January Arts is About to Launch Exciting New Platform

Posted on by Diversions LA

You may know Kristine Schomaker as the creator of Shoebox Arts, an inclusive arts community that includes Shoebox Projects exhibitions,  mentoring artists throughout Southern California and beyond, and Art and Cake,  digital publication you’ve likely read along with DiversionsLA.

Now Schomaker has begun a joyous new project for her, January Arts, a nonprofit she originally conceived of in 2018,  and is bringing to fruition now, with a launch party that includes a small works fundraiser this Sunday, August 18th at the Moonhuts in Los Angeles from 3-6 p.m.

The nonprofit will serve as a hub, a facilitator, a connector, an introduction to the art world—the place where any artist can find mentorship, professional development, exhibition opportunities, critique groups, professional speakers, workshops, tools, and more.

As Schomaker says “The world is in a wonky place right now, but I knew I could help artists keep going: I’m a good cheerleader, advocate, and facilitator. While I’ve been doing this work for a decade through Shoebox, I’ve been itching to reach a wider audience. Now, through the tax-deductible nonprofit, we can apply for grants and fundraise to bring more support to creatives; with January Arts, I’m better positioned to offer my experience, knowledge, and passion to those who wouldn’t otherwise have access to support.”

She visualizes Shoebox “evolving into the more holistic platform that is January Arts. I am excited about January Arts being a hub of artist resources, where artists from all over can find whatever help they need.” Her board members were culled form diverse backgrounds in business, journalism, artist support, technology, and finance, among others.

Schomaker, left with board president Ellen Friedlander

She stresses that she wants “January Arts to be a platform where artists can find community, learn to network, and achieve their goals, whatever they may be. I also want it to be a place where any artist–regardless of career level–can realize that there are opportunities available to them. We know how hard it is to be a creative: trying to be vulnerable and put yourself out there can be an emotional rollercoaster. We want artists to know that they aren’t alone. Their story is our story. I also want January Arts to bridge the gap between artists and their needs, both material and otherwise: We have resources for graphic design, printing, framing, shipping, taxes, workshops, classes, art supplies, self-care, organization platforms, mentorship and more.”

According to Schomaker, “Once we have a bit of history under our belts, we will be applying for grants. The Launch party will feature a small works exhibition where all work is $100. We are also accepting donations on our website www.januaryarts.org. All donations are tax deductible. Fundraising will be key to providing unencumbered support to all artists.”

January Arts will officially launch on September 1st. “When you sign up through our artist membership, you have access to an abundance of benefits, including group zoom meetings three times a week: on Mondays we hold open forum Q&As; on Wednesdays we hold a book club; on Thursdays we hold co-working sessions where we all log in and work separately, using the energy of the group to finish the work we’ve been procrastinating on. We also hold a monthly meeting where we bring in an art world speaker. In the past we have had art writers, gallerists, curators, well-known artists, consultants and other guests,” Schomaker says. “Coming up we have someone talking about different technology that is available to artists to make their lives easier, as well as someone talking about licensing. Once a month, we also hold a zoom critique group. Each artist gets 10-15 minutes to share their work/projects and get feedback.” Additionally, she says “We have in person meet-ups at museums and galleries, too. Ongoing benefits include a call for artist list, an artist registry on the website, a private Facebook group, social media PR and more. Artists can check out our services as well as testimonials and FAQ on our website, www.januaryarts.org Artists can pay monthly, every 6 months or every year. We have been able to keep the fees lower due to donations and fundraising.”

The indefatigable Schomaker describes January Arts as “a passion project. It is a culmination of so many ideas coming together to continue supporting artists. In the future, we look forward to more collaborations with organizations and institutions. We look forward to expanding Art and Cake and bringing in art writer fellowships. We want to do more workshops with emerging artists and students. ”

And, she still dreams of starting an artist residency outside of the city, hoping to travel and share available opportunities with artists everywhere. “The internet and social media have opened up so many opportunities to artists, but it is still overwhelming. We want to be able to help artists navigate their individual path. We believe there is no linear or predetermined path for artists,” she attests.

January Arts Fundraiser August 18th 3-6pm
MoonHuts
5320 Valley Blvd LA CA 90032
https://www.moonhuts.com/
Catered by @district5kitchen
Small works exhibition, fundraiser, silent auction and more…

For more information,  visit:

January Arts Small Works Exhibition
https://www.januaryarts.org/post/off-the-wall-small-works-fundraiser

January Arts Website
https://www.januaryarts.org/

  • Genie Davis; images provided by fundraiser artists and Kristine Schomaker 

Island Hop: Ann Weber’s Sinuous Sculptures Wash to Shore in Catalina

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Now through December 1st, visitors have one more reason to explore Catalina Island and the beautifully exhibited Catalina Art and History Museum.  Ann Weber’s 26 Miles, a solo exhibition featuring Weber’s always mysterious and magical large-scale cardboard sculptures encourages a rethinking of the island – and the journey from the mainland to it – itself.

The massive sculptural works recall images of nature, transformed into new and shapes and identities through the shifting of time, the sea, and ourselves. They speak to the resilency of nature, the way in which it impacts human creativity, and also to the transformative vibes of island life itself.

Have you ever watched bits of broken glass shift into the soft, colorful translucence into the sea glass we treasure when washed to shore? That softening and perfection is a facet of all Weber’s work, which repurposes the crude rough-edged material of cardboard into something graceful. Pieces here resemble stones and shells and sea creatures, every memory of the ocean and every small bit of beauty we find along her shoreline.

Her art recycles, and reimagines surfaces and shapes – not unlike the rhythm of the sea on a jagged shoreline. On Catalina Island, these works have found a perfect home, speaking to the joys and vicissitudes of nature, manmade worlds, and the longing for paradise.

Additionally on view through September 8th: Philadelphia-based illustrator and designer Sarah Kaizar’s delicious original gouache and ink artwork from the book RARE AIR: Endangered Birds, Bats, Butterflies, and Bees. The two exhibitions create a lovely pairing along with permanent displays depicting island history.

Catalina Museum for Art and History is open 10 a.m. to 5 p.m. daily with extended hours until 6 p.m. Fridays and Saturdays, June – Labor Day weekend. Closed Mondays: September (after Labor Day) through May; open 7 Days: June – Labor Day.

  • Genie Davis, photos provided by the artist and museum

 

Neon Delights at the Fine Arts Building

Posted on by Diversions LA

Yes, they’ve done it again! Linda Sue Price and Michael Flechtner have created two killer cool exhibitions of neon and exciting inventive visual bliss now on display at the Fine Arts Building in DTLA.

Price’s work, above, includes many pieces that are brimming with kinetic moments – movements of all kind, including fantastic digital and video elements as well as her signature, utterly unique abstract neon. Here, her solo show series is called Lunatic Shields, a necessary tool for defending ourselves against the cultural zeitgeist and emotional burn-out as well as nasty neighbors or social meida trolls. This is brilliant, mysteriously alchemic work that dazzles the viewers eye with its integration of motion, color, light, and vibrancy.

Flechtner’s work (above) is equally special: from the cutest and hippest cat to mechanical robots, his work is witty, exciting, and remarkable in its fluid and figurative dyanmic forms. I’d recognize an original by this artist anywhere – because each piece is completely original: an object, being, or statement reimagined as a blaze of light.

Both artists have a wide range of works you can visit and purchase on a magical mystery tour of their Van Nuys studio, but do visit this beautifully laid-out exhibition in the Fine Arts Building, whose historic design makes an apt showcase.

The Fine Arts Building is located at 811 W. 7th Street, with this exhibition running through September 20th; typically, hours are weekdays 10-5 p.m., but this article will be updated with any scheduled weekend closing events if you missed the opening. Pro-tip: go shopping at Target just across Figueroa, buy a few things and get validated $2 parking!

  • Genie Davis; photos by Genie Davis

Cream of the Crop: Exceptional Modern Art Collection at Ronald H. Silverman Gallery

Posted on by Diversions LA

Color, color, color. Shape, shape, shape – the glorious combination of vivid palette and extraordinary geometric precision makes Back to Basics: Contemporary Art from the Frederick R. Weisman Art Foundation now at Cal State LA’s Ronald H. Silverman Gallery exceptional viewing. The show features more than 50 artworks, created between 1947 and 2023. The timespan covers a wide range of work that explores a variety of mediums and techniques.

Curated by Billie Milam Weisman, the artists on exhibit collectively and individually pack a powerful punch. You’ll recognize many of the names:  Jason Adkins, Josef Albers, Saradell Ard, Tim Bavington, Charles Biederman, Isaac Brest, Casper Brindle, Tom Burr, S. Byrne, Ronald Davis, Tim Ebner, Ned Evans, Paul Gadegaard, Betty Gold, Daniel Jackson, Donald Judd, Anish Kapoor, Ellsworth Kelly, Melissa Kretschmer, Sol Lewitt, Vladimir Llaguno, Joe Lloyd, Pard Morrison, Andy Moses, Kenneth Noland, John Pearson, Brian Porray, Kevin Reinhardt, Michael Rey, Dorothea Rockburne, David Ryan, Robert Schaberl, Arthur Silverman, Frank Stella, Gary Stephan, Jeremy Thomas, and Victor Vasarely.

 

The show’s vibrancy percolates from the moment the viewer enters the gallery space, presenting stellar examples of works that range from the minimalist to the conceptual. Overall, one word comes to mind to describe the exhibition: radiant. The works emanate light, they pull, revel, and reveal in it. Some works are layered, others deceptively simple. The emphasis throughout is on geometric constructs such as circles, squares, lines, spheres, angles. Color jumps from the art, whether created in eye-popping primary shades or lush jeweled patinas. The works dance with light and change upon approach – viewed in extreme close up, the images differ in appearance from a longer-range view due to the way in which their geometric patterns shape how the eye perceives each work.

Anish Kapoor’s astonishing, ruby rose red “Blood Mirror III” is an intensely reflective example of the use of both light and color. The circular bowl-like mirrored surface contains reflective meaning within meaning and serves as a beautiful example of a work’s appearance altering based on the viewer’s proximity to it.

Jeremy Thomas’s “Iseki Yellow” is an indefinable layered shape, a flower, a collection of sun bubbles, a collection of cells about to take shape and metamorphosize. Both works exude their singular color as if it were a halo around the piece.

 

Joe Lloyd’s “Incline” is a very different work, a large-scale canvas with a varied color palette that traverses a literal and figurative ascent of light and shadow in angles bisected by colors from a dominant rich gold to a sky blue and violet. It is both structure and stairwell, handrails leading to a rooftop or along a path to a mountain peak. Each level is both platform and angle.

A more diminutive work, Pard Morrison’s “So Nice to Be Here With You,” packs a multi-colored series of striped lines into a rectangular canvas, color gradients that draw the eye forward and back with their precision and shifts.

Ned Evans’ color field painting “Got Red” is a large work that stripes a range of oranges, reds, golds, and yellows vertically across the vast canvas, colors that resemble the shades of a burnished summer sunset. Cooler shades prevail in the blues and aquas of Evans’ “Quarter,” which uses a variety of square and rectangular shapes within one canvas to create a lush vision of shadow and light that at once resemble the shape of buildings, the patterns on ocean waves, and leaf shadows in a forest. It is a quietly poetic vision.

While some works are simply beautiful to look at, others contain a visual experiment.

Such is the case with Josef Albers’ “Homage to the Square: Upon Arrival,”  in which three squares are utilized to reveal the subjectivity of color.  Painted using varied light conditions, Albers’ work is both art and alchemy, as it tests the way in which the alignment of different colors side by side create different visual experiences.

Beautifully curated with color the dominant criteria for grouping in each gallery space, the exhibit fully reveals the absolute poetry in the geometric form, the passion of color, and the compelling visual spectrum that makes up the way in which artists – and all humans – view the world.

As multi-faceted as a diamond, the works in Back to Basics dazzle. The closing reception takes place on Saturday,  July 27 from 12 – 5 p.m. The gallery is open 12-5 Monday-Friday only. It is located on the campus of California State University Los Angeles.

  • Genie Davis; exhibition images provided by LA Art Documents; additional opening day images by Genie Davis