February 19, 2017 § Leave a comment
Q & A | KIM FROHSIN
What is the creative process like for you?
To date it’s one in which one series or interest will somehow, in a deeply intuitive and subliminal way, lead naturally into the next work. To me, it seems like an innate flow and natural transition typifies my modus operandi over the last 29 years. There have certainly been times when my art is directly influenced by life circumstances or my reaction to those circumstances. Life on a personally intimate scale or on a large scale — for example, the death of my dog, or my reaction to 9/11. The art can serve sometimes as documentation, therapy or an emotional necessity for self-expression; the art simply emerges, life translated into imagery.
November 6, 2016 § Leave a comment
By MATT GONZALEZ
For several years in the early 1950s, Paul Wonner returned to a subject matter in his art making practice: the painting of a still life with femme au coq, translated from the French as woman with rooster. Anyone familiar with modern European painting would recognize the motif as it was explored by many artists, including Pablo Picasso and Marc Chagall. The trope presents the rooster as a symbol of sexuality, virility and fertility. Paired with the woman, it exalts romantic love and the heterosexual coupling traditionally associated with marriage.
It is curious that Wonner would find the subject matter interesting enough to return to it over the years — at least four known times in a four- to five-year period — while he was a student at U.C. Berkeley. Of course, painters often return to the same landscape, or paint a subject’s portrait repeatedly, but the painting of a subject that is so allegorical and laden with symbolism is not as common. It suggests Wonner was intrigued by or wrestling with its meaning in connection with his own life and art.
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.
October 9, 2014 § 1 Comment
By KENNETH BAKER
San Francisco Chronicle
Charles Campbell, a San Francisco gallery owner who represented major Bay Area contemporary artists for more than 60 years, died of natural causes Friday [October 3, 2014] at his San Francisco home. He was 99.
Mr. Campbell became famous locally for showing what he liked, irrespective of fashion or potential profit. He happened to admire and exhibit many artists later identified with the region’s signature art movement, Bay Area Figuration. They included Nathan Oliviera (1928-2010), Paul Wonner (1920-2008), Gordon Cook (1927-85), Theophilus “Bill” Brown (1919-2012), James Weeks (1922-98) and Joan Brown (1938-90).
The back room at Mr. Campbell’s gallery was long known to locals as a treasure trove of artistic miscellany. There visitors might pore over an ever-changing array of works on paper and small paintings by American and European artists both famous and obscure, interspersed with Indian miniatures and the odd pre-Columbian or African artifact.
Nothing comparable exists, or perhaps could exist, in the supercharged and economically polarized art market of today.
November 4, 2012 § 3 Comments
REVIEW | JEROME TARSHIS
Partly because it is exhibited in a gallery made up of several small rooms, partly because of the preferences that inform the collection of Charles and Glenna Campbell, visiting the show titled “Treasures” — now on view at the Thomas Reynolds Gallery — is almost eerily reminiscent of visiting Charlie’s gallery.
In 1947, when Charlie brought his love of jazz up from Los Angeles and opened a frame shop near the school now known as the San Francisco Art Institute, he was in the right place at the right time. Abstract Expressionism was being born, soon to be followed by the Bay Area Figurative Movement. Both styles featured an informal, spontaneous handling of paint, and the artists saw an obvious likeness between their way of working and the improvisation within defined limits that was typical of jazz.
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