Almost Wordless Wednesday: More Paintings by a Fave Modern Painter, Frank Baker Holmes

This week, Frank Holmes sent me pictures of some of his early paintings that I'd not previously seen. It seemed like a good day to share them.

Perhaps another day I will share the story behind Frank's piano series.
Here are a pair of links to acquaint you with the man and his work.

Related

Veteran Painter Frank Baker Holmes Discusses 
His Prix de Rome and Life as an Artist

Frank Holmes, Part II

Throwback Thursday: Rivers

"All rivers run into the sea, and yet the sea is not full."
~Eccles. 1:7 

At one time rivers were the roads. Before the infrastructure of highways and byways, of rails and roads, the rivers were our transportation routes. In other words, geography played an important role in the generation of wealth.  

In Herman Hesse's novella Siddhartha, the river is a symbol. As he encountered the river in various stages of his life, its wisdom was revealed to him as it reflected his soul. 

At one time in my life, the word "rivers" meant Larry Rivers, an artist whose paintings made an impression on me when I was a young art student at Ohio University, Athens, which itself was located on a river--the Hocking.

Larry Rivers. (Creative Commons)

The best part about one's college experience is the vast sea of influences one gets exposed to. University libraries are just the ticket for getting that exposure. I lived in Scott Quad my first year at school which was possibly the closest you could get to the school's library without sleeping as a vagrant on the main green. Row upon row of large fat books filled with full color photos of art seemed to reach out to me. I explored, found that the number of artists I'd never heard of was countless, and so much of their work fascinating. In this manner I encountered painters and sculptors from all periods of history, favoring the moderns at the time.

To call Larry Rivers my favorite artist would be a misnomer, but for sure I identified with the originality and passion with which he created his work. As a young art student, I found inspiration when viewing his work. He had studied with Hans Hoffman but rejected abstract art, choosing instead an approach that gave viewers something to grapple with, figures and forms rather than fields of color or designs. 

A Ukrainian Jew born in the early twenties, he emerged as a successful painter of central influence in the 1950s New York circle with numerous shows and accolades. In the early 1960s Rivers lived in the Chelsea Hotel, the selfsame residence as many other notables like Bob Dylan, Leonard Cohen, Janis Joplin, Dylan Thomas, Arthur C. Clarke and others. 

If nothing else he was exceedingly productive. Making art is what he did, and I liked the liberated sense with which he attacked his work. You can see examples of his work here.

Originally published April 2010.

Almost Wordless Wednesday: Sarah Brokke at Wussow's

For Duluthians, Wussow's on Central has been a favorite haunt for live music, great coffee and a meeting place for friends. Jason has also been a supporter of the arts, and we always look forward to who's work will next grace the wall of the front room. This month it's Sarah Brokke on display. Sarah's work has been exhibited regionally, nationally and internationally. Stop by, grab a coffee and a bite to eat, and let her colors fill your day. 

Related Links

Sarah Brokke at the Kruk (2014)

Spotlight on Painter Sarah Brokke

Sarah Brokke Studio on Instagram

A Visit with Native Artist Sam Zimmerman: More Than Meets the Eye

Sam Zimmerman has come home to the Northland, a Grand Portage Native who spent two decades in New York serving in the education field. His passion for working with children with disabilities evolved into his being responsible for the special ed programs in the 255 schools of New York City. Along with this responsibility for 130,000 kids came a measure of influence.

His achievements led to his taking on an even greater role for the State of New York, but the pressures, the rat race hours, and politics pushed him to find a way to get back in touch with his roots.

A 40th birthday in the Yukon's Torment Valley proved to be the turning point. Immersion in the natural beauty, and being confronted by the power of Native art and totems resurrected this desire to return to his Midwest homeland and his artistic visions. "I needed to find that balance" that was missing in his life.

Zimmerman is a gregarious man, easy to share time with.  He left for the East Coast in 1996 and never stopped moving for 23 years. "It's amazing the lessons we learn," he said regarding his transition from student to education to the political arena. Of this journey he said, "The only thing I miss is teaching at the college level."

While in Alaska he said he felt like he was home. And it felt especially good to not be on call, which had become a way of life with his level of responsibility.

I visited with Zimmerman this weekend in his home in the East Hillside. The apartment is full of art. His studio is a relatively small space, but just as I have a cramped little office here with laptop and books, he has a corner "office" that serves as a studio, with ample light from windows on two of the four sides.

Some of his earlier work hangs in his studio.

When I probed regarding the latter years of his experience--the political part--he said, "I learned that I'm not a politician. I don't have an agenda." He just wanted to help kids, families and schools. "I did not feel these were the priority of my department."

"The biggest enemy is misinformation," he explained. "Who's crafting the narrative?"

Now that he's here in Duluth he's been painting again, passionately producing work that has been getting noticed, which can be found at AICHO. And he's involved with children here as well. "It's the first time I've been involved with Native children."

What stimulates him most, though, is the "energy of creation." And not just his own painting, but that which others do as well. His walls are decorated with numerous paintings by others whose impressive works he's collected over the years. A whole blog post could be written about these alone.

Here are some marvelous works he's collected from friends over the years.

This artist paints on book covers. Fascinating works.

A Native Princess painted by another friend.

Sam's Grandfather's photo, in a birchbark canoe from his high school days in Grand Portage.
Strong connections remain between Zimmerman, his roots and his family.

* * * *

Sam Zimmerman's paintings, giclee reproductions, prints, and other various merchandise with his paintings featured (CPL Imaging) can be found at Indigenous First Art & Gift Shop at Trepanier Hall, 202 West 2nd Street, Duluth. His Alaskan-inspired paintings are available at Lizzard's Gallery downtown..

Related Links
Local Art Seen: Sam Zimmerman at AICHO
Trepanier Hall Being Renamed to Honor Dr. Robert Powless at AICHO Fifth Anniversary

New Painting by Frank Baker Holmes Echoes Classic Themes

‘Still Life with Vermeer Postcard’
16”x20”, o/c

The Narrowsburg art scene is not my usual beat, but having just seen Frank Holmes' latest painting, it seemed noteworthy enough to draw attention to it. The 16"x 20" piece bears the straightforward title "Still Life with Vermeer Postcard," though it's anything but straightforward. You can find this painting at the River Gallery on Main Street in Narrowsburg, New York.

For those unfamiliar with Holmes, the story begin at the Pratt Institute where he received his Bachelor's degree in Brooklyn. Seven years later he came to Athens to work on his Masters at Ohio University. I was an art student there and, like many, impressed with what he was doing.

Vermeer detail.

In the early 70's the art scene was in a swirl because of the power of all these surging forces: the New York school, Pop Art, minimalism, conceptual art, and Happenings. It was an invigorating time for young artists, though simultaneously confusing, especially students looking for a clear path into the future.

In truth, there's never been a clear path. You have to draw or write or paint what feels authentic to you, and this is what Frank Holmes was doing, following his own inner muse.

The end result was his being honored with a Prix de Rome in 1973. You can read details of this experience here: Veteran Painter Frank Holmes Discusses His Prix de Rome and Life as an Artist

(detail)

Detail. Hardwood floor, carpet, pedestal obelisk.

Some of the elements in this painting have been recurring in Holmes' paintings for half a century, most significantly the the patterned wallpaper designs, the hardwood floor and the references to classical art history, in this case Vermeer's "The Girl with a Pearl Earring" which I had the privilege of seeing when it was at the National Gallery circa 1995. It's one of the most famous paintings of history, comparable to DaVinci's Mona Lisa in stature.

Like Salvador Dali before him, Holmes is acknowledging or paying tribute to the Dutch artist whose technical expertise is widely revered and nearly unequaled.

Another common denominator in Frank Holmes' paintings is the originality of the composition. To produce a painting is an investment of time, and the subject matter must be of sufficient interest to maintain interest. In addition to engaging the viewer, it must of necessity engage the artist as well. The visual effects--the play of light, the illusion of depth, shape, substance--are all in play here.

Priced at $3,000 this painting is a steal.

Related Links
A Most Unusual Portrait: The Sarcophagus by Frank B. Holmes
Frank Holmes' Agony and Ecstasy: 20 Images from the Ohio Theater Project 
Frank Holmes Studio Tour, 2018
21 Frank Holmes Paintings On Pinterest

Local Art Seen: Kathryn Lenz at the Zeitgeist Cafe

"Wild Animal"

This month Kathryn Lenz's paintings have been on display at the Zeitgeist Cafe.  It's harvest season for gardeners and some of Lenz's work looks delicious. The show is titled "Out of the Kitchen" and it features a variety of  subjects including vegetables and animalia. Her paintings of bunnies are especially wonderful and seem to reflect her own gentle spirit.

Her artist statement is as follows:
This show focuses on a healthy natural environment as well as small things that capture one’s imagination during a day at home. It features a variety of experiments that I have cooked up recently from ingredients including fiberglass, glues, 3-d prints, jewelry chain, super gloss, acrylic paint and varnishes as well as applications of garden produce for mark making.

While there, be sure to check out Kathryn's "Master's Hand Mobile" which may become a blog post all its own.

If you need an excuse to visit Zeitgeist, the cafe menu is superb. Ignore the Superior Street renovation and just do it. If you're like most of us, you probably could use the exercise.

"Poppy Arrangement"

"In the Beginning"

"In the Beginning" -- Detail

"All In."

"Honey Can You Get It"

"Her Chocolate Duchessness"

"Vegetable Medley"

"The Prep Bowls"

For the record, Kathryn Lenz should be added to your Twin Ports "Artists to Watch" list. 

If you can get out for next Friday's Downtown Duluth Art Crawl make sure you drop in at the Zeitgeist. 

Related Link

Kathryn Lenz Breathes New Life Into Milton's Hell

New Work by Shawna Gilmore Catches My Eye and Sparks an Interview

I can't recall where I first noticed Shawna Gilmore's distinctive paintings. It may have been at the Kruk Gallery in Superior, or maybe not. Perhaps it was Art on the Planet, or not. Last summer her Woodlandia show at Lakeside Gallery proved utterly delightful, and Aaron Kloss has continued to carry some of her upbeat work to this day. During Wendy Clouse's exhibition at Lizzard's this past month I noticed that Jeff there had taken in some of her work, and I also noticed she was moving into some new kinds of dimensions. Same spirit, new designs... always fun.

As a result I reached out and ask if I might share a little more about this Northland painter who has been capturing a lot of attention.

EN: I see that you now have some of your work at Lizzard’s. How did that come about?

Shawna Gilmore: I've wanted to have my work in Lizzards since I first visited there as a college student many moons ago. Over the years, I had checked in with them and they were too short on space to take me on. I had a few Chameleon paintings remaining from my winter show and decided to float these by them. I think the timing was right this time. That's how the art world is, you really have to put your time in and just keep trying. There are so many reasons a gallery might not take you on. . .  sometimes it is a space issue, sometimes your work doesn't fit their style or it's the wrong timing, and sometimes your work needs to mature. It's really important not to take it personally or it can paralyze you.

EN: What does your painting regimen look like? Do you have set hours each day or is it a muse-driven affair? How many hours a week are you in the studio?

SG: Painting is my full time profession. I dress for my work. I have set hours. I limit distractions(including my husband who works from home as well). And I treat it with the seriousness I would if I worked for someone else. I don't have time to sit around waiting for a muse. I've learned that by daily exercising creative muscles, you rarely have to wait for the "muse". Actually, I've found I have the opposite problem. . . .I have more ideas than I could ever paint in a lifetime. They aren't all good ideas, but they just keep coming.

EN: Do you listen to music while you paint? Or… ? If yes, what kind of music do you paint to?

SG: I tend to listen to music when I have to focus on business-y stuff like working on the website, responding to emails or anything that requires me to use words. In those times I need wordless, atmospheric or classical music to really declutter my mind. Weirdly, I find music boring and exhausting while I paint. Painting requires a different part of my brain I suppose. I listen to lots of podcasts, audiobooks or have Netflix going in the background. I wish I could even say the stories I have going are directly reflected in my work, but usually I enjoy crime dramas or science fiction action/thrillers. I'm sure there's an Oliver Sacks theory on why that might be, but I just know a good story energizes me and activates my brain.

EN: How long have you been painting professionally?

SG: I've been professionally painting since 2010. Before that it was more of a hobby and I would paint in the evenings after the kids were asleep.

EN: The whimsical nature of your work seems like it would lend itself to picture book illustration. Have you ever considered that kind of avenue? Do you draw your ideas from children’s picture books?

SG: I have and it was something I was seriously considering over the years. But as I looked into it more and as I've gotten more busy with galleries, etc, I just don't have the time to apply myself to pursuing the illustration field. Financially it doesn't make sense for me to sacrifice time away from my main job right now. You have to be careful to not get derailed and not to spread yourself a mile wide and an inch deep. Perhaps down the line. I'm open to it at some point, but thankfully I have more than enough to focus on at the moment.

I pull my ideas from a lifetime of loving stories. Very rarely are they direct references to any one story. Most often they are culmination of different threads that are subliminally working themselves out in my paintings.

EN: You mentioned having an over-active imagination. How do you decide which of your many ideas to pursue next?

SG: Sifting through the ideas to find one that has staying power is my greatest challenge. Some ideas, just from past experience, are obvious solid ones, but some are more risky. I try to stay playful. . .to not get caught up in fear of failure. We all have the natural desire for safety, comfort and predictability. . . essentially avoiding fear or pain. But if you're not failing and learning, you're not growing as a person and that's a stagnation more risky than failure. I'm not interested in things I already know. I want to learn. I want to be challenged. I want to stitch together new understanding with old. I want to find the nugget of discovery about myself or humanity or this beautiful world. To jump over the hurdle of fear, I remind myself that I can always paint over it if in fact I'm not able to execute it in a satisfying way. Ideas don't always come to me fully formed either. Sometimes they are more of a seed, but with age or experience or developing skills sometimes those seeds from years ago become a viable series.

EN: What are you working on now?

SG: I have some Chameleon paintings I'm busily finishing for a small June showing at Gallery 360 in Minneapolis. I just sent a bunch of work up to The Big Lake store opening in Grand Marais in May. I also just sent some work out to Coastal Contemporary Gallery in Rhode Island that I recently connected with. It's an exciting time. :)

EN: I see your work at Lizzard’s, Art on the Planet and Lakeside Gallery. Anywhere else in town?

SG: I have a rotating selection of work at Amity Coffee as well as a collection of paintings and prints at Makers Mercantile in West Duluth.

* * * *
To see and purchase more of Shawna's work, visit www.shawnagilmore.com

Meantime, art goes on all around you. Get into it.

Almost Wordless Wednesday: Frank Holmes Studio Tour

Imagine what it would have been like to spend an afternoon in the studio of Pablo Picasso, Dali or Matisse. Now think about this. When my peers and I were in art school at college in the early 70s, many of the 1950's artists whom we'd adopted as new heroes were actually still painting, still producing, still active in their studios. Warhol, Larry Rivers, Richard Diebenkorn, Robert Rauschenberg -- these guys were going for another two and three decades after I finished school. What would have happened had I tracked them down and asked to see what they were up to?

Well, yesterday I had an opportunity to visit the studio (or studios) of a pair of artists who I consider equal to any of these masterful artists. The only difference is in name recognition. Today and the next few weeks I plan to share photos from my visit to the studio/home of Frank Holmes and Jill Mackie, lifelong artists whose work has inspired many and hangs in the four corners of the world... or at least, the globe's farthest reaches.

I have written about each before, and will begin with Frank, a painting instructor I met while in Ohio University before he won the Prix de Rome in 1973. (Links at the bottom of the blog post.)

A chief source of inspiration for Holmes.

Detail from Big Date. (see link below)

In the Studio, Frank & Jill

NEXT WEEK: A Jill Mackie Studio Tour

RELATED LINKS
Frank Holmes' "Big Date"
A Most Unusual Portrait: The Sarcophagus by Frank B. Holmes
The Ohio Theater Project

In addition to his own ongoing explorations, Frank Holmes continues to produce commission work for clients around the world.

A Most Unusual Portrait: The Sarcophagus by Frank B. Holmes

Final version of The Sarcophagus; 38 x 56 inches, oil on linen.

Plenty of people conceive an exceptional idea. Fewer have the skill to pull it off. I place painter Frank Holmes in the latter category. Earlier this fall I shared how we re-connected, he having been one of my art instructors at Ohio University when I was a young art student in the early 70's. Today I wished to share one of his more recent paintings. Though officially untitled, I have here called it The Sarcophagus. I asked Frank to share some of the backstory on this unusual project.

The painting in progress.

"The person who commissioned the painting has been a friend and patron of mine for over 35 years and has bought several of my paintings," Frank Holmes stated. "He is a knowledgeable amateur Egyptologist as well as an art lover. He was fascinated that I once had drastically changed a finished painting (that I had exhibited and that had been published) by painting a new image over a major part of it."

How did the painting come about?

"He and I had often discussed the idea of my doing a painting of an Egyptian sarcophagus for him. Doing such a painting had been on my mind for a long time anyway. This, plus his aforementioned fascination, is what led to the idea of encasing a portrait of him within a highly decorated sarcophagus."

His portrait, and body wrapped Egyptian-style, was painted on the canvas first and the sarcophagus painted over it. "He sat for me, but I also made a photo," Frank explained.

The strip of hieroglyphs that runs down the sarcophagus's center lists his name and profession, his wife's name, and his children's names.

"I used photos of a sarcophagus in the Brooklyn Museum as reference. The rug it lies on and the room it's in are fiction."

This painting was "in the works" for about four years. 

Holmes also worked on other paintings during that time.

* * * *

If you've not yet seen Frank Holmes' Big Date, it's a large painting that is still available for purchase. Visit this September blog post. The artist continues to paint, and welcomes the opportunity to work on new assignment.

* * * *

"Art is much less important than life, 

but what a poor life without it." 

--Robert Motherwell