| Gallery Notes: News of the Visual Arts |
The Work and Life of Washington
Artist Carroll Sockwell, 1943-1992
Carroll Sockwell was born in a segregated
Washington, D.C. in 1943. Sockwell had a troubled
childhood; however, his artistic talent was
recognized early by a teacher at the Corcoran School
of Art. This recognition gave him the confidence to
head to New York City at the age of seventeen, where
he immersed himself in the art movements of that
time – in particular, Abstract Expressionism. He
returned to Washington, D.C.
in 1963, finding there a city which itself had become
an important art center. Sockwell immersed himself
in the Modernist works assembled there, especially
in those at the Phillips Collection. By the early 70’s
Sockwell’s work was drawing the attention of
curators at Washington’s top museums, and he was
given a solo exhibition at the Corcoran Gallery of Art
in 1974. His work was also included in group
exhibitions at the Brooklyn Museum and at the
Whitney Museum of American Art in New York City.
Sockwell’s work, while extending from the Modernist
Tradition, bears the strong stamp of his unique
personal psyche. Sockwell integrates geometric and
gestural abstraction, a seemingly incongruous
combination which makes his work unlike that of any
other painter. In his later works personal and
troubling motifs are evident. These probably resulted
from personal trials as well as the larger social
crises of the times.
In all likelihood, Sockwell will eventually be
recognized as one of the giants in his capacity to
reflect, in his artistic work, the power of social crises
on an individual’s private world. Sockwell’s work can
be found in most major American Museums.
Exhibition April 9 - April 30, 2009 at: Marin-Price
Galleries, 7022 Wisconsin Ave. Chevy
Chase, Maryland 20815
Artist Carroll Sockwell, 1943-1992
Carroll Sockwell was born in a segregated
Washington, D.C. in 1943. Sockwell had a troubled
childhood; however, his artistic talent was
recognized early by a teacher at the Corcoran School
of Art. This recognition gave him the confidence to
head to New York City at the age of seventeen, where
he immersed himself in the art movements of that
time – in particular, Abstract Expressionism. He
returned to Washington, D.C.
in 1963, finding there a city which itself had become
an important art center. Sockwell immersed himself
in the Modernist works assembled there, especially
in those at the Phillips Collection. By the early 70’s
Sockwell’s work was drawing the attention of
curators at Washington’s top museums, and he was
given a solo exhibition at the Corcoran Gallery of Art
in 1974. His work was also included in group
exhibitions at the Brooklyn Museum and at the
Whitney Museum of American Art in New York City.
Sockwell’s work, while extending from the Modernist
Tradition, bears the strong stamp of his unique
personal psyche. Sockwell integrates geometric and
gestural abstraction, a seemingly incongruous
combination which makes his work unlike that of any
other painter. In his later works personal and
troubling motifs are evident. These probably resulted
from personal trials as well as the larger social
crises of the times.
In all likelihood, Sockwell will eventually be
recognized as one of the giants in his capacity to
reflect, in his artistic work, the power of social crises
on an individual’s private world. Sockwell’s work can
be found in most major American Museums.
Exhibition April 9 - April 30, 2009 at: Marin-Price
Galleries, 7022 Wisconsin Ave. Chevy
Chase, Maryland 20815
After photographer Robert Welsh completed his
Boston in Transit series, he began working on his
“Staten Island Ferry Series” in 1999.
On frequent trips from San Francisco to the East
coast he has made a point of photographing the
Staten Island Ferry as it goes back and forth to
Manhattan. Welsh tries to capture the light and the
manner in which it reflects the varying moods of the
passengers He finds them to be an eclectic mixture
of new waves of immigrants and tourists,
concentrating on the dramatic spectacle of the
Manhattan skyline, Ellis Island, or the sun fading
behind Liberty Island, as well as daily commuters
absorbed in their own thoughts.
Welsh has realized his goal to convey through his
images the passenger's sense of physicality as
well as their moods.
The series also records and examines the
multifold aesthetic elements of the Ferry, inspired in
part by the variations in tone, color, and movement
reflected in windows, railings and the patterns of
the water.
Welsh documents the identity of the Staten Island
Ferry as an entity unto itself including its aging
Terminal, reflecting years of New York history, in a
time of transition. (The New York City Board of
Transportation started replacing these venerable
boats in 2004.)
Robert Welsh grew up in Brighton, an
urban/suburban neighborhood of Boston,
Massachusetts and graduated from the Boston
Public School system.
Boston in Transit series, he began working on his
“Staten Island Ferry Series” in 1999.
On frequent trips from San Francisco to the East
coast he has made a point of photographing the
Staten Island Ferry as it goes back and forth to
Manhattan. Welsh tries to capture the light and the
manner in which it reflects the varying moods of the
passengers He finds them to be an eclectic mixture
of new waves of immigrants and tourists,
concentrating on the dramatic spectacle of the
Manhattan skyline, Ellis Island, or the sun fading
behind Liberty Island, as well as daily commuters
absorbed in their own thoughts.
Welsh has realized his goal to convey through his
images the passenger's sense of physicality as
well as their moods.
The series also records and examines the
multifold aesthetic elements of the Ferry, inspired in
part by the variations in tone, color, and movement
reflected in windows, railings and the patterns of
the water.
Welsh documents the identity of the Staten Island
Ferry as an entity unto itself including its aging
Terminal, reflecting years of New York history, in a
time of transition. (The New York City Board of
Transportation started replacing these venerable
boats in 2004.)
Robert Welsh grew up in Brighton, an
urban/suburban neighborhood of Boston,
Massachusetts and graduated from the Boston
Public School system.
Robert Welsh, From Boston to Staten Island
Lisa Jack: Barack Obama - The
Freshman
May 28 - July 18, 2009
These are black and white photographs by Lisa
Jack. First featured in Time Magazine’s 2008
“Person of the Year” Issue, which chose then
President-elect Barack Obama for his “rare ability
to . . . organize himself and others to anticipate
change and translate it into opportunity,” these
photographs offer a window back in time before
the posters and before the campaign, when a 20-
year-old young man was caught up in just such a
change that Time Magazine would later describe.
Lisa Jack, then a student of photography at
Occidental College, sought a striking subject for a
portrait project and was tipped off about a
charismatic freshman named “Barry” Obama who
would make an ideal subject.
After the shoot, these images would remain
locked away for the next 28 years, until a dare from
a friend triggered Lisa Jack to seek them out.
M+B
612 NORTH ALMONT DRIVE
LOS ANGELES, CALIFORNIA 90069
Freshman
May 28 - July 18, 2009
These are black and white photographs by Lisa
Jack. First featured in Time Magazine’s 2008
“Person of the Year” Issue, which chose then
President-elect Barack Obama for his “rare ability
to . . . organize himself and others to anticipate
change and translate it into opportunity,” these
photographs offer a window back in time before
the posters and before the campaign, when a 20-
year-old young man was caught up in just such a
change that Time Magazine would later describe.
Lisa Jack, then a student of photography at
Occidental College, sought a striking subject for a
portrait project and was tipped off about a
charismatic freshman named “Barry” Obama who
would make an ideal subject.
After the shoot, these images would remain
locked away for the next 28 years, until a dare from
a friend triggered Lisa Jack to seek them out.
M+B
612 NORTH ALMONT DRIVE
LOS ANGELES, CALIFORNIA 90069
All images from the Staten Island Ferry Series are
gelatin silver prints, Edition of 25
gelatin silver prints, Edition of 25
Robert Welsh, American, Dover St. Station, 1985, from the series: "Boston in Transit" C-print, Edition of 12.
Tepper Takayama Fine Arts is donating this to the third annual Celebrity Series of Boston Standing O! Gala Celebration, to
be held on April 28, 2009. The Gala includes dinner and an Auction at the Ritz-Carlton Boston Common, the Opening night
performance of Alvin Ailey American Dance Theater at the Boston Opera House, and a Standing O! Dance Party with
members of the Ailey company, following the performance.
Tepper Takayama Fine Arts is donating this to the third annual Celebrity Series of Boston Standing O! Gala Celebration, to
be held on April 28, 2009. The Gala includes dinner and an Auction at the Ritz-Carlton Boston Common, the Opening night
performance of Alvin Ailey American Dance Theater at the Boston Opera House, and a Standing O! Dance Party with
members of the Ailey company, following the performance.
His work is in a number of permanent collections
including those of the Brooklyn Museum of Art, The
Danforth Museum of Art, (Framingham, MA,) The
Denver Art Museum,, The Fogg Art Museum, The
Museum of Fine Arts Houston, The Hispanic Society of
America, New York, and the Worcester Art Museum.
His work has been published in A Century of Color
Photography. Roberts, Pamela, Deutsch,
Andrew, The Carlton Group, London, England, 2007.
ANTILIPSEIS - magazine about photography, Issue #
9: Fire, Woman (+Man and Sea), Editors: Giorgos
Lavdas, Pavlos Satoglou, 2007, the Hedgehog
Review, Spring, 2002, the publication of the Institute for
Advanced Studies in Culture of the University of
Virginia, among others.
including those of the Brooklyn Museum of Art, The
Danforth Museum of Art, (Framingham, MA,) The
Denver Art Museum,, The Fogg Art Museum, The
Museum of Fine Arts Houston, The Hispanic Society of
America, New York, and the Worcester Art Museum.
His work has been published in A Century of Color
Photography. Roberts, Pamela, Deutsch,
Andrew, The Carlton Group, London, England, 2007.
ANTILIPSEIS - magazine about photography, Issue #
9: Fire, Woman (+Man and Sea), Editors: Giorgos
Lavdas, Pavlos Satoglou, 2007, the Hedgehog
Review, Spring, 2002, the publication of the Institute for
Advanced Studies in Culture of the University of
Virginia, among others.
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Former Carmel Gallery Director Says Teamwork is Key to Gallery Growth
The following is written by Jennifer Walker, formerly with Hanson Gallery in Carmel, CA.
I certainly love Carmel, the galleries and the dogs. It broke my heart to leave. I come from a big family and
always enjoyed working with other galleries as a team, especially during my 8 years with the artfestival. I feel
strongly that if the gallery owners can work together on art events and exhibition schedules, art walks and
other community events they will all prosper. The gallery community working in concert can be bigger than
this economy. Team work can create new ideas and growth that surpasses that of a single entity. Landlords,
Hotels and restaurants will all benefit from the efforts of a consortium of businesses creating a joint plan to
attract visitors and to influence the voters when change is needed
I heard from many of my customers, and a few gallery owners who left town, that the high-end tourist prefer
luxury accommodations, great wine lists, and hotels with spas and other amenities. Many of my artists and
guests preferred to stay in hotels outside of Carmel. Too few quality hotels in town, the lack of music,
night-life and outdoor dining have put Carmel off the calendars of people who want an upbeat, luxurious
vacation.
"Develop a strong web site"
To survive the gallery ordinances, the small town politics wherever it exists, and poor economy, I strongly
recommend that galleries also reach outside of their community and develop a strong web site with
someone who can design for maximum hits. Internet use is essential, evites and emails and on line
education are a must. A Gallery without a website will not benefit from the repeat business "collecting" is
about. Educate your clients, people like what they know. Design art adventures, bring collectors together for
an installation, to view a studio to an event outside of Carmel. Hanson Gallery successfully toured with up to
20 other galleries to foundries and exhibitions in cities like New York, London and Chicago. Consultants
respected the relationships of other galleries with their collectors. Working together , I believe, creates
exponential results, healthy competition, and innovation. It was the eclectic mix of art in Carmel that brought
collectors to town. Celebrate your unique stables of artists and share marketing concepts to attract
customers. Check out Carmelartfestival.org to see how this mix works in promoting a plein air competition.
Galleries should also list with a strong portal company like http://carmelartgalleries.com/. I think if the
galleries work together, perhaps setting up a group auction to liquidate art in a traditional and exciting venue,
they would all benefit. This auction could be an annual event with a percentage donated to charity. It could
provide funds for all the galleries in a lean month. Post it on line for 30 days and accept bids by phone.
Design an HTML friendly newsletters through "I Contact", "Constant Contact", or another online Internet
marketing company. Through online education and exposure you can reach a large international audience,
especially if you carry recognized artists that are often "googled" by collectors. Do not use drop down menus
as the search engine can't pick up the artists' names. Do not use "frames" in your web design-google doesn't
pick that design type up. Make educational --non-conditional--contacts with collectors so they can enjoy the
world of art, and you can be a an educational resource for your audience. Attract and educate browsers and
they become collectors!
© Jennifer Walker, 2009
The following is written by Jennifer Walker, formerly with Hanson Gallery in Carmel, CA.
I certainly love Carmel, the galleries and the dogs. It broke my heart to leave. I come from a big family and
always enjoyed working with other galleries as a team, especially during my 8 years with the artfestival. I feel
strongly that if the gallery owners can work together on art events and exhibition schedules, art walks and
other community events they will all prosper. The gallery community working in concert can be bigger than
this economy. Team work can create new ideas and growth that surpasses that of a single entity. Landlords,
Hotels and restaurants will all benefit from the efforts of a consortium of businesses creating a joint plan to
attract visitors and to influence the voters when change is needed
I heard from many of my customers, and a few gallery owners who left town, that the high-end tourist prefer
luxury accommodations, great wine lists, and hotels with spas and other amenities. Many of my artists and
guests preferred to stay in hotels outside of Carmel. Too few quality hotels in town, the lack of music,
night-life and outdoor dining have put Carmel off the calendars of people who want an upbeat, luxurious
vacation.
"Develop a strong web site"
To survive the gallery ordinances, the small town politics wherever it exists, and poor economy, I strongly
recommend that galleries also reach outside of their community and develop a strong web site with
someone who can design for maximum hits. Internet use is essential, evites and emails and on line
education are a must. A Gallery without a website will not benefit from the repeat business "collecting" is
about. Educate your clients, people like what they know. Design art adventures, bring collectors together for
an installation, to view a studio to an event outside of Carmel. Hanson Gallery successfully toured with up to
20 other galleries to foundries and exhibitions in cities like New York, London and Chicago. Consultants
respected the relationships of other galleries with their collectors. Working together , I believe, creates
exponential results, healthy competition, and innovation. It was the eclectic mix of art in Carmel that brought
collectors to town. Celebrate your unique stables of artists and share marketing concepts to attract
customers. Check out Carmelartfestival.org to see how this mix works in promoting a plein air competition.
Galleries should also list with a strong portal company like http://carmelartgalleries.com/. I think if the
galleries work together, perhaps setting up a group auction to liquidate art in a traditional and exciting venue,
they would all benefit. This auction could be an annual event with a percentage donated to charity. It could
provide funds for all the galleries in a lean month. Post it on line for 30 days and accept bids by phone.
Design an HTML friendly newsletters through "I Contact", "Constant Contact", or another online Internet
marketing company. Through online education and exposure you can reach a large international audience,
especially if you carry recognized artists that are often "googled" by collectors. Do not use drop down menus
as the search engine can't pick up the artists' names. Do not use "frames" in your web design-google doesn't
pick that design type up. Make educational --non-conditional--contacts with collectors so they can enjoy the
world of art, and you can be a an educational resource for your audience. Attract and educate browsers and
they become collectors!
© Jennifer Walker, 2009
__________________________________________
THE AIR IS THICK
Marc Connor, Laurie Riccadonna,
Christopher Schade & Zoe Pettijohn Schade
Guest Curated by Joshua Marsh
April 10 – May 15, 2009
With the garden as her implied subject, Laurie
Riccadonna’s paintings explore the relationships
between landscape and pattern.
Marc Connor’s paintings explore the ancient
topography of the Upstate New York landscape.
Christopher Schade: his paintings defy singular
categorization. Traditional pictorial and visual
anchors such as horizon lines and cast shadows
weave through the sometimes disjunctive,
sometimes gradually transitioned
multiplicity of languages and spaces.
Zoe Petijohnn Schade adopts the traditional
materials of painting textile designs in gouache to
develop her layered
works of pattern and imagery.
Cerulean Arts
1355 Ridge Avenue
Philadelphia, PA 19123
Marc Connor, Laurie Riccadonna,
Christopher Schade & Zoe Pettijohn Schade
Guest Curated by Joshua Marsh
April 10 – May 15, 2009
With the garden as her implied subject, Laurie
Riccadonna’s paintings explore the relationships
between landscape and pattern.
Marc Connor’s paintings explore the ancient
topography of the Upstate New York landscape.
Christopher Schade: his paintings defy singular
categorization. Traditional pictorial and visual
anchors such as horizon lines and cast shadows
weave through the sometimes disjunctive,
sometimes gradually transitioned
multiplicity of languages and spaces.
Zoe Petijohnn Schade adopts the traditional
materials of painting textile designs in gouache to
develop her layered
works of pattern and imagery.
Cerulean Arts
1355 Ridge Avenue
Philadelphia, PA 19123