race of human sculptures trying to find form.
February 12, 2015 § 79 Comments
In celebration of its 20th anniversary, we have decided to declare victory and close our gallery at Fillmore & Pine Streets in San Francisco at the end of February.
What began as a six-week exercise in following your bliss has led to the creation of a wonderful community of artists and collectors over two decades. Among the opportunities for which we’re most grateful:
• Presenting the first gallery exhibitions of a long list of talented artists, including Ken Auster, Francis Livingston, Michael Reardon and Veerakeat Tongpaiboon.
• Working with key figures from the Bay Area Figurative Movement now departed, including Theophilus Brown, Paul Wonner and Henry Villierme, who had a late-in-life resurrection of the art career he put aside 40 years earlier.
• Learning from wise gallery veterans like Charles Campbell, Jan Holloway, Claire Carlevaro, Barbara Janeff and the ever-helpful Mark Hoffman at Maxwell Galleries — and especially for the tutelage and friendship and good ideas of art historian William Whitney.
We are eternally thankful for your encouragement and appreciation and support — and for the friendships we have made during your visits to the gallery. Many, many of you have acquired terrific paintings you love, and we have watched together as a group of extremely talented artists have pursued their passions and established considerable success.
The TRG website and Art Matters, our online magazine, will continue. We look forward to keeping in touch with you through periodic emailings and posts on our Facebook page.
New adventures await! In addition to ongoing legal and publishing ventures, I am looking forward to pursuing interests and opportunities still to be discovered. To that end, I welcome your suggestions and introductions.
Thank you for 20 great years. Onward to the next 20!
With thanks and all good wishes,
THOMAS R. REYNOLDS
January 31, 2015 § Leave a comment
FIRST PERSON | DOUGLAS G. STINSON
Like many people, I had been active in church life from childhood into early adolescence. Then, confronting what my teenaged mind saw as cowardice and hypocrisy within my church, I swore off religion.
In college I became aware of the writings of the 18th century scientist and Christian mystic Emmanuel Swedenborg and, as a scientist, was drawn to his insistence that the teachings of faith and reason must conform. But I had no interest in being part of any organized religion.
Until I walked into the San Francisco Swedenborgian Church.
I was awestruck by the building’s humble strength and simple beauty. Everything breathed a spiritual essence. I knew I wanted to be a part of it.
By 2012, the condition of the stained glass windows that had graced the Swedenborgian church at the corner of Lyon and Washington Streets for more than 100 years had deteriorated. We learned that if action were not taken, the beautiful windows — an integral part of the National Historic Landmark — could be lost forever.