Pack your bags! Artfields launches its seventh year from April 26 – May 4 in Lake City, South Carolina

ArtFields
Lake City, South Carolina
April 26 – May 4, 2019

ARTFIELDS LAUNCHED ITS FIRST FESTIVAL IN 2013, THANKS TO THE VISION AND PERSEVERANCE OF NATIVE SOUTH CAROLINIAN, DARLA MOORE, TO REVITALIZE THE TOWN AND STATE THAT SHE LOVES. THE GOAL WAS SIMPLE: TO HONOR THE ARTISTS OF THE SOUTHEAST WITH A WEEK’S WORTH OF CELEBRATION AND COMPETITION IN THE HEART OF A TRADITIONAL SOUTHERN SMALL TOWN. THE COMPETITION AND EXHIBITION HAVE GROWN TO EPIC PROPORTIONS, OFFERING MORE THAN $140,000 IN CASH PRIZES. THE WINNERS OF TWO PEOPLE’S CHOICE AWARDS ARE DETERMINED BY THE VOTES OF PEOPLE VISITING ARTFIELDS; AN EVOLVING BUT ALWAYS IMPRESSIVE PANEL OF ART PROFESSIONALS SELECTS ALL THE OTHER AWARDS, INCLUDING THE $50,000 GRAND PRIZE AND $25,000 SECOND PLACE AWARD.

IT IS INSPIRING TO VISIT LAKE CITY, TO SEE A COMMUNITY UNITE FOR A COMMON PURPOSE, TO EXPERIENCE WHAT WAS A “ONE-HORSE TOWN” EXPANDING INTO A YEAR-ROUNG DESTINATION WITH ART, CULTURE, MUSIC, ARCHITECTURE THANKS TO DARLA MOORE AND HER AMAZING ARTFIELDS TEAM.

ArtFields 2019
April 26 – May 4

ArtFields—Everybody’s Invited!     ArtFields 2019  Press release

LAKE CITY, SC—It’s a 9-day celebration of art and community that draws thousands to a small South Carolina town and awards over $145,000 in cash prizes. This epic Southeastern art competition runs from April 26 – May 4th and will feature a wide variety of events, including an art competition with nearly 400 pieces vying for the top prize of $50,000, a portrait contest, upscale gala, kids activities, and 3 nights of live music.

ARTFIELDS® 2019 will feature an event for everyone—and everyone is invited no matter how much you know about art. “Some people are very hesitant when it comes to art and view it as something that is for others, but not for them,” says Carla Angus, ArtFields Project Manager. “Based on my experience, once you come to ArtFields for the first time, you’ll want to come back every year.”

Each day at ArtFields, visitors can view competition artwork from artists across the Southeast in venues around town, plus artwork in the  ArtFields Jr. competition from artists in 1^st-12^th grade from all over South Carolina. There will also be educational artwalks for students, adult tours, and voting for the People’s Choice Award winners that will each take home $12,500. New this year will be temporary public art installations by Jamey Grimes and Craig Wedderspoon, plus fresh murals around town.

Art Makers ArtFields
Lake City, SC

 

 

Special events for the kick off weekend will be the ribbon cutting ceremony and Dandelion Stroll to start the week on Friday, April 26^th. Saturday brings the annual portrait contest, which will feature active duty and military veterans as models. Guests can attend Makers Market to shop for handmade goods and end the night with a live performance from Infinity Show Band. Makers Market is back on Sunday, along with an afternoon art making activity for youth ages 5K-12^th grade.

And you won’t want to miss finale weekend, either. On Thursday, May 2^nd the Bean Market will be decked out for a night of dining and dancing

Dandelion Gala
ArtFields 2019

at the annual Dandelion Gala. Friday will feature Lunchtime Crunchtime, a unique experience where artists can promote their art and share the story behind their work. Crowd favorite Harlem Gospel Choir will perform on Village Green, while local restaurants serve up delicious food and drink. On Saturday, ArtFields will conclude with the announcement of winners, live music from Rhythm Nation, and a firework display under the stars.

Here is the link to the Field Guide so you don’t miss a thing!

FINAL FULL FIELD GUIDE 2019

Sauls Street Mural
ArtFields 2019
Lake City, South Carolina

Sauls Street Mural

Inspired by Lake City’s agricultural roots, this concept explores the idea of being “wrapped up in history.” Quite literally, the focal point, giant green beans, are bundled and wrapped with a textile, reminiscent of a bandana or cloth napkin, showcasing the markings of strawberries. The second wrapping is a tobacco leaf. This symbolic imagery pays homage to the influence of strawberries, tobacco, and green beans on the Lake City economy. A call out to Lake City leading the way in the state with strawberry and tobacco production in early years. And then later being recognized on the world platform as a hub for green beans, with the auction at The Bean Market. Each of these three harvested items individually playing a meaningful role in the health and survival of the community during different time periods. Together, a symbol of abundance, sustenance, and prosperity. Because today Lake City sits at the intersection of art and agriculture, we feel this is a way to artistically speak to the heavy influence of food on the area, both past and present.

 

Federation of Modern Painters and Sculptors, founded in the WPA era, and alive and active today

DURING ITS YEARS OF OPERATION, THE GOVERNMENT-FUNDED FEDERAL ART PROJECT (FAP) OF THE WORKS PROGRESS ADMINISTRATION (WPA) HIRED HUNDREDS WHO COLLECTIVELY CREATED MORE THAN 100,000 PAINTINGS AND MURALS AND OVER 18,000 SCULPTURES FOR MUNICIPAL BUILDINGS, SCHOOLS AND HOSPITAL. THE FAP WAS PART OF PRESIDENT ROOSEVELT’S NEW DEAL DURING THE GREAT DEPRESSION THAT SOUGHT TO PUT AS MANY UNEMPLOYED AMERICANS BACK TO WORK AND BUOY MORALE.

IN THIS SOCIAL AND POLITICAL POST-DEPRESSION CLIMATE, ONE OF THE MOST LONG-LASTING AND ACTIVE ARTISTS’ ORGANIZATIONS, FOUNDED IN NEW YORK CITY IN 1940, THAT EMERGED IS THE FEDERATION OF MODERN PAINTERS AND SCULPTORS. WHILE THE WPA FAVORED MORE TRADITIONAL FORMS OF ART, NARRATIVE AND PORTRAITURE, THE FEDERATION OF MODERN PAINTERS AND SCULPTORS SUPPORTS ARTISTS WHOSE WORK IS ALSO ABSTRACT, GEOMETRIC AND MORE EXPERIMENTAL IN NATURE. OUR TRAVEL EXPERT, NICHOLAS CHRISTOPHER WHO HEADS TURON TRAVEL CATERING TO INTERNATIONAL TRAVEL FOR ARTISTS, ART FAIRS AND ART DESTINATIONS, IS A SERIOUS ARTIST AND A MEMBER OF THE FEDERATION.

THE LRFA BLOG IS VERY PLEASED TO WELCOME NICHOLAS BACK, WEARING HIS ARTIST’S HAT (BERET?),TO TELL US OF THE HISTORY, PRESENT AND FUTURE OF THE FEDERATION.

https://www.fedart.org/

Promote the welfare of free progressive artists working in America; to strive to protect the artists’ general and cultural interests and to facilitate the showing of their work; and to take legitimate action in furtherance of such purpose.

MISSION STATEMENT, FEDERATION OF MODERN PAINTERS AND SCULPTORS, JUNE 19, 1940

Mark Rothko
Sacrificial Moment, 1945
National Gallery of Art, Washington

The Federation of Modern Painters and Sculptors, founded 1940, emerged from a very energetic period of post WPA American History during which every working group of like-minded professionals created Unions, Associations & Federations, a multiple of political and quasi-political organizations.

It was both through creative and political crossroads that the Federation was formed, taking their cues from the Federation des Artistes, founded in 1871 by Courbet, Pottier Daumier and Manet.  Both historic periods were filled with opposing political and cultural forces, which needed to be addressed by the art world.

Milton Avert
Gaspe Pink Sky , 1940

Founded by Mark Rothko, Adoph Gottlieb, Milton Avery, Meyer Shapiro & Ilya Bolotowski, to name a few of the early members.  The purpose of the Federation is to ‘.. promote the cultural interests of free progressive artists working in America and to facilitate the showing of their work.’  This artistic ensemble measures the merit of the artists’ work, not encumbered by past or present trends or definitions.

 

Ilya Boltowsky
Abstraction, 1940

For over 70 years the Federation of Modern Painters & Sculptors has maintained these principles.  Allowing for a free and fluid expression of each member’s work.

Now is its 78^th years the Federation of Modern Painters and Sculptors maintains a very active presence in the art world, while always being nurtured by its history.

THE NEXT LRFA POST FOCUSES ON THE HISTORY OF THE FOUNDATION,  WRITTEN BY THE GREAT POET/CRITIC DORE ASHTON.

WESTBETH’S ARTISTS’ HOUSING WAS CONCEIVED IN THE 1960s AS A PARTIAL SOLUTION TO THE ACUTE NEED TO PROVIDE AFFORDABLE HOUSING AND STUDIOS FOR ARTISTS AND THEIR FAMILIES. HOW APPROPRIATE THAT WESTBETH GALLERY WILL HOST THE NEXT EXHIBITION OF MEMBERS OF THE FEDERATION OF MODERN PAINTERS AND SCULPTORS.

THE EXHIBITION IS ENTITLED SOUND AND IMAGE  FEATURING WORKS BY CURRENT MEMBERS OF THE FEDERATION ON THE THEME OF IMAGE AND MUSIC.

MORE TO FOLLOW!

Hans Hofmann’s Catalogue Raisonne with Collection Manager, Stacey Gershon

Hans Hofmann
In his Studio

IN SEPTEMBER 2014, THE HANS HOFMANN FOUNDATION REALIZED AN AMBITIOUS AND IMPORTANT GOAL : THE PUBLICATION OF THE CATALOGUE RAISONNE OF HOFMANN’S PAINTINGS. THIS COMPREHENSIVE 3- VOLUME WORK DOCUMENTS 1702 PAINTINGS AND INCLUDES ENTRIES FOR EACH WORK WITH COMPLETE DESCRIPTIVE INFORMATION AND DETAILED HISTORIES OF OWNERSHIP, EXHIBITION HISTORY AND LITERATURE AND INCLUDES FIVE SCHOLARLY ESSAYS. EVERY CATALOGUE RAISONNE DEMANDS ENORMOUS DEDICATION AND COMMITMENT ON THE PART OF ITS CONTRIBUTORS AND GIVEN THE SCALE OF OUTPUT OF HOFMANN’S WORK, THIS CATALOGUE REPRESENTS A PARTICULARLY IMPRESSIVE ACHIEVEMENT.

HANS HOFMANN
Catalogue Raisonne of Paintings
3 volumes

http://www.hanshofmann.org/catalogueraisonne/

FOUNDED IN 1994,  THE CATALOGUE RAISONNE SCHOLARS ASSOCIATION WAS ESTABLISHED TO SUPPORT THE INTERESTS OF SCHOLARS  AND ART HISTORIANS ENGAGED IN THESE ONGOING PROJECTS. THIS ORGANIZATION’S PRESENCE IN THE ART WORLD UNDERLINES THE IMPORTANCE AND SCOPE OF THIS CURATORIAL PROCESS. TYPICALLY, A CATALOGUE RAISONNE DEDICATED TO A SINGLE ARTIST’S BODY OF WORK PROVIDES COLLECTORS, MUSEUM CURATORS AND DEALERS WITH A RELIABLE LIST OF AUTHENTIC WORKS, THEIR CHRONOLOGY AND HISTORY (USUALLY INCLUDING PROVENANCE, BIBLIOGRAPHY AND EXHIBITIONS).

WITH A BODY OF WORK THAT NUMBERS IN THE 1700 RANGE FOR THE PAINTINGS ALONE, STACEY GERSHON’S ROLE IN THE PUBLICATION OF THE CATALOGUE RAISONNE AND AS THE COLLECTION’S MANAGER SIGNIFIES BOTH AN ENORMOUS RESPONSIBILITY AND HER DEEP KNOWLEDGE NOT ONLY OF HANS HOFMANN SPECIFICALLY BUT ALSO OF THE CURATORIAL PROCESS IN GENERAL.

STACEY, THANK YOU SO MUCH FOR YOUR CONTRIBUTION TO THE LRFA BLOG.

BEFORE WE EXPLORE THE WORKINGS OF THE FOUNDATION, WHAT IS HOFMANN’S BIOGRAPHICAL HISTORY?

Hans Hofmann is one of the most important figures of postwar American art. Celebrated for his exuberant, color-filled canvases, and renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann played a pivotal role in the development of Abstract Expressionism.

From c. 1900 until c. 1930, Hofmann’s early studies, decades of painting, and schools of art took him to Munich, to Paris, then back to Munich. By 1933, and for the next four decades, he lived in New York and in Provincetown. Hofmann’s evolution from foremost modern art teacher to pivotal modern artist brought him into contact with many of the leading artists, critics, and dealers of the twentieth century: Matisse, Picasso, Braque, Kandinsky, Sonia and Robert Delauney, Betty Parsons, Peggy Guggenheim, Lee Krasner, Jackson Pollock, and many others. His successful career was shepherded by the postwar modern art dealer Sam Kootz, secured by the art historian and critic Clement Greenberg, and anchored by the professional and personal support of his first wife, Maria “Miz” Hofmann (1885–1963).

 

Still Life—Yellow Table on Green, 1936
Oil on panel
60 x 47 1/2 in. (152.4 x 120.7 cm)
Dallas Museum of Art. Fractional gift of The Rachofsky Collection in honor of Dr. Dorothy Kosinski, the Barbara Thomas Lemmon curator of European Art (2001.344)
Photography courtesy of Dallas Museum of Art

Already 64 at the time of his first solo exhibition at Art of This Century in New York in 1944, Hofmann balanced the demands of teaching and painting until he closed his school in 1956. Doing so enabled him to renew focus on his own painting during the heyday of Abstract Expressionism and, for the next twenty years, Hofmann’s voluminous output—powerfully influenced by Matisse’s color and Cubism’s displacement of form—developed into an artistic approach and theory he called “push and pull,” which he described as interdependent relationships between form, color, and space. From his early landscapes of the 1930s, through his “slab” paintings of the later 1950s, and in his abstract works at the end of his career upon his death in 1966, Hofmann continued to create boldly experimental color combinations and formal contrasts that transcended genre and style.

Hans Hofmann
Walls of Color
Bruce Museum
Greenwich, Connecticut

WHAT ARE YOUR RESPONSIBILITIES AS COLLECTION MANAGER?

Keeping track of where the works are: consignment, exhibition, conservation. I’ve been assisting in organizing exhibitions – the one at the Bruce Museum in Greenwich, Connecticut:  Hans Hofmann: Walls of Color; the exhibition at the MPK in Germany last year and promoting Hofmann with other curators and/or finding venues for other exhibitions as well. I also curated an exhibition with Debbie Davis, a colleague at Lori Bookstein Fine Art, on the legacy of Hofmann on younger artists who’ve had no direct contact with him. It’s amazing to me how many contemporary artists have been influenced by Hofmann indirectly.

 

Combinable Wall I and II, 1961
Oil on canvas
84 1/2 x 112 1/2 in. (214.6 x 285.8 cm)
University of California, Berkeley Art Museum & Pacific Film Archive.

HANS HOFMANN CONTINUES TO BE A VITAL FORCE IN THE CURRENT ART WORLD AND MARKET. IN 2014, HIS WORKS WERE SHOWN AT THESE PRESTIGIOUS VENUES:

University of California, Berkeley Art Museum and Pacific Film Archive, Hofmann by Hofmann, 2 July – 21 December 2014.

The Metropolitan Museum of Art, New York, NY. Hans Hofmann: Selected Paintings, 18 November 2014 – 5 July 2015.

Hans Hofmann
Maquette for 1951 New York School of Printing mosaic mural

HOW DOES AN EXHIBITION COME ABOUT? DO YOU CONTACT VARIOUS MUSEUMS AND GALLERIES OR DO THEY CONTACT YOU?

It can work both ways – for the exhibition at the Bruce, it came about with the Hans Hofmann: Circa 1950 exhibition we did at the Rose Art Museum with Michael Rush and Catherine Morris. It focuses on the same body of work, the Chimbote project that he worked on with Jose Luis Sert and Paul Lester Weiner for a town in central Peru that was never realized. I had offered this to the Bruce Museum after the Rose but at the time they didn’t have a slot for it but Jack Coyle who I worked with at Chase contacted me last year and asked if we were interested in doing a Hofmann exhibition with them. This exhibition is different from the one at the Rose as it centers on Hofmann’s Mosaic mural studies and the ones which were realized that are here in NYC, the 711 Mural which wraps around the elevator bank in the lobby and the mural for the High School on 49^th street.

So sometimes we get contacted and sometimes we reach out.

IN OUR NEXT POST, STACEY WILL SHARE HER EXPERTISE ON THE CHARACTER AND RESPONSIBILITY OF AN ARTIST’S FOUNDATION. THANK YOU FOR JOINING US!