we close cool

ARTpage closing reception for you and only you.

July 8

Saturday

6pm until 10pm

Now including air conditioning.

Silkscreeners Wanted to Unite

Hello Screenprinters.
Please contact me at the gallery email if you are interested in collaborating with us on creating original artwork based on the photography of punk photographer jenny lens.

info@galleryrevisited.com

www.jennylens.net

Take an Art Class

Sometimes artists who have been out of school for a while feel stumped or that they miss interaction with peers or the dreaded critiques.
How about taking private lessons?

David Glynn has started offering private lessons in his studio at his large
downtown L.A. loft with rooftop access for outdoor work. Individual
instruction is geared toward working students through “blocks” and
quickly bringing them up to speed on where they want to go with their
painting, drawing, allowing their personal imagery to come through. Day
and evening lessons are available at $50 per hour or $95 for a 2 1/2
hour session. Materials list available.
David is an excellent portrait painter, but the class is not limited to that - each class would be catered to your needs.
Call David at (213)622-0176


David Glynn was educated at the Rhode Island School of
Design in Providence, The San Francisco Art Institute and Massachusetts
College of Art in Boston. He has taught in the Digital Media Department
at Otis College of Art and Design and received an "Excellence Award in
Art Education" for teaching the Advanced Painting Course at the Los
Angeles County High School for the Arts (LACHSA or "Arts High.")

Glynn has exhibited his oil paintings, drawings and prints in numerous
shows, including a solo show at the Bergamot Station Arts in Santa
Monica where his monumental sized print "4096 : Trust Time" was shown as
well as at the L.A. Municipal Gallery at Barnsdall Park. He has been
featured in many publications including The New Yorker magazine and The
New York Times. Additionally, Glynn has completed several oil portrait
commissions for leading figures in the art world and entertainment fields.

Plus he is a totally nice guy.

ARTpage Continues

Hi! ARTpage is still up. We are open Wednesday - Sunday from 12-6.

The zine is truly good reading, with art, poetry, short stories and autobiographical prose. Each issue has hand-applied collage items, a dvd of short films and a packet of stickers and more.
According to recent visitors to the gallery, "It should cost more than $20".

So if anyone would like to pay more than $20 for one they certainly can. In the mean time, there are plenty at $20 still available.

Also, the coinciding show is really worth a gander...





So see you soon!!

Sailboat paintings & Continuity

In a post earlier this week I had noted a comment regarding "sail boat paintings in oil".
Since then I saw the sea and have been stumbling upon various on-line references this week.

One in particular is that of a stunning Seascape by Gerhard Richter. Which looks surprisingly like the Palos Verdes landscape I saw on Tuesday afternoon...

I was not looking for more sea paintings on-line, but was going to look at The London Times, which then sent me on a tangent looking into Richter.

One thing in art school that seemed to have been an important topic, was that of having continuity in your work. This seems to be something I look for also. And if there are a couple of different bodies of work that an artist is doing, I look for threads within the work to link the varying styles together. On the other hand, if an artist is branching out, why not - different audiences for different things. It is a basic notion of commerce survival. And I will say it again, as I Still do not hear artists saying they Like being Starving.

Here is something that was written about Richter:

The 2001 Retrospective at MOMA displayed how diverse Richter's paintings are. His early work is of blurred figurative paintings, both with and without colour followed by seductive abstract paintings, with a colour palette that is either brilliant or subdued. His surprisingly diverse range of work has received prolonged discussion from critics, especially due to Richter's disregard for "traditional" stylistic progression and his use of photographs.

And here is how diverse he was (is)
Above "Seascape" is an oil on linen from 1969. And then the same year is this:
Secretary 1969

Betty 1977

Abstract mid 1990's

Abstract 2005

other Lutz and LL people

Hot afternoons are beginning. Yes, I actually had a busy day with several visitors to the gallery despite the heat & still managed to have time to come up with this quirky entry for the day...

On artnet one can look up any number of artists by any name. Here is work by other artists with my same last name.
Lutz-Guggisberg

Anton Lutz
Dan Lutz b.1932
Johann Jokob Lutz 1753 - 1791
Rudolf Lutz b. 1916
Sarah Lutz b. 1967

and then there is Loretta Lux b. 1969
Now, that is not a Lutz, but a double L - which is very lucky. Or a superman girlfriend name, depending on how you look at things.
I would use the word haunting, but I think everyone does, so I am going to use the word "weird". I love her work. Yet I am hurt by it.

best free stuff

Today I thought about the Lene Lovich song, "Money".
This was prompted after thinking about the ocean, a free thing easily available to Angelenos, which I saw yesterday and had forgotten about over here in dirty noisy Silver Lake.
The song goes, "The best things in life are free, but you can give them to the birds and bees..."
(I think three are several versions, but the one in my head today was being sung by Lene Lovich)

In the art world, thinking about money is some kind of bad thing.

I always hear people saying stuff like, "It's not about that". (as in, the money)

You can't win.
Someone wrote in the Comment Box that they didn't like going to galleries where the art was boring, where there were too many "sail-boat paintings in oil".

($20 painting you can buy on-line.)


("Peace - Burial at Sea" by Joseph Turner at the Tate Museum)

I guess that would apply to ocean paintings too?
It's like little these days can be inspiration, then tomorrow or yesterday we will hear inspiration is everywhere, in the every day, in trash, etc.

On that note, remember to see the work of my favorite, Rauschenberg, at MOCA.
Or check out the piece "Pepsi Fold" by Todd Squires in our current show ARTpage.
Both using discarded items tranformed.

There is nothing sadder than seeing trash floating in the ocean or bad trashy art of the ocean.
But for some reason, art made out of trash is OK.

What was in the COMMENT BOX

All right, so I opened the responses in the Comment Box.
I again, ask more people to fill these out. I know the responses so far are not representative of the people I engage with every day here at the gallery.

These questions are meant to be a fun way for people to say what they would like to say about various art topics. Pretentiousness aside, just come on down and say what you gotta say.

Describe what you like about your favorite gallery without using the words "good" or "bad".
"The most memorable experiences...is the installation itself. Are the walls clean? Is the art in a visible height for viewing?...Is the lighting appropriate? I also admire the curators sensibility and knowledge of the art and the artists."
"Ones that show visual art as opposed to cerebral art."

I think the part about the curators sensibility is what I hear most, and what seems important to me.
Although I have heard complaints about gallery cleanliness in the past by both artists and other gallerists.
Here's an article with wine at openings:
http://artnews.com/issues/article.asp?art_id=1437

Do you visit Art Fairs? What do you like about them, dislike. Which fairs have you gone to.
"If by art fair you can also associate EXPO, then yes I am extremely invigorated by them. Otherwise Art Fair as emporium is rudimently uninvigorating."

Well responder, here are some fairs I am referring to (they all call themselves fair):
artla
AAF
scope
Basel
here is an interesting article:
http://www.chicagoartistsresource.org/?q=section/840/841/761

Judging by the hand-writing, I think the same person responded to this question:
How often do you purchase art? Do you have a range you spend in, if so, what is your cut-off...Why do you make the choices you do?
"For new artists I have never purchased anything considered trite for a painting. Anything less than $300 is an insult to the artist. I believe $3000 would be my cut-off."
another response was: "6 times per year - $0-$500 - If I only knew"

I have not had a client want to pay more for art because anything lower is an insult to the artist, or they thought the low price posted was an insult. The price they felt was proportionate is what they liked paying, especially if it seemed low for their perception of the value of the piece.
I have heard from several collectors that they will spend no more than $1000 on a single substantial piece by a more well-known emerging artist. Many will pay less for emerging art and want to see even lower prices by a completely unknown artist.
Several collectors that purchase numerous pieces per year like to spend only about $200 - $500 for a single art piece at a time. Many are enjoying the rise of works on paper & produced items for under $200. Artists share with me that work should be priced higher, but they are not the majority of my clients who do spend more for art...

Do you value photography as an art form "lesser" than paintings because of editions, or perhaps it seems more instant than a painting.
"Editions don't matter to me, the image does." I value photography more than paintings because I know it well."
"An addendum: I have never bought an inkjet or giclee print and probably won't."

here is an article on photography printing.


When you leave a gallery feeling like there wasn't any good art, describe waht you saw or what about it was not good.
"Not original, or just obviously catering to trendy buyers."
"Impersonal, disonnected, replicative, mass-produced, informed by ennui without re-invigorating the questions..."
"Feeling like there was nothing new or innovative - too many "sailboat" oil paintings."

Your Comments are Important

Well, after 3 months here at the gallery I am sad to report that there are only 12 responses in the COMMENT BOX.

As posted on the blog in November 2005:

"One of the things I will implement with the new gallery location, is a Real Comment Box. There will be various topics that will be open for discussion via Paper Notes located in the Library/Salon that folks will deposit in, you guessed it, a Box.
I will gather these notes & post the consensus & quotes on the Blog.

I can't wait to see what people have to say, especially in regards to various topics that never seem to go away - in all the...14 years of doing art stuff here in LA, some discussions just don't end.
In fact, they go on & on & on..."

Come on Folks. I know people have things to say.

So next time you are in the gallery, fill out a question & drop it in the box!!

Here are some topics:
Buying art, how often & why & price range.
Is photography a lesser art form than painting.
What do you like or dislike about New York Galleries vs. LA.
Describe what you like about galleries without using the words good or bad.
Do you visit art fairs, what do you like about them.