I was visiting David Martin at Martin – Zambito Fine Art, and he had brought in this pastel. I had completely forgotten about it. It depicts a flute player that at one time could be seen almost daily in Pioneer Square, in his turban and silk pajamas. It was a windy, Fall day. It has been in David and Dominique’s collection since they acquired it at an exhibition that was held to benefit the Northwest Figurative Artists’ Alliance, in the early 1990s. David intends to display the work at Dearborn House, the headquarters of Historic Seattle, at 1117 Minor Avenue.
In 2011 I began playing “YoVille” a facebook based Zynga game. In YoVille the user has a default apartment, which can be appointed with furniture, appliances and décor, purchased with YoCoin and YoCash (which can either be bought with real cash, or earned by “checking in” to work at the YoVille factory.) One of the most interesting things about YoVille is the avatars that are assigned to users. They can be dressed in clothes and costumes, and the user can expand one’s wardrobe by going to the Fashion Clothing Store. The users can also chat with each other in real time, and gather together in various public locations, or visit each others apartments and homes. A user can also purchase additional homes, from beat up trailers to sultan’s palaces or haunted castles.
A wide variety of objects and costumes can be purchased. These items are available for a brief period of time, replaced by other items that are periodically made available. These include themed objects like Japanese furniture and torture chamber appliances, and many others. Expired items are often traded for YoCoin, which creates an economy that is quite extensive. Rare YoVille objects are traded for astronomical amounts of YoCoin, at auctions that are jam-packed with avatar-bidders. (more…)
Sign up for Ongoing Plein Air Classes in the Greater Seattle area. Instruction includes materials and techniques, color theory, safety information and a historical perspective on the practice of painting outdoors. Discounts are available for first-time signups. More info is available in the classes section of this website.
Recently the gallery that has represented me in the Pacific Northwest, Davidson Galleries, announced that they were phasing out their department of Contemporary Painting and Sculpture. I have been a member of their stable of artists for the better part of three decades. My first exhibition there was in 1989, and was a near sellout show. Over the course of many years, Davidson Galleries has placed my work in many important public and private collections. I will always be grateful to Sam Davidson for his efforts on my behalf.
When I first moved to Seattle, Davidson Galleries exhibited and dealt only fine art prints, both antique and contemporary. At that time they were located on Yesler Street, sandwiched between Manolides Gallery and the bookstore that was owned by Sam’s future wife, Elizabeth Donnelly. His associate director at the time was Kate Joyce, and it was her idea that he move to a larger venue and branch out into contemporary painting and sculpture. They soon moved to the current 313 Occidental Avenue South location. I was showing at Foster White Gallery at the time, but had a great deal of respect for Sam as an art dealer. I encouraged a friend of mine to apply there, and he was accepted and began to exhibit. Personnel changes at Foster White forced me to follow suit, and I applied for representation in 1987. Sam was agreeable, and almost immediately began selling work.
We scheduled my first show, and I began producing the work for it. One piece was a large, late evening urban landscape of Elliott Bay Book Company, and we persuaded its owner, Walter Carr, to publish a poster for the show. As the opening date neared I negotiated with some Jazz musician friends to play at the opening. These included John Bishop on drums, Chuck Deardorf on bass and Dave Peterson on guitar (a later lineup included Hans Teuber on sax.) These were some of the leading lights of the Seattle Jazz scene. The opening was packed, and really exposed a hunger for representational work within the audience for contemporary art in Seattle. As mentioned before, the work sold very well, and many works found a place in the homes of several important Pacific Northwest collectors. (more…)