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Hazel Home Art and Antiques Wausau, Wisconsin

Hazel Home Art and Antiques Wausau, Wisconsin

Wednesday, September 30, 2015

From the New York Times: Lawren Harris 1885-1970

Steve Martin Adds ‘Curator’ to His Wild and Crazy Résumé


Steve Martin and two curators have organized an exhibition of paintings by Lawren Harris. Credit John Francis Peters for The New York Times

LOS ANGELES — Steve Martin looked as if he were playing a fast-paced board game. Standing inside a gallery at the Hammer Museum here with its director and two curators, the tall actor was hunched over a small tabletop model of that very room.
The four took turns placing and replacing tiny pictures on the tiny museum walls. There was a lot of pointing and gesturing — though not quite the wild gesticulation of Mr. Martin’s most memorable characters. The goal was to hash out a preliminary arrangement of artworks before hanging the actual paintings.
“That’s a beautiful, moody iceberg picture,” Mr. Martin said, as an image no bigger than a business card — this one showing a soaring, snowy mountain peak — fell off a miniature wall.
Mr. Martin reached over to pick up the small reproduction and handed it to the museum’s director, Ann Philbin, who held the tape dispenser. “We’ve got to use stronger tape when we hang the paintings,” he said, with perfect comedic timing.
Yes, this multifaceted actor, comedian, New Yorker writer, novelist, semiprofessional magician and Grammy-winning banjo player, who has long been a serious collector of modern American painting, is adding a new role to his repertoire: art curator.
Working closely with two seasoned curators, Cynthia Burlingham from the Hammer Museum and Andrew Hunter from the Art Gallery of Ontario, he has organized a tightly focused, masterpiece-driven show, “The Idea of North,” to introduce the 20th-century Canadian painter Lawren Harris (1885-1970) to American museumgoers. It opens on Oct. 11 in Los Angeles before traveling to Boston and Toronto.
“He’s Canada’s greatest artist and nobody in America knows who he is, with a few exceptions,” said Mr. Martin, 70, who sees the show as a chance to use “my celebrity face” to try to draw attention to the painter he sees as a counterpart to Georgia O’Keeffe and Marsden Hartley.
Mr. Martin expressed disappointment that the Metropolitan Museum of Art had passed on the show. “I really wanted to have a venue in New York, but I’m very happy the show is going to the Boston Museum of Fine Arts,” he said.
Born in Ontario in 1885 into a manufacturing fortune, Harris helped to establish in 1920 the Group of Seven, painters who celebrated the vast, rugged Canadian terrain at a time when everything French was de rigueur. He soon developed a distinctive style, using flat expanses of color, spiky geometries like triangles and pyramids and a self-mirroring of forms to create highly stylized images of nature. Many of his favorite subjects, whether rays of sun skimming the surface of Lake Superior, dramatic Rockies peaks or hulking Arctic icebergs, are rendered in such strong, simplified volumes that they end up looking like architecture.




"North Shore, Lake Superior” by Canadian artist Lawren Harris. Credit NGC/via Family of Lawren S. Harris

Mr. Martin, who owns three paintings by Harris, spent much of the last two years working on the exhibition while also collaborating with Edie Brickell on a musical, “Bright Star,” headed for the Kennedy Center in Washington in December. The two also have a new album, “So Familiar,” coming out at the end of October.
“You might say it’s extreme to curate an art show and then do an hour banjo show, but it’s not that far off-center to me. And you apply the same principles to both — the first being, you do the best you can.


“Mountains in Snow: Rocky Mountain Paintings VII” by Canadian artist Lawren Harris. Credit The Thomson Collection/Art Gallery of Ontario

He carved out the time while enjoying family life — he and his wife, Anne Stringfield, have a young daughter. “For one, I don’t have a job,” he deadpanned.
But when talking about Harris’s paintings, Mr. Martin stayed away from quick one-liners, often pausing to find the right words and details to capture his experiences. He said he was first drawn to the work “maybe 20 years ago” in Canada, where he has done both comedy writing and filming. “I would stop at these amazing bookstores — big bookstores in little towns — and pick up books on Harris or the Group of Seven.”
“I would call them powerful, emotional landscapes,” he said, sounding more relaxed in the role of a fan than when talking about himself. “You can marvel at a 19th-century American landscape painting because you can’t believe you can see every leaf on every tree. But here there are no leaves and no trees, or nothing that looks like a living tree, and the response is much more emotional, I think.”

Monday, September 28, 2015

Rare and important, eggshell thin, figural, Acoma pottery turkey by Lucy M. Lewis 1900-1992

Available for purchase here

Lucy Martin Lewis passed away on March 12, 1992 at a supposed age of 93. Her year of birth is not known. She spent nearly all her life atop the high mesa of Acoma Pueblo, making pottery since the age of 7. She is largely responsible for the revival of Mimbres black-on-white pottery designs which are more than 1,000 years old. She was famous, as well, for her exquisite polychrome designs and her fine-line and lightning designs.

Always thanking Mother Earth for the clay, taking only as much clay as she needed, working the clay with only her hands, forming the vessel from coils of clay, scraping the walls with tools fashioned from gourds, painting the vessel with slips and paints made from clay and vegetal sources and, finally, firing the finished pieces in an outdoor handmade kiln. Lucy signed her pottery as Lucy M. Lewis. Lucy Lewis was one of the most widely respected potters from her pueblo. She was the last of the Acoma matriarchs. She followed pueblo tradition in every step of pottery production.




 
Considered one of the matriarchs of American Indian pottery, Lucy M. Lewis was born and raised on Sky City mesa, a land formation more than three hundred feet high in Acoma Pueblo, west of Albuquerque, New Mexico.
Since there were no schools on the mesa, Lewis received no formal education or art classes. She learned pottery as a young child from her great-aunt and other Acoma Pueblo women. Lewis was instrumental in reviving eleventh-century, Mimbres-style pottery, characterized by black lines on white slip.
Lewis married and had nine children. She handled the household chores, helped her husband with the farming, and still found time for her pottery. Because of Acoma Pueblo’s remote location, Lewis was never helped – or interfered with – by archaeologists, museum curators, collectors, or tourists. She also did not travel to powwows or fairs, though she occasionally sold her pottery in the closest town, 20 miles away.
Lewis’s pottery first became known outside the pueblo in 1950, when she received a blue ribbon at the Annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico. During the 1980s and 1990s Lewis received awards from the American Crafts Council, the College Art Association, the state of New Mexico, and the Honolulu Academy of Fine Arts. Lewis continued to pot well into her 80s. Some of her daughters and grandchildren also create pottery.
- See more at: http://nmwa.org/explore/artist-profiles/lucy-m-lewis#sthash.UbTWNBLF.dpuf
Considered one of the matriarchs of American Indian pottery, Lucy M. Lewis was born and raised on Sky City mesa, a land formation more than three hundred feet high in Acoma Pueblo, west of Albuquerque, New Mexico.
Since there were no schools on the mesa, Lewis received no formal education or art classes. She learned pottery as a young child from her great-aunt and other Acoma Pueblo women. Lewis was instrumental in reviving eleventh-century, Mimbres-style pottery, characterized by black lines on white slip.
Lewis married and had nine children. She handled the household chores, helped her husband with the farming, and still found time for her pottery. Because of Acoma Pueblo’s remote location, Lewis was never helped – or interfered with – by archaeologists, museum curators, collectors, or tourists. She also did not travel to powwows or fairs, though she occasionally sold her pottery in the closest town, 20 miles away.
Lewis’s pottery first became known outside the pueblo in 1950, when she received a blue ribbon at the Annual Inter-Tribal Indian Ceremonial in Gallup, New Mexico. During the 1980s and 1990s Lewis received awards from the American Crafts Council, the College Art Association, the state of New Mexico, and the Honolulu Academy of Fine Arts. Lewis continued to pot well into her 80s. Some of her daughters and grandchildren also create pottery.
- See more at: http://nmwa.org/explore/artist-profiles/lucy-m-lewis#sthash.UbTWNBLF.dpuf

Incredible set of 4 embossed, die-cut, German Halloween decoration figures. Ca. 1910.



 Available for purchase here


Available for purchase here


Available for purchase here

Available for purchase here

Friday, September 25, 2015

Thursday, September 24, 2015

Circus and Carnival outsider art.


 My current original work is available for purchase here