>>FEATURED ARTIST ARTICLE
Check out this great article about me and my scooter paintings on the Helmet Hair magazine website.
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>>Scooter Art at Donna's Cafe Baltimore
SCOOTER PARKING ONLY
My scooter art is touring around Baltimore and stopping at Donna's Cafe in Mt. Vernon for the months of January and February, 2010.
The exhibit can be seen at Donna's until February 28, 2010.
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My scooter art is touring around Baltimore and stopping at Donna's Cafe in Mt. Vernon for the months of January and February, 2010.
The exhibit can be seen at Donna's until February 28, 2010.
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>>EXHIBIT AT GALLERY 211 in Baltimore
SCOOTER PARKING ONLY
Gallery 211 This great little gallery in Federal Hill
showed my recent scooter art in the summer of 2009.
The exhibit ran from June 26 - August 22, 2009
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Gallery 211 This great little gallery in Federal Hill
showed my recent scooter art in the summer of 2009.
The exhibit ran from June 26 - August 22, 2009
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The return of art
FSVIEW, Florida, August 31, 2006
The struggling and surviving art scene in New Orleans
By Darby Price
Flying low over Lake Pontchartrain, staring out at the placid waters, one may easily forget that only a year ago, those waters were breaking through the levees of New Orleans, flooding about 80 percent of the city.
As Aug. 29 comes and goes, the citizens of New Orleans are bombarded with the images and stories of Hurricane Katrina, some of them terrible, some of them inspiring. The reality of the city is that the people who were able to come back are trying to rebuild in a place that often seems lifeless.
"The city has definitely changed," Tulane senior Lee Pratka said. "It's like living in a third world country now."
In the midst of the economic and emotional depression that seems to grip the city, the residents are reverting back to the one thing that forms the backbone of their community: art.
New Orleans is known for its art, be it jazz, the Louisiana-inspired paintings of Edgar Degas, or even the street performers who dutifully pose as statues or sing renditions of The Temptations songs.
"We used to vacation here about a week every year, and we just loved it," Director of MOXY Studios and artist Joan Cox said. "We loved the feeling of (the city)."
Originally from Baltimore, Cox and her partner set up their Magazine Street studio just six weeks before Hurricane Katrina hit. After leaving the city for four months, Cox returned to find that her gallery had only suffered minimal damage, but the storm's effects on her customers was harder hitting.
"We're just hanging on by our fingernails," Cox said (referring to the plummet in tourism dollars). "Along with all the other galleries and shops in the area."
In fact, the one thing that keeps the art scene alive in New Orleans seems not to be the shop-happy tourists, but the loyal residents whose emotional attachment to the city and emotional response to the destruction and disruption caused by Hurricane Katrina seem to be pushing them to rally around their fellow residents and around the lore of the city itself.
"There have been two repeated comments," Cox said. "One of which is "I just need something happy to look at, I need something colorful," and then other people coming in just saying, "Do you have anything at all about New Orleans?" There's such an emotional tie to the city and to images of the city as it was and as it is."
The impact of the hurricane is not so much in the broken wood and the moldy plaster. It lies much closer to the inborn pride that the citizens of New Orleans carry with them, a pride for a culture that cannot be torn apart by wind and waves. The grief is for lives turned upside down and communities of people being split and scattered across the country. The determination is for a brighter future and a return to normalcy.
"Some of our buyers are not in their homes," Graphic designer for MOXY Studios Mare McCall said. "Some people are buying pieces that they can put in their houses once they're rebuilt."
For the artists who call this city on the Mississippi home, life has changed drastically while inspiration has sky-rocketed.
"I have always painted New Orleans," local artist Alan Flattmann said. "I am planning a show in December that will be nothing but pieces about New Orleans at night or on rainy days."
Even regular citizens are a part of the art scene now; at the New Orleans Museum of Art, a striking exhibit entitled "Katrina Exposed: A Community of Photographs" is on display until mid-September. The gallery walls are covered with photographs taken by professionals and regular citizens alike. Some are humorous, like one picture of a drowning sign that reads, "Smile, New Orleans!" Others, including several pictures of corpses lying face-down, are chilling and stark.
The hundreds of photographs reveal that the community of people affected by Hurricane Katrina spans several economic and social strata. These are the people who must now rebuild from the ground up, and they are desperate for ways to express their hardship and renew their strength.
The art is now no longer in brushstrokes or in the notes coming from the saxophone; it is in the tones, the ability to simultaneously uplift and give voice to all the grief and hope that remained when the floodwaters receded.
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The struggling and surviving art scene in New Orleans
By Darby Price
Flying low over Lake Pontchartrain, staring out at the placid waters, one may easily forget that only a year ago, those waters were breaking through the levees of New Orleans, flooding about 80 percent of the city.
As Aug. 29 comes and goes, the citizens of New Orleans are bombarded with the images and stories of Hurricane Katrina, some of them terrible, some of them inspiring. The reality of the city is that the people who were able to come back are trying to rebuild in a place that often seems lifeless.
"The city has definitely changed," Tulane senior Lee Pratka said. "It's like living in a third world country now."
In the midst of the economic and emotional depression that seems to grip the city, the residents are reverting back to the one thing that forms the backbone of their community: art.
New Orleans is known for its art, be it jazz, the Louisiana-inspired paintings of Edgar Degas, or even the street performers who dutifully pose as statues or sing renditions of The Temptations songs.
"We used to vacation here about a week every year, and we just loved it," Director of MOXY Studios and artist Joan Cox said. "We loved the feeling of (the city)."
Originally from Baltimore, Cox and her partner set up their Magazine Street studio just six weeks before Hurricane Katrina hit. After leaving the city for four months, Cox returned to find that her gallery had only suffered minimal damage, but the storm's effects on her customers was harder hitting.
"We're just hanging on by our fingernails," Cox said (referring to the plummet in tourism dollars). "Along with all the other galleries and shops in the area."
In fact, the one thing that keeps the art scene alive in New Orleans seems not to be the shop-happy tourists, but the loyal residents whose emotional attachment to the city and emotional response to the destruction and disruption caused by Hurricane Katrina seem to be pushing them to rally around their fellow residents and around the lore of the city itself.
"There have been two repeated comments," Cox said. "One of which is "I just need something happy to look at, I need something colorful," and then other people coming in just saying, "Do you have anything at all about New Orleans?" There's such an emotional tie to the city and to images of the city as it was and as it is."
The impact of the hurricane is not so much in the broken wood and the moldy plaster. It lies much closer to the inborn pride that the citizens of New Orleans carry with them, a pride for a culture that cannot be torn apart by wind and waves. The grief is for lives turned upside down and communities of people being split and scattered across the country. The determination is for a brighter future and a return to normalcy.
"Some of our buyers are not in their homes," Graphic designer for MOXY Studios Mare McCall said. "Some people are buying pieces that they can put in their houses once they're rebuilt."
For the artists who call this city on the Mississippi home, life has changed drastically while inspiration has sky-rocketed.
"I have always painted New Orleans," local artist Alan Flattmann said. "I am planning a show in December that will be nothing but pieces about New Orleans at night or on rainy days."
Even regular citizens are a part of the art scene now; at the New Orleans Museum of Art, a striking exhibit entitled "Katrina Exposed: A Community of Photographs" is on display until mid-September. The gallery walls are covered with photographs taken by professionals and regular citizens alike. Some are humorous, like one picture of a drowning sign that reads, "Smile, New Orleans!" Others, including several pictures of corpses lying face-down, are chilling and stark.
The hundreds of photographs reveal that the community of people affected by Hurricane Katrina spans several economic and social strata. These are the people who must now rebuild from the ground up, and they are desperate for ways to express their hardship and renew their strength.
The art is now no longer in brushstrokes or in the notes coming from the saxophone; it is in the tones, the ability to simultaneously uplift and give voice to all the grief and hope that remained when the floodwaters receded.
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Recommended Art Feature
Gambit Weekly, New Orleans, August 1, 2006
Recommended
By D. Eric Bookhardt
Some galleries have all the luck. When Joan Cox and Mare McCall moved here from Baltimore and opened an art gallery called Moxy last July, little did they know Hurricane Katrina would hit a mere few weeks later. Like most of Magazine Street, Moxy came through the storm intact, and while surviving the post-Katrina economy hasn’t been easy, their current show, Night and Day, marks the anniversary of the gallery’s opening. Cox says she had wanted to do a show of paintings set in the nighttime but worried that might seem “a little too dark,” and then some ambient strains from Cole Porter’s Night and Day suggested a solution. Featuring a mix of local and out-of-state artists as well as some of Cox’s own canvases, Night and Day celebrates continuity and the hope of better days ahead.
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Recommended
By D. Eric Bookhardt
Some galleries have all the luck. When Joan Cox and Mare McCall moved here from Baltimore and opened an art gallery called Moxy last July, little did they know Hurricane Katrina would hit a mere few weeks later. Like most of Magazine Street, Moxy came through the storm intact, and while surviving the post-Katrina economy hasn’t been easy, their current show, Night and Day, marks the anniversary of the gallery’s opening. Cox says she had wanted to do a show of paintings set in the nighttime but worried that might seem “a little too dark,” and then some ambient strains from Cole Porter’s Night and Day suggested a solution. Featuring a mix of local and out-of-state artists as well as some of Cox’s own canvases, Night and Day celebrates continuity and the hope of better days ahead.
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ARTWRAP Art at Results By John Blee
The Georgetowner February 23, 2005
ARTWRAP
Art at Results
By John Blee
Results Gallery at Results Gym (315 G Street SE, 202.669.4226) is one of several alternative spaces around DC presenting art that is overlooked by commercial galleries. Here we have an ambitious show with Nathan Richardson, Joan Cox, and Marcia Dullum.
Nathan Richardson is an American painter who lives and works in Germany. Although he spent all his formative years in the U.S., his work is definitely informed by his stay in Europe. Richardson’s pictures are serial in nature and consist of (mostly) three figures (mostly frontal) in a space that maintains ambiguity. The space could be a room or cave, but it has an atmosphere that is pressurized as in Rothko.
Richardson has a grave, almost elegiac tone in these works. In "Naked Light," you feel the linen ground through the paint. The roughness of the ground establishes the physicality of the pictures. In "Only a Game," a small game board is seen off to the side. There is extensive, yet restrained use of pencil and sgraffito. "Blue Passage" has eloquence in its color like the final moment in which an ember dies. In all the work there is the evidence of the physical weight of being.
The light around the figures in these works acts like halos or emanations, perhaps psychic. There is pathos in these very reductive forms that remind me of Rothko’s geometry and of Stonehenge. "Snowflake June" has a red that shifts the weight of the picture. "Fool Anybody" is flatter, more decorative in its spatial aspect, with more broken passages than the other work.
Nathan Richardson, in speaking about his work, refers to Huxley’s "Brave New World" and says these pictures "are a social commentary on what I see around us." They are also a personal vision of an inner world.
Joan Cox is an energetic colorist. Her work is often based on flowers seen in flower markets and has an expressionist edge and delivery. It is never purely decorative and she is willing to take on subject matter that could throw another painter such as an up-close, oversize face sucking on a straw. Cox’s "Sweet Pears" have the sweetness of the title. Her "Violette" is jumpy and fun.
Marcia Dullum’s work is informed by many sources. In "Tribute to Bonnard," one senses more Diebenkorn than Bonnard. She is best at her non-figurative work that relates more to landscape. Her "Ricochet in Red" stands out.
Gary Fisher, Art Director of the Results Gallery, who works from the assumption that “there could be a Van Gogh in any artist exhibiting early promise," is to be congratulated on his effort. (Through March 27, 2005)
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ARTWRAP
Art at Results
By John Blee
Results Gallery at Results Gym (315 G Street SE, 202.669.4226) is one of several alternative spaces around DC presenting art that is overlooked by commercial galleries. Here we have an ambitious show with Nathan Richardson, Joan Cox, and Marcia Dullum.
Nathan Richardson is an American painter who lives and works in Germany. Although he spent all his formative years in the U.S., his work is definitely informed by his stay in Europe. Richardson’s pictures are serial in nature and consist of (mostly) three figures (mostly frontal) in a space that maintains ambiguity. The space could be a room or cave, but it has an atmosphere that is pressurized as in Rothko.
Richardson has a grave, almost elegiac tone in these works. In "Naked Light," you feel the linen ground through the paint. The roughness of the ground establishes the physicality of the pictures. In "Only a Game," a small game board is seen off to the side. There is extensive, yet restrained use of pencil and sgraffito. "Blue Passage" has eloquence in its color like the final moment in which an ember dies. In all the work there is the evidence of the physical weight of being.
The light around the figures in these works acts like halos or emanations, perhaps psychic. There is pathos in these very reductive forms that remind me of Rothko’s geometry and of Stonehenge. "Snowflake June" has a red that shifts the weight of the picture. "Fool Anybody" is flatter, more decorative in its spatial aspect, with more broken passages than the other work.
Nathan Richardson, in speaking about his work, refers to Huxley’s "Brave New World" and says these pictures "are a social commentary on what I see around us." They are also a personal vision of an inner world.
Joan Cox is an energetic colorist. Her work is often based on flowers seen in flower markets and has an expressionist edge and delivery. It is never purely decorative and she is willing to take on subject matter that could throw another painter such as an up-close, oversize face sucking on a straw. Cox’s "Sweet Pears" have the sweetness of the title. Her "Violette" is jumpy and fun.
Marcia Dullum’s work is informed by many sources. In "Tribute to Bonnard," one senses more Diebenkorn than Bonnard. She is best at her non-figurative work that relates more to landscape. Her "Ricochet in Red" stands out.
Gary Fisher, Art Director of the Results Gallery, who works from the assumption that “there could be a Van Gogh in any artist exhibiting early promise," is to be congratulated on his effort. (Through March 27, 2005)
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Paintings would beautify any home Art: by Glenn McNatt
Baltimore Sun, Dec 24, 2002
Paintings would beautify any home
Art: by Glenn McNatt
In a holiday season with omens of war in the offing, art that's warm and fuzzy and frankly decorative in intent may be just the thing to help us through a New Year fraught with uncertainty.
So you may want to check out the lovely show of contemporary-style Post-Impressionist paintings by Joan Cox and Sheep Jones at the Beveled Edge Gallery in Mount Washington. (So what if Post-Impressionism is already more than 100 years old? Some styles never lose their charm.)
Forget about the accompanying artist's statements that seem to want to weigh down these well-crafted, brilliantly colored botanical images with more than their fair share of profundity. Why shouldn't a painting just be a pretty thing to put on a wall, no explanation needed?
Cox's large paintings of pears, plums and flowers show that she has studied Cezanne and van Gogh and their painterly renderings of organic volumes (also, perhaps, the still-life experiments of early photographic Pictorialists like Clarence White and Edward Steichen).
She favors a harmonious but rather intense palette of blues, oranges, yellows and rusts that make her fruits seem to sit up on the canvas and beg to be touched, against backgrounds that are sometimes smoky and mysterious, sometimes all clear luminous innocence.
Some of Cox's paintings incorporate poetry or poetic phrases in the image, also purposeful scratches, drips and splashes of turpentine that add visual interest without distracting too much attention from the main subject.
In short, these are paintings that are easy to like, and probably easy to live with, too.
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Paintings would beautify any home
Art: by Glenn McNatt
In a holiday season with omens of war in the offing, art that's warm and fuzzy and frankly decorative in intent may be just the thing to help us through a New Year fraught with uncertainty.
So you may want to check out the lovely show of contemporary-style Post-Impressionist paintings by Joan Cox and Sheep Jones at the Beveled Edge Gallery in Mount Washington. (So what if Post-Impressionism is already more than 100 years old? Some styles never lose their charm.)
Forget about the accompanying artist's statements that seem to want to weigh down these well-crafted, brilliantly colored botanical images with more than their fair share of profundity. Why shouldn't a painting just be a pretty thing to put on a wall, no explanation needed?
Cox's large paintings of pears, plums and flowers show that she has studied Cezanne and van Gogh and their painterly renderings of organic volumes (also, perhaps, the still-life experiments of early photographic Pictorialists like Clarence White and Edward Steichen).
She favors a harmonious but rather intense palette of blues, oranges, yellows and rusts that make her fruits seem to sit up on the canvas and beg to be touched, against backgrounds that are sometimes smoky and mysterious, sometimes all clear luminous innocence.
Some of Cox's paintings incorporate poetry or poetic phrases in the image, also purposeful scratches, drips and splashes of turpentine that add visual interest without distracting too much attention from the main subject.
In short, these are paintings that are easy to like, and probably easy to live with, too.
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