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J.R. Mooney Galleries of Fine Art: Art Tips, Reviews, Fine Art, and Custom Framing News
Friday, December 4, 2015
Doc Spellmon, Gallery Acquisitions and Much More in the new edition of Plumage-TX Magazine
Thursday, December 3, 2015
The "Doc" is In: A Critical investigation into Doc Spellmon by Art Consultant Katherine Shevchenko
In the new edition of Plumage-TX Magazine, Art Consultant, Katherine (Kat) Shevchenko dissects the estate of F.L. "Doc" Spellmon.
You can read it here at:
The “Doc” Is In
The Art of F.L. “Doc” Spellmon: A Closer Look
I recently had the pleasure to become acquainted with the artwork
of F.L. “Doc” Spellmon, an African American artist who produced works in various
media in San Antonio, Texas, and was most prolific during the 1980’s. Known as having an affable and joyous nature,
Spellmon created pieces that were informed by recent Black history yet emulated
experimental processes that included collage, found objects, and layers of
painterly applications. On the surface,
Spellmon’s paintings and drawings
appear naïve and are even categorized as “outsider” due to their character of
disproportionate figures, use of found materials, collaged elements, and a
palette that at times bordered on the fringes of Day-Glo in its earnestness,
all sealed with a finishing touch of sprinkled multicolored glitter. The application of the layers of paint and ephemera
sometimes buckle and create undulating surfaces. A textural narrative topography, his artworks
were born of sincere contemplation of prime issues that permeated his
consciousness: civil rights, the nearly forgotten and overlooked Black culture
of the rural South, and religious themes.
Through his creative process a transmogrification occurs with the touch of
his hand, and suddenly mundane materials are transmitting dramatic parables of
times past, present and future.
“Girls Picking Berries” is an acrylic
painted on an oven baked serving platter that is
mainly octagon-shaped, portraying a slice of life subject. It shows a microcosm
of a time and a place, through a subset of a more idyllic and sentimental lens,
due to the presence of two black girls with skin painted in exaggerated depth
of cartoonish tone, almost bordering on Blackface caricature that all his
figures seem to possess in his works.
They are in search of berries growing along the riverbank, with sacks
hopefully becoming heavy with bounty. In the distance is a quaint looking
village: a cluster of white houses with red earth colored roofs with a focal
point of a church and a white cross, exaggerated in scale. The ruby red sun is the only other subject
that competes for attention, located in the upper central portion of the
composition. In the middle ground, there
is a body of water with a boat carrying two fishermen who are in repose,
contributing to the poignancy of a moment of leisure. Perhaps it is Sunday, the day of rest, as
intimated by the cross that is a guidepost for the community. The chance to catch a moment of respite and
to catch up on life’s pleasures, however humble, is in no way diminished by its
significant meaningfulness bestowed on well being, like a fresh berry in all
its succulent sweetness.
In contrast to tranquil moments, Spellmon also explores
inner nightmares and demons that emerge from the murky psyche, and can hearken
a deathlike night of the soul. “That Day,”
a mixed media piece, emotes an undeniable power, as disembodied faces with menaced
expressions float in a field that covers the picture plane. The color scheme has taken a departure from bucolic
pleasantry to one dominated by black with sickly greens and yellow tones with
jarring accents of aggressive orange.
The dominant faces are primitive, made by black, almost crude scrawling
strokes. Mask-like and resembling skulls, they are positioned in quadrants
around the composition. Interspersed throughout are a multitude of smaller
faces, done in a simpler fashion, yet the expressions are not lost, as they
sink in a morass of anonymity. Various
hues of paint are layered upon the collaged
paper, plastered upon black board. The
artist has not left or revealed any other reference to an event or in
particular a clue as to the context this piece could be alluding to. What is revealed in plain sight is a
gesticulation of observation of human moral fallibility. An overall consensus
of oppression overwhelms, and transcends beyond just a specific range of linear
historical time as the layers of faces cluster and get subsumed in the overall
chaos but are yet held in place by the monumentally static position of the
anchored specter heads. The urgency is all too apparent in the frenzied
application of the colors slashing across the panel, creating a thunderous
monument to the voiceless downtrodden.
Spellmon was the son of a minister and spent hours poring
over the illustrations in his biblical texts, kindling his lifelong love for
art, which he “never outgrew.” “Madonna and Child” is an example of Spellmon
incorporating religious archetypes into his signature style, infusing the Madonna’s
skin tones with an exaggerated “blackness.” As she holds the infant, his tiny
elongated arms reach out for an embrace. Glitter is used as an element, perhaps
as a unifying sealer of the entire surface, as it has been applied liberally
all over the painting. A radiating halo of various colors and lines emanates
from the Madonna’s head and is representative of spiritual light and energy. The features of the Madonna and child are
rendered in a naïve and outsider fashion, with white brush stroke outlines for
the eyes and mouth, yet the expressions of calmness are apparent. Even though Spellmon has an art degree and is
formally trained, he makes deliberate choices with rendering inordinate figurative
proportions and using an outsider application with his methods, which are the
core of his expressionistic appeal.
There seems to be an underlying imbuement of frenzied application as
evidenced in the many layers of vibrational linear brush strokes that
compromise the halo rays; the multiple layers of glitter produce chromatic
excitation that unify the painting as an energetic prayer.
Philosophically and aesthetically his intent stems from the
inward need to express and tap into the powerful connective ability of art that
builds bridges from past memories of a specific culture, time, and place that could
have been forgotten to be seen and viewed by the light of the present day.
©Katherine
Shevchenko, Art Consultant, Boerne
Sources:
Banks, Robert H., and Andrea
Marshall. F.L. "Doc" Spellmon. Dallas: Banks Fine Art, 2014.
Print.
Naive Art expose on the New edition of Plumage-TX magazine
In the latest edition of Plumage-TX Magazine, Gallery Director, Gabriel Diego Delgado writes about his personal experience with artists of the Naive genre with an in-depth analysis of the Texas artist, F.L. "Doc" Spellmon.
This can be read in the Winter 2015 edition here:
Insight
of the Outside
By: Gabriel Diego
Delgado
I bought my first major art purchases and paintings a few
months after graduating with my Bachelor’s Degree in Fine Art. A Fine Art Studio major and colleague
persuaded me to join him (Jon Read) and another friend (Tex Kerschen) to visit
the studio of Rev. Albert Wagner. It was
with Wagner’s work that I would begin my exploration into “Outsider” or “Naïve
Art”. Wagner was one of those art
community figures who existed outside the norm of traditional fine art
practices; someone you would hear stories about. Thrown into the naïve “Outsider Artist” genre,
Wagner was a self-taught artist and self-proclaimed preacher with a church in
his basement who lived on the east side of Cleveland, Ohio. We were making a holy trek to see his work,
in what has been described by those covering the economic development of
Cleveland as a signature crack neighborhood, undoubtedly in one of Forbes most
financially miserable cities. I was
unfamiliar with his legacy and was curious to see why his persona had such an
impact on a trusted art associate. The
story goes that he was a fanatical womanizer and heavy drinker, who in
preparation for his fiftieth birthday was in his basement cleaning when paint
splatters on the floorboards began speaking to him. It was the voice of God telling him he needed
to change his life and turn to God and preach. From that day on, he painted holy relics of
the gospel and conducted informal church sermons in the basement. As a prolific artist he was able to create
well over 3,000 works of art within his lifetime; most of the sales of his work
while he was still alive were undocumented (like
mine) where he took cash on the spot and sold the works off the walls of
his home. After his death in 2006 at 82,
his children held an auction and sold over 800 works of art.
Upon arriving at Wagner’s studio we were greeted by a person,
whether friend, colleague, family member or caretaker was not apparent. We were told that the Reverend was still
sleeping, but we could look around if we wanted. When we went upstairs to the second floor, we
saw the artist. Still woozy from a late afternoon nap, he was still reclining
in his bed when he invited us into his room to share his art. Stacks of
paintings were amassed on the floor around his bed, some littered on the
peripherals of his sheets. On that cold
and windy Ohio day I took home with me two small religious paintings of the baby
Jesus and the Holy Mother. After meeting
the artist, seeing the house full of his vision, the way he lived his life, you
could not help but be impressed and acknowledge you were in the presence of
someone living on a higher plane than yourself.
As my professional art career took many turns and twists at
several art institutions, I would go onto meet other ‘outsider’ artists who
would have an impact on my outlook of this genre. Jesse Lott, a Houston based African American
artist who called the 5th Ward home, shared a studio with me in the
early 2000’s, or I shared it with him. I
felt his magic, his artistic mojo, his Rastafarian energy. Lott is credited as one of the founding
members of the Project Row Houses in Houston’s 3rd Ward. Lott was/ is the mystical godfather of the
African American Art community from the 1960’s to today. Texas Evangelical Forrest Price with his
political statements and divine teachings showed me how to make art filled with
hope, despair, redemption, guilt, gratitude, salvation and other worldly
repentances. Price strived to live his
life in a way that complimented the Dead Sea Scrolls. An artist beyond description, his gentle demeanor
allowed him to serve the Lord in his own way but still maintain an aura of
artistic importance in the collective Houston art community.
When I recently saw the artwork of F.L. Doc Spellmon, I knew
I found my next “Outsider Art” interest.
For the exhibition “Texas Vintage”
at J.R. Mooney Galleries of Boerne, we were able to curate in three paintings
by Spellmon in order to help recognize his importance in the African American
art community of San Antonio during the 1950’s – 1970’s. A pioneer of African American “Outsider Art”,
Spellmon’s vision included historical documentations about slavery atrocities,
battles concerning the Buffalo Soldiers, aspects of everyday life, gin
distilleries, African cultures, religion and everything in between. Through the
renowned collector of Texas vintage art, Johnny Wright from Fredericksburg,
Texas, I was fortunate to witness a wonderful array of over 40 original Doc Spellmon
paintings. Wright had purchased a large
estate of his work directly from the artist before he died. Wright was offering the gallery an opportunity
to share with our clients some of this wonderful collection. I immediately knew we needed to have more of
his selections in the gallery for our patrons to experience. After selecting about 18 more paintings with
the considerations of Art Consultant, Katherine Shevchenko, the decision was
made to bring in a body of work as sort of an appendage to the exhibition; work
that would be available for consultation and reference the importance of his
career in the “Outsider” genre.
As we
began to document his artwork for the exhibition catalog, we also began to
document the backs of the paintings along with the front image. The backs of
canvases, serving platters, boards, discarded wood other devices held an almost
biographical anthology. Spellmon would
make his own art and exhibition labels and affix them to the backs of the art.
You could see labels showcasing the various organizations and businesses he
founded like the “Black Art Studio” LTD and “Art By DOC”. Others included side jobs where he was
immersed in the arts community bringing collectors and patrons to art studios
and organizations like the Carver Community Center with labels like, “Art Tours
by Appointment” and “Art You Can Identify With”. His comical side would emerge with stickers on
his hangers, which read: “Guaranteed Lifetime Hanger”. This was often placed on a crooked piece of
recycled wood or particle board that was affixed to the back of the painting by
way of nails, staples and glue with an offset and non-centered wire
hanger. In 1977 Mayor Lila Cockrell
declared F.L. Doc Spellmon Texas
Emissary of the Muses and gave him his own City of San Antonio sponsored
Proclamation. In Spellmon’s own way of
artistic genius and merit he photocopied that proclamation in various sizes and
affixed this document to the back of his paintings after August 24, 1977. So from a historical context we can now see
from the back of the paintings when they were roughly created, by way of which
stickers were affixed to the backing. Always
accompanying most paintings was a large self-portrait sticker with what would
be considered a business profile head shot complete with a small two paragraph
bio of him with the highest merit of quotes referencing him back to Jackson
Pollock, Grandma Moses and others. Often
considered an “Outsider Artist” due to his visual and playful, and mistakenly, naive
imagery, Spellmon actually acquired four degrees in his lifetime including a Masters
in the Arts and taught painting and drawing at Lackland Airforce Base in San
Antonio. A prolific artist as well, Bill
Banks and Andrea Marshall in the biography: F.L. Spellmon “The Life and Works
of an African American Artist”, published by Banks Fine Art, LLC, mentioned
he participated in over 19 exhibitions from 1986 – 1989.
Within the appendix selection of paintings, four pieces
stand out as ones that need further mention and spotlight: a painting sketch
titled “Bath Time” measuring 8” x 10”
and it’s formalized larger complete work “Bath
Time” measuring 15” x 13”; two paintings from the Buffalo Soldiers series
including “Getting Away” and “Two Iron Men: Black Seminole Indian
Collection”.
The “Bath Time”
series can be categorized into his autobiographical series of artworks. They harken back to the times of slavery or
post-Civil War with aspects of the everyday life of freed slaves. A pictorial assimilation of the heavyset house
slave who took care of the slave children, “Bath Time” is a childlike
illustration of two children in a washtub being hovered over and scrubbed by an
African American woman in a red headscarf and blouse covered by a white apron. We see a shantytown shack structure in the
background complete with paper-collaged flowers in the final larger painting. Both give credit to the matriarchal role in
African American culture as well as the rudimental outdoor plumbing that
existed in this time era. In today’s
contemporary art world reference, the children’s faces remind me of the neon
body sculptures by American artist, Bruce Nauman. I half expect the children to be animated and
start poking each other in the eye or move their heads in a mechanized jaunt of
angular rotations. Addressing the
overall physical entity of the actual painting, both paintings have deliberately
painted outer frames and course overlays of thick paint, marker, ink, and other
mixed media to give a layered concoction of visual pleasure. Yes we see the
children, the mother and the house, but what we need to do is take time to
ingest all the underpainting; the layers we can see only by bubbled protrusions
under the final composition. To first see
the ‘Bath’ paint sketch and compare it to the final painting, we can begin to
dissect the artist’s intentions, his decisions and formulations to make one of his
many pieces.
Historically, the paintings in the “Buffalo Soldiers” series
of artwork are comprised of documented events. In “Getting Away”, a smaller 13” x 17”
painting, we see a Buffalo Soldier on horseback, facing backward, shooting at
what looks like Native Americans. However,
contextually within the Buffalo Soldier’s legacy, we know the Buffalo Soldiers
were one of the only regiments that were able to sustain the harsh conditions
of desert fighting and chase the famous war chief, Geronimo, through
Arizona. This could be the famous
Geronimo and his soldiers engulfed in a shoot-out and daring escape from the 10th
regiment. “Two Iron Men: Black Seminole Indians Collection” on the other hand
portrays the Black Seminole scouts, in some cases runaway and freed slaves, who
initially joined the Seminole Indian camps in Florida and were asked to enlist
in the Army and fight in the Texas-Indian Wars, where they had documented
engagements with Comanche, Kiowa, Apaches
and Kickapoos, attached to and fighting alongside the
Buffalo Soldier regiments. The title can
refer to the weaponry, particularly the sword and saber, or the tenacity of
these men.
In conclusion, “Outsider Art” should not be dismissed,
ignored or deemed irrelevant. In most
cases, these artists exist on the peripherals of today’s society. However, a few, like Price, Lott and Spellmon
have become intrinsically important to the civic makeup of their respective art
communities. Their artworks drive an importance that allows their legacy to
continue, influencing future generations of artists, collectors, and
appreciators. The outsider has now
become the insight-er, revealing aspects of our collective cultures in a fresh
light. Maybe we are the ones looking in
from the outside and they are the ones in their own profound earthbound
nirvana.
Friday, November 27, 2015
Art Consultant's Spotlight: "Watching Proudly" by R. Mizoy
This large majestic oil painting features a Native American
warrior sitting on his white steed. The horse stands in shallow water and in
the background is the warrior’s village. He wears a halo war bonnet or
headdress. These headpieces were originally worn by Plains Indian men who had
earned a place of respect in their tribe. The headdress was worn only for
special occasions and was a display of courage and honor. They were and still
are made of golden eagle feathers and are sometimes painted red to commemorate
certain events. To obtain the feathers the men would climb into the golden
eagle’s nests and pluck them from the young. Today, in the United States, only
enrolled members of a tribe may legally possess eagle feathers as the species
is protected. In the past, each feather was earned, either in battle or for a
good deed. If the warrior acquired enough feathers one of his family members
would sew together the headdress. The warrior had to have the permission of the
chief to wear it and only few were awarded this high honor, as a man may
collect only two or three eagle feathers during his entire life.
Since the halo war bonnet was worn only during special
occasions and by special people, it is likely this warrior is reflecting upon
his life while on his way to a ceremony or other tribal event. His headdress
has much red painted into it, indicating that he has a lengthy history of
heroic deeds. The fact that his horse is white is a symbol of his good character.
Together, their physical reflection in the water visually symbolizes personal
reflection. The headdress he wears is a testament to the deeds and achievements
that created his legacy. He stands erect, alert in front of his village, still
the protector. He has fought hard, hunted and worked his entire life to keep his
people safe and prosperous as is indicated by the headdress. Now, he takes a
moment for silent, proud reflection.
Please Contact J.R. Mooney Galleries of Fine Art for Availability and Pricing
1 800 537 9609 Toll Free
210 828 8214 San Antonio, TX Location
830 816 5706 Boerne, TX Location
Framing Consultant Spotlight: "A Frame at the Water's Edge"
Selecting the right frame for a piece of artwork can be a
challenge. It is important to find the right materials and framing design to
compliment the work and to understand how it relates to it. A frame is a design
element itself and there are several aspects to consider.
“The Water’s Edge” by J. Yoon is a large and colorful oil painting
that shows a floral landscape meeting a pond. It is important to consider the
size, texture and feeling of the painting when considering a frame.
For this work, we stacked two moldings together to create a
frame size that is to scale with the painting. There is no rule of how wide a
frame must be, but in this case it must be wide enough to cover the borders and
strong enough to support the weight of the canvas. The next element to consider
is the texture of the painting. This oil painting makes use of impasto techniques
and that paint becomes the layers of grass and growth reaching out towards an
abundantly thriving pond. For this example, stacking not only creates a frame
that is the proper size, but also one that has layers just as the painting does.
Texture also exists in the materials chosen for the frame. Distressed wood and gold
leafing comprise the frame, all natural looking just like the painting. Finally,
the overall aesthetics are important to consider when framing. It is important
to choose a frame that will be congruent with the style of the painting.
The slip moulding is Roma brand, Palladio #760055. This moulding
features natural wood fillet aligned with a gold carved hand finished frieze
that has a C-Scroll pattern that resembles leaves or grass blowing in the wind
and completes the sight edge of the frame. The frieze portion of the sight
edge is very delicate. Roma’s website describes it saying: “More than ten
layers of colorant, hand-applied leafing, patinas and wax are applied to
achieve the desired finish of this highly architectural moulding.” It brightens
the painting and the warm tones enhance the subtle lighting that bathes the
flowers and reflects off the water. The gold motif portion of the sight edge
also breaks up the complimenting woods which add another layer of texture
to the overall frame. For the back edge (or principal moulding), Roma Cabane
#261059 was used. Roma describes: “Our Cabane mouldings rustic charm, rich hues
and subtle highlights of color are hand applied and distressed by skilled
artisans whose careful attention to detail evokes the beauty attained only by
time and nature.” The thick distressed wood has a warm tone that compliments
the rich hues of dark green, purple, and blue found in the painting as well as
the hand finished gold and wood of the sight edge. It is solid and sturdy just
like the mighty trees that are in the forest behind the pond, and it is in
keeping with the natural style of the artwork.
Overall, the organic ornate sight edge paired with the
distressed wood back edge of this frame does not overwhelm the serene scene
near the water, but rather encapsulates the jewel tones of the painting like a
filigree band holds a brilliant emerald or sapphire. The overall design creates
a uniform frame that is classic, natural and elegant.
Framing for "The Water's Edge" 36" x 48" oil on canvas by Yoon:
Inside: Roma Palladio 760055 1 ¾” primitive gold
Outside: Roma Cabane 261059 4” Aged Auberge Brown
Please contact J.R. Mooney Galleries of Fine Art for Availability and Pricing
1 800 537 9606 Toll Free
210 828 8214 San Antonio, TX Location
830 816 5706 Boerne, TX Location
Art Consultant's Spotlight: "Where's My Lunch?" by R. Henderson
R. Henderson’s
portrait of a cow is no ordinary farm animal. Instead of the natural browns,
whites and greens that one might expect from a traditional bovine painting, the
artist uses bold bright colors: reds, purples, and blues to create his animal.
This adds an element of excitement to the painting, but there is more to it
than just wild colors. Even with a non-traditional palette, the cow appears
realistic. This effect is achieved by the artist through use of a palette knife
technique to create texture and dimension in the paint. The result is a Post-Impressionistic painting
with a pop art twist. The psychedelic cow has a life like quality that makes
this a fun and lively painting. The electric white paint becomes fur falling
around the ears and the soft friendly eyes of the cow. This texture creates dimension
and movement. His face is gentle and sweet, begging for a bit of grass as he
saunters over to the fence, sticking his head out in expectance of a nibble.
Please Contact J.R. Mooney Galleries of Fine Art for Availability and Pricing
1 800 537 9609 Toll Free
210.828.8214 San Antonio, TX Location
830.816.5106 Boerne, TX Location
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