Winter, Spring, Summer, or Fall – All You Have to Do is Go – to Utah

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From soaring red rock cliffs to stunning sandstone mountains, jaw-dropping rock formations, and the perfect hiking and exploring experience visiting Utah offers many pleasures.

The wild beauty of nature is also well matched with top accommodations and five-star dining experiences that are equally awesome. The result: a perfect vacation for just about every traveller.

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Visit during the winter holidays, when a dusting of snow makes those red rocks glow like fire; in the spring, when the first wildflowers begin to show their drowsy heads above the magnificent hilltops; or in summer, when temperatures are often surprisingly moderate, and the weather is perfect to stargaze late into the night. Whatever the season, you’ll find a terrific reason to take a trip. Here are three of our favorite spots to explore and relax.

Spa Luxury and Serenity with a View

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Located just outside St. George, Red Mountain Resort is the ultimate getaway. The “adventure spa” serves a wide array of gourmet meals,  with a terrific range of vegan and vegetarian options. Try an equally substantial menu of exercise and meditation classes, and enjoy a stunning setting ringed by red rock.

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Rooms are fresh and modern; family style “apartments” with two bedrooms, a fireplace, fully equipped kitchen, and porch or patio luxuriously large; the perfect retreat to rest awhile. The latter are positioned around a pool and hot tub, one of several on the property, and a great place to indulge in a dip while stargazing.

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Don’t miss the spiral labyrinth on property; and as tempting as it is to dine, doze, and take in all that scenery, be sure to attend classes. Take a dive into an exuberant Zumba class, experience a body-aligning Chiball stretch, or find serenity in a guided meditation.

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photo above: courtesy of resort

A true don’t-miss is outdoor yoga in nearby Snow Canyon – a state park that is also well worth a day’s exploration in its own right, from layers of Navajo sandstone, lava tubes, fossil finds, and petrified dunes.

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General manager Tracy Welsh has been with the resort for 18 years, ten of them as GM. “The challenge for us is to have something different every day for our guests and flow nimbly with whatever fits best.” The fact that the resort is an independence property allows her to remain fluid and offer so many different experiences at the resort. “Our location, adjacent to Zion National Park and a state park, you just feel a sense of calm here. It’s easy to let yourself feel that,” she relates. The property itself encompases 55 acres of undisturbed open space. “The nickname for the area is ‘color country,'” Welsh says, “and just looking at the area, the colors as they change day to day, it’s a constant reminder that life is ever changing, as is earth itself.”

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Welsh, above. Below, a look at some of the experiences the resort offers.

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“We want to be more about self-care than anything else. Indulge a little, relax, enjoy a hike and a massage. We’re all hitting it too hard, we do all of our work at hyper speed and the level of expectation is high, the pressure is always on. We try to relieve that here.”

Morning hikes originating at the resort are available at three different levels from entry level Explorer hikes to challenging Endurance hikes. Along the way, guests can explore the regions flora, fauna, and a petroglyph or two; or simply take in the beauty of the region and the thoughtfulness the resort uses in preserving it.

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Return from any excursion to a beautifully prepared meal in the resort’s dining room. The food is absolutely gourmet-class; no boring “health food” fare here, although the choices are undoubtedly healthy. There’s carrot peanut butter as well as dairy buttter; farm fresh eggs or an exceptional tofu scramble for breakfast.

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Lunch is served buffet style, with choices such as baked eggplant or seafood paella.

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Dinner, fully served, offers selections like pan roasted sea bass and polenta lasagna; delightful salads; organic produce, and all created in a satisfying and innovative style. Delicious wine-based cocktails and an extensive wine and beer list add to a menu that also includes a changing confection of desserts – yes, there is chocolate.

While the average stay is four nights, some stay for a full week, others just visit for a weekend – only to return, again, and again for more natural beauty and relaxation.

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Don’t miss a visit to the spa, where an expansive mountain view spreads out before soft loungers in the reception area, and nature-focused treatments such as a hydrating Agave Ritual massage and scrub, or a Warm Detox Wrap awaits. Try a Warm Himalayan Salt Stone massage or the Zen experience of crystal bowl Vibration Sound Therapy. Sound baths are especially popular.

“35% of our guests are here for a solo experience,” Welsh reports. “So we try to offer a welcoming, safe, and casual environment that has a real lack of pretension.”

Soaring Zion National Park Heights 

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Zion National Park is popular indeed, but despite shuttle busses around the valley floor and a robust tourist popular year-round, there are many beautiful spots to visit where you can experience blissful nature, breathe deep, and take in towering views and memorable vistas. Here are tall cliffs and dazzling canyons, viewed perhaps most expansively from just outside the valley floor at the Canyon Overlook Trail in the upper East Canyon.

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Peer in the slot canyons below,  or pause along the admittedly narrow path for a break in a small cavern. At the termination of the one mile, mostly flat hike (warning: it will take an hour both to appreciate the view and approach narrow bends with caution), you’ll be rewarded with a broad and stunning view.

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Don’t miss the exceptionally easy 1/4 mile path to Weeping Rock in the heart of the park; in the winter, icicles drip from the red rocks, while come spring and summer, flowers and mosses fill the crevices wet from natural springs with fecundity.

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Stroll along the Virgin River to the Narrows, where canyon walls tower overhead; when it’s warm enough, wade with other park visitors into the rivers midst, and feel a part of the flow.  In the winter, enjoy deer nibbling on patches of greenery, and let the afternoon sunshine warm your face while you stroll.

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After a full day of hiking and exploring, the place to stop is in Springdale, just outside the park’s main gates. The Desert Pearl Inn is a real gem, with sleek, modern rooms that feature hardwood floors, porches or balconies, and a setting that offers views of a bubbling stream or the beautiful cliffs of Zion. Enjoy Native American art and regional flora on the walls; a shiny kitchenette makes the perfect spot to have breakfast before visiting the park or an evening cocktail.

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A nice touch: handmade soaps are shaped like natural rock.

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A large pool and hot tub are just steps away from the rooms.

The setting is serene, the cool, clean modern look of the inn makes for a totally Zen vibe at the end of a long day exploring the park.

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Where to eat? There are plenty of choices: no junk food or chain restaurants to clutter the natural landscape.

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Fine dining with southwest flair is the order of the day at the beautiful, art-filled Bit & Spur Restaurant and Saloon also in Springdale.

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Enjoy the stunning work of local artist Richard Harding on the walls along with dining on fare such as rich Brie quesadillas, stuffed jalapenos, and a polenta stack with wonderfully fresh shrimp. The drinks are fantastic: spicy jalapeno margarita or prickly pear? It’s a difficult choice to make, and most of the ample craft cocktails are crafted with fresh fruit.

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Drinks above, stuffed jalapenos and those amazing quesadillas, below.

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Did you think you were full? Mushroom and shrimp polenta, below will lure you right back to the table.

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Carnivores will want to try the seasoned just-right tender meat, below.

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Below: the don’t miss sweet potato tamales.

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Don’t miss the sweet potato tamales, and be sure to save room for the oreo ice cream pie with hot fudge, a chocolate bundt cake, or lush fruit pie.

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Decadent delights.

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The perfect final touch: espresso with lemon zest.

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Or have some of each: you’ll be hiking again tomorrow.

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A more casual option is the brilliant gourmet selection at a small, warm cafe in an unlikely location: a former gas station. The Whiptail Grill now adjoins a gift shop; a large patio with great park views has taken the place of the gas pumps.

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Check out the chili relleno, above. It’s a beauty, and beautifully plated, too.

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Tuck into a cozy booth indoors or take in the view from the patio, either way you’ll enjoy a stellar hand filled chili relleno or a plate of nachos or enchilladas large enough to share.

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The stuffed avocado salad filled with sweet marinated corn is also delightful.

For dessert – homemade chocolate cake.

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The Park Less Traveled

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It’s only a few hours drive to  Capitol Reef National Park, one of the least visited in the state, with some relatively deserted trails even in summer. Mild temps year round, brightly hued sandstone cliffs, sunset views, and yes, even an in-park orchard and bakery, make this beautiful place the perfect spot to “wash up” on the reef.

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You’ll want to visit the arch at Hickman Bridge and make a stop for an evening view when vivid colors paint sky and rock in a rainbow of shadows at Sunset point. You’ll also want to include a stop in at the orchard shop in Fruita, an historic farming area within the park; settle down on a picnic bench and enjoy a freshly picked peach or apple pie.

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The Grand Wash is long at 6 miles, but flat and easy; take in the incredible, shifting views; make a side forray to the more strenuous but rewarding Water Tanks – natural formations worn into the stone.

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Reward yourself with dinner at Cafe Diablo, just outside the park in Torrey, Utah.

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Feta and Watermelon salad, above; Pumpkin-seed-crusted trout, below

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Look at the lobster: lobster mac n’ cheese doesn’t stint, below

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At such a remote location, the food is an incredible surprise, with elegant desserts that literally resemble artwork; creative salads such as the watermelon, Feta, and arugula; pumpkin seed encrusted trout; a gorgeous and rich lobster mac n’ cheese, or the roasted butternut squash risotto. The cocktails are exceptional, too. The food is so unique and the setting so welcoming, you may come back more than once to experience it.

Wait for it – here come the desserts –

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Aren’t you glad you took on a six-mile hike or two now?

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We stayed at the friendly,  Western-appointed Broken Spur Inn. The large and comfortable room included delightful features such as spur-shaped towel racks and pillows inviting us to “kick off your boots and stay awhile.” A small sitting area makes the room even more inviting; while outside expansive views look toward the park’s Panorama Point.

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An indoor pool, laundry facility, and an on-property steakhouse with salads, pasta, a truly fine fresh salmon, and yes, of course, plenty of well cut steaks, adds to the convenience and pleasure of a stay here.  There’s cobblers and brownie sundaes, too.

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Salad above, salmon below – there’s more than just steaks on the flavor-packed menu.

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Look for the large-scale bronze equine statue, and check out the free buffet breakfast to start your day with filling oatmeal or scrambled eggs.

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Stay, play, hike, dine, rest, indulge, and take in the views – that’s Utah.

STAY

Red Mountain Resort, 1275 Red Mountain Cir, Ivins, UT 84738

Phone(435) 673-4905

www.redmountainresort.com

Desert Pearl Inn, 707 Zion Park Boulevard, Springdale, UT 84767

Phone(435) 772-8888

https://www.desertpearl.com/en/homepage

Broken Spur Inn, 955 East SR 24, Torrey, UT 84775

Phone: (435) 425-3775

https://www.facebook.com/BrokenSpurInnSteakhouse/

DINE

Cafe Diablo, 599 W Main St, Torrey, UT 84775

Phone(435) 425-3070

https://www.cafediablo.com/

Bit & Spur, 1212 Zion Park Boulevard, Springdale, UT 84767

Phone(435) 772-3498

www.bitandspur.com

Whiptail Grill, 445 Zion Park Boulevard, Springdale, UT 84767

Phone(435) 772-0283

www.whiptailgrillzion.com

 

 

 

Faces from the Southern Ocean & Shackleton’s Hut – J.J. L’Heureux at MOAH Cedar

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Now at MOAH Cedar in Lancaster through February 9th, artist J.J. L’Heureux’s Faces from the Southern Ocean & Shackleton’s Hut Series offers an insightful and moving look at the Antarctic landscape.

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L’Heureux is a visionary photographer, providing a rich documentary of people and places unique to many viewers.  This doesn’t mean the artist doesn’t work in other mediums as well, such as paintings and collages with real depth and a lush beauty of their own, but it is with her photographic work that viewers may feel the most immersed in a visual world previously unseen. Nor is L’Heureux focused solely on distant and exotic locales, among her recent works are dreamy images of the community around her Venice Beach studio, as well.

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But at MOAH Cedar, the artist exhibits her spirit of adventure and her naturalist sense of wonder. She made her first trip to Antarctica in 2000, and has returned every year since, building a vast body of work that includes digital images of close-ups of albatross and penguins, expansive and awe-inspiring photographs of the Ross Ice Shelf, and poignant looks at late explorer Sir Ernest Shackleton’s hut at Cape Royds.

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From penguins to people, L’Heureux captures a world we may have little acess to explore on our own; bringing a visceral and thrilling experience home to Southern California. A seasoned traveller, accostumed to harsh conditions and the miricle of magic moments with sea life and surreal scenery, her work has been included in hundreds of both national and international exhibitions. 

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She has 3 solo exhibitions over the next 2 months and is currently participating in several group shows as well.  Faces from the Southern Ocean & Shackleton Hut Series will be appearing at the Discovery Museum, Bridgeport, Conneticut and at  Jiaotong University, Shanghai, China, and the Mayborn Museum, Baylor University, in Waco, Texas. Catch it here at MOAH, and prepare to be awed. 

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  • Genie Davis; photos provided by the artist and Genie Davis

Renaissance Woman: Artist, Curator, Art Guru Kristine Schomaker

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This isn’t the first time we’ve written about artist, curator, public relations guru, publisher, gallerist -whew – Kristine Schomaker on DiversionsLA. Interestingly, she was “the first” subject when this publication began. And it’s no wonder – Schomaker is what it means to be a Renaissance woman. So settle in for an update on the exciting projects she’s working on or has planned ahead.

“The current project I am working on is tentatively titled perceive me. I am inviting artists to collaborate with me. Through personal observation and talking to many of my contemporaries, I have found that we often base our self-worth on how we think others perceive us,” she says.

Amanda Mears. Kristine Schomaker. Detail Drawing in process for Perceive Me1

She’s invited other artists to paint/draw/photograph her to continue the conversation on validation and self-esteem. “I actually just realized the other day how truly personal, emotional and self-conscious this project really is. My own self esteem has been based on how I believe others see me. I don’t mean to sound melancholy and hopeless, because for the most part, I love my life and am pretty content being single and independent, but I can count on one hand how many times I have been asked out on a date. While I logically know dating is so complex, emotionally, I feel that it is because I am unattractive.”

She notes that through experience, research, and exploration, she is uncovering deep seated reasoning for many things that have taken place in her 45 years of life. “Isn’t that what artists do? Delve deep into our psyches to discover and deconstruct? This is an ongoing process to learn to love my body and myself. I have already worked with a few artists and the work is coming out so great. I am still trying to understand my own feelings about seeing myself through their eyes, but it is definitely a work in progress. I am currently sending proposals to various institutions for a show of the work.”

Martin Cox. Kristine Schomaker - work in process after Artemisia for Perceive Me

Having had the opportunity to see some of these works, they’re outstanding – but so, too, is Schomaker herself. She is forever open, literally and figuratively here exposing herself as both vulnerable and passionate, and opening the flood gates for so many women – and men – to really see themselves as well as seeing her. Both brave and beautiful may the words that comes quickest to mind when you look at Schomaker’s artistic oeuvre.

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She also has a solo show planned at Fourth Element Gallery in Santa Ana in November 2019 which is going to focus on my installation work An Uncomfortable Skin. “I will be creating new work for that, too. Most of my work, one way or another, is a personal exploration of my eating disorder. The underlying causes through self-esteem, criticism, judgement, self-work and more. I either use my own body, or different ideas of food in my work. I am working on a piece using Yogurtland Spoons (my binge food) and vacuum sealed food bags for a show at Coastline Community College curated by Bradford J. Salomon in January.

She is also a powerhouse among independent artists as curator-muse, and PR pro. Her role in these aspects of the art scene continues to evolve.

“Since I started Shoebox PR 5 years ago, the art world has changed, and my ideas of the art world have changed. While I am the one educating my artists and introducing them to the art world, I am constantly learning, and shifting my perspective as far as questioning the artist’s role and place in the art world today. As an artist, I am on the front lines for working to figure these things out so I am able to offer valuable insight and perspective to the artists I work with.”

Shoebox PR artist meet-up

According to Schomaker, when Shoebox PR first started the focus was on promotion and marketing. As the company has grown and evolved, it’s become more of a support network for artists. “We offer resources and tools to help artists navigate their own paths. There is not just one straight and narrow road to get gallery representation. The idea that gallery representation is the holy grail of your art career is dissolving. Artists are learning to find their own opportunities with more alternative spaces, pop-up shows, artist-centric art fairs, and especially Instagram and Facebook. I don’t see this changing. There are some wonderful galleries out there who are showing edgy, important work, but they are limited. There are many more artists than there are galleries.”

To Schomaker,  artists “share the artworld. We are the gatekeepers. We need to be the entrepreneurs of our careers. I completely understand that a lot of artists don’t know where to start. I was lucky enough to have an administrative background as well as creative, so I am able to offer to help artists figure all of this out.”

Never content to rest on her laurels, Schomaker is starting a non-profit, January Arts, which is a community based organization creating/facilitating opportunities for partnership and collaboration among artists, influencers, institutions and the public. “We have already started doing residencies at our Shoebox Projects space along with free art critiques and portfolio reviews. We are looking to expand and support those underrepresented artists who need help,” she relates.

Asked what inspires her to create, today she says she isn’t sure and has felt stuck, and has not painted in awhile.

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“There is so much going on in our society: politics, the fires, mass shootings… that I have found it hard to concentrate on making art. I know with so many artists, they use these events as catalysts for creating, and are fired up and ready to get in the studio. But often, I just stare blankly at my work table and can’t move. I am not the type of artist to go to the studio and work 8-10-12 hours a day. My work normally comes more intuitively and spontaneously. I come up with ideas in the car driving, or in the shower and then immediately have to create.”

Indeed, for Schomaker, taking that relaxing hot bath may be the very best way to trigger her creativity into overdrive.

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“One of my recent bodies of work, my Plus series happened spontaneously in a hotel room when I saw the frosted glass bathroom door. All I had was my cell phone, so I played with my nude body, the door and the dark room. It was a great series that gave me a solo show.”

She adds “The exploration of myself, my eating disorder and self-worth also inspire me to create. While I have a journal and often write, I feel I can say more through art. It’s funny, as I talk about this, I realize that the politics of the body are definitely inspiration for my work. Sharing my curvy, plus-size body on Instagram has become a rebellious act against the status quo, against our selfie culture, against photoshop and advertising. Saying this is who I am, the real me, is a way of saying F you to the beauty industry for years of manipulation in shaping our attitudes and our lives for that matter.”

Schomaker feels her work has evolved in the past few years, changing with the times. Although she feels she is still dealing with issues of identity, she is in a holding pattern with her painting at the moment.

“I have realized it is hard separating my work life from my art life. While I believe it is all one life, they are separate in that my art life is more personal, about me. Of course, because of that, I think I am also afraid to jump in, because I get closer to who I really am and maybe I am afraid of finding out. For now, I will continue to create work as it happens. I am working on doing more social media art. Sharing myself on Instagram more to tell my story there. I feel the audience is broader and I can get my message out to a much larger audience there.”

She is also forging a path that is opening doors not just for recognition of her own work, but as a way to lead others in the Shoebox PR family onward.

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As an artist, she works in a variety of media. “Everything I come into contact with may be a tool for my art. My cell phone has been my trusted companion in a lot of my work. As an artist, I just use what is available. I am really loving using things that weren’t traditionally made for art, such as the Yogurtland spoons, a kitchen vacuum sealer or a paper shredder, but then I love getting back to my Nova Color paint and manipulating the flow and pours. I love when both of these different things collide.”

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Above, Schomaker at Shoebox Projects opening exhibition for artist Dani Dodge

As a curator and galleriest she says she looks for strong narratives and storytelling, authenticity, passion, good craftsmanship and a conversation between the art. “I am not into artist statements that are all artspeak. I want to see the personal, the story, the why.”

As far as representing artists, she asserts “I know how hard it is living life as an artist. We can be sensitive, emotional, angry, lost, unorganized, desperate, alone, tired, sad… the list goes on. I have been so lucky to have worked with some amazing mentors who made me feel that I wasn’t alone, that there is a whole community of like-minded people who are in the same boat as me. I seem to be a natural facilitator/leader/teacher, and I find it fulfilling to be able to share my experience, expertise, and knowledge with others and help them feel not so alone when juggling the life of an artist against everything else going on. I feel that this is my way of giving back for so much love and support I have received.”

It doesn’t get much better than that.

  • Genie Davis; photos provided by the artist

Bridget Riley at Spruth Magers Gallery: Painting Now

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The following is an exciting, in-depth guest post from artist Heather Lowe

“Look at it. Just look at it!”, Bridget Riley exclaims as the light “grew brighter and stronger every minute.” This comes from an introduction to a catalogue of Bridget Riley’s paintings that traveled to the Albers Museum, written by Robert Kudielka. Kudielka, one writer among many great writers who enjoy writing about Riley’s paintings, describes Riley’s intimate and lasting relationship with nature.  Bridget Riley grew up in Cornwall where the sea sparkles and the soft lichen and grass cover the hillsides. At eighteen, she entered Goldsmith’s College School of Art. From 1952-1955 she attended the Royal College of Art in London. In the summer of 1960 she traveled to Italy with Maurice de Sausmarez. At this time, she began her color field studies and we are privileged to see one here in Los Angeles: “Pink Landscape” which was influenced primarily by Seurat. Here we see dots and dashes of color interaction soon to evolve into Riley’s “units” of composition. Riley had already meticulously copied Seurat’s work. She was also moved by the futurists in Italy, including Balla and Boccioni.  Fleeting movement and the element of surprise are also evident in her work.

The exhibit Painting Now at Sprüth Magers is thoughtfully curated and brings Bridget Riley’s paintings to Los Angeles for the first time since the 1970s. The gallery’s press release states that the title comes from a lecture Riley gave at Slade School of Fine Art in 1996. Oh, there have been a few Bridget Riley’s here and there. Cirrus always had a few, MOCA exhibited a painting a while ago (Green and Magenta Diagonal, 1968) and Santa Barbara had one of her black and white artworks from 1960’s last I checked. But we have not seen Riley in L.A. like this ever before. LACMA recognized the importance of this event and held a panel discussion wonderfully moderated by Lynne Cooke. The brilliant Michael Bracewell generously shared his knowledge of Riley’s practice and purpose. Toward the end he mentioned Riley’s element of “joy” and let us know she is currently looking at Constable: his clouds. Her painter assistants were in attendance.

This show has 23 artworks from the 1960s and then hurtles into 2014-2018, with the exception of “Vapour 2.” The show elucidates strong parallels in Riley’s work. As you enter, to the right you see her masterpiece, “Late Morning 1,” 1967. Riley does series of works, as you will find, in all her investigations. This painting is composed of vertical stripes, alternating and varying reds and blues, which compress and relax the white areas so that a kind of morning light emanates from the center through color interaction and after-image. The painting breathes.

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Also, in this room are three of her “Memories of Horizons.” The stripes are horizontal, painted in primarily warm, hot colors and some cools but overall warm/ hot sensations and they appear to undulate upward and downward. It’s wonderful to have three of these together to compare color movement and rhythm. Memories of Horizons is from a poem by Mallarmé, says Riley, “in which a long stream of consciousness tries to answer the question: what is the world?” These paintings are horizontal and so “Horizontal Vibration,” done in 1961, is placed on the opposite wall and is reflected in the “Memories.” In this very early work, Riley was first discovering how black and white could be modulated, shifted, and displaced to release energy from the painting surface. It recalls the afterglow of a sea surface or desert plain.

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Moving into the next room we get the full reward of her years of intense painting in black and white. The surprise for me was “Quiver 3,” 2014, graphite and acrylic on the wall, about 150 inches in length (above).  In this and “Divertimento,” 2016, acrylic on canvas, reminiscent of her beautiful early painting, “Tremor,” 1962, Riley paints what appear to be very simple units of triangles on a triangular grid but with slight dips and curves carved or added to the sides. In her drawings during this period, one can see the myriad ways she labors to shift the pacing between the units by turning and varying the individual shapes. Levels rise and fall, movement sparkles throughout the surface activating our senses. It’s important to her that the units do not stand out on their own but complete a harmonious unity.

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“Descending,” 1965, 36” x 36” (above) absolutely cracks and warps the surface and has many other wonderful color sensations. It was her early black and white painting that shot her name to fame rather violently, as some of you may know, when at the Responsive Eye Exhibition in New York, someone copied her painting “Current” on fabric and put it in a window display.

 

Later, in an interview with Andrew-Graham-Dixon, Riley describes the opening: “It was astonishing, about half the people there were wearing clothes based on my paintings and I tried to avoid having to talk to the people who were the most completely covered in me. There was one member of the MOMA council who was so furious that he said, ‘So you don’t like it? We’ll have you on the back of every matchbox in Japan!’…” She goes on to say that being in America was wonderful and the artists gave her much support, but it was tough for her to be taken seriously during this time. Since then, of course, she has received many accolades including the first woman to receive the Venice Biennale Major Painting Prize in 1968. Riley has also influenced so many painters through the decades. She and other Op painters working with perception and optical sequences changed the activity of picture plane. It was truly a new way to treat the planer surface. The paintings are visceral in this room so take them in slowly or at a glance.  I believe gallery lights are a tad too bright for artwork in this room and are unnecessary. They are splendid on their own!

Upstairs we are greeted with some of her most recent work: “Measure for Measure.” We have number 23, 24 and 25, square 62-inch compositions and their accompanying smaller studies 25-inch squares. (Yes, there are numbers 1-22 somewhere). She painted a lot of these disc paintings. Also, in this room are two wall paintings with the disc units titled “Cosmos 2,” 2017 and “Untitled 2,” 2017-18. Her Measure for Measure painting series has been exhibited as early as 2016. Using lavender, green and orange at a very light saturation and mid-value, circles are painted in a grid in different compressions, sometimes tight, sometimes loose, sometimes discs go missing and the color sequences vary as well. They are calm and quite a contrast from the black and white paintings. The key to these it seems is what happens to the white areas which the colors live in: color irradiation. The white areas surrounding the discs have color after-effects, to be sure. There is also a kind of inner light that the discs seem to throw upon one another due to color contrast and interaction. I found these soothing but unpredictable. The “Untitled 2” is more minimal and daring. Very beautiful vector after-images set up and the open field is there. Riley has made use of discs in her early work when she started to introduce greys into her paintings. Riley has stated in several interviews that she is not concerned with the shape as signifying something.  Also, she is interested in color-form, not colored forms. Two treasures from this early work are in the show: “Black to White Discs,” 70” square and “Study for Black to White Discs,” 35” square. In these paintings one can see Riley’s exquisite workmanship. The orientation of the composition is diamond shaped and the graduated tonal sequence of the discs move slowly across picture plane. I had to convince a gentleman that, yes, indeed they are painted. They are not prints.

Bridget-Riley-Pink-Landscape

And we come full circle to her “Pink Landscape” painted in 1960 beside a really lovely “Vapour 2,” a striped painting done in 2009 which, coincidentally, has the same color combination as the disc paintings. Alas, we do not have any paintings from the late 80s and 90s: her Egyptian palette. I love those. But it’s an excellent show. Bridget Riley works toward nature. She paints intuitively. Her compositions have developed through her experienced and responsive eye. In her own words: “As a child one plays by lying on one’s back and filling one’s sight with the blue of the sky only to find the blue goes slowly towards grey. Your own eye produced the after-image of yellow-orange to compensate for the intensity of the blue. Color relationships in painting depend on the interactive character of colour; this is its essential nature.”

Go see it! Learn something.

The exhibition will be up Nov. 16, 2018 – Jan 26, 2019

Bridget Riley: Flashback, Hayward Publishing, 2009

Bridget Riley, Paintings 1982-1992, Introduction by Robert Kudielka, Printed in Germany, 1992

Bridget Riley by Maurice de Sausmarez, Studio Vista Limited, Great Britain, 1970

Bridget Riley, Dialogues on Art, Philip Wilson Publishers, London, 1995

Bridget Riley, Financial Times, Nov. 8, 2018

  •    Feature by Heather Lowe, Photos:  Jennifer Faist Hill