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TRANSCRIPT
SPRING 2010
a r t i f a c t sP a l o S v e R d e S a R t c e N t e R
Unknown Artist, after Vincent van Gogh (1853–1890) (detail)Original: The Starry Night, Saint-Remy, June 1889Oil on canvas, 28¾" x 36¼"Museum of Modern Art, New York, New YorkaBoUt vaN GoGH
When you think about the field
of education your thoughts scroll through the Palos Verdes
school system and the number of fine private institutions that
are located here in the South Bay. Then your thoughts move
on to adult education and the many colleges and universities
in the area and in some order one might think about your own
educational background. In my case it was a small school
system in a small Kansas town where art education consisted
of admiring the Saturday Evening Post covers that arrived
once a week. Not many among us would focus on the Palos
Verdes Art Center as an educational institution, but in fact, it
is the South Bay’s premier art education center.
The Art Center’s educational outreach starts with Art at
Your Fingertips, which for over 30 years has introduced art
to the Peninsula’s children in both our public and private
elementary schools. AAYF touched more than 7,000 students
this year, with projects ranging with projects based on the
work of Alexander Calder, David Hockney, Joan Miro, Piet
Mondrian and Camille Pissarro (see pages 6 and 7). AAYF also
introduced art to many of the current docents, who teach the
program in the classroom, when they were in second or third
grade.
Through our partnership with the Palos Verdes Peninsula
Unified School District, we have a new pre-school program
at Miraleste Early Learning Academy (see page 11). Finally,
through Partners in Art the Art Center continues to bring
sixth graders to see our exhibitions and to make a related art
project in a classroom session with an artist. This year’s final
project, based on the just-ended Art on a String exhibition, is
being taught by Robin Kiss (see pages 6 and 7).
The AAYF and Partners in Art programs culminate in an
exhibition here at the Art Center. The opening reception is
2–4 p.m. Sunday, April 18. Please come! You will be amazed
at what these students have accomplished.
Speaking of exhibitions, our outstanding line-up of inter-
esting shows continues. We look forward to About van Gogh,
which opens Friday, May 7. Bob Yassin, the Art Center’s exec-
utive director and CEO, is the curator of this long-promised
and highly anticipated show.
Recently Kathy Shinkle, our public relations director,
retired the end of March. Kathy has been with the Art Center
since 1997. The wonderful and colorful Artifacts, including
this one, is just one example of the great work she has done
for us. We will miss her, but wish her well in retirement as she
pursues new directions and adventures.
Chief Executive Officer’s Column
News Update-By Bob Yassin
President’s Column
Education at PVAC-By Allen Lay
Van Gogh is the subject of a unique
exhibition and lecture series I have been working on for the
past two years. It will take a different approach on the artist’s
work than the usual one. The essay About van Gogh, which fol-
lows on the next three pages, details the genesis of the exhi-
bition and what it will include. The basic idea, however, is to
provide an opportunity to learn a great deal of new information
about the work of this great artist and to do so in an entertain-
ing way. The opening for the exhibition on May 7 is hosted by
The Associates, and they have some wonderful plans. This is
one you do not want to miss!
As you all probably know by now, Kathy Shinkle, our
long-time director of public relations and marketing, retired
at the end of March after 13 years at the Art Center. We all
owe Kathy a debt of gratitude for the marvelous job she did
in getting the word out about our activities, in working with
all of our support groups, in supporting other staff with their
needs and in so many other ways. Kathy will certainly be
missed. I know I speak for all of us in extending our many
thanks to Kathy and our very best wishes to her. I know, too,
Kathy will still be a very busy and productive person in her
retirement. As the keeper of all information, especially about
the Art Center’s history, I am sure we will be calling on Kathy
for help from time to time in the future.
Several other upcoming events should be mentioned.
April 16 and 17 are the dates for this year’s Homes Tour
Extraordinaire, the 20th version The Circle has organized.
April 18 is the opening of this year’s Student Art Exhibition
featuring work by students in Art at Your Fingertips and
Partners in Art. June 25 is the date of the Annual Meeting of
the members. This is just a taste of what’s happening at the
Art Center; this Artifacts and its calendar will give you more
information.
Having the renderings of the redeveloped facility means
we are moving forward with the project. It is my hope that in
the next Artifacts I will be able to share a building schedule
with you.
exhibit ions
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M A Y 7 – J U LY 1 8
continued on page 4
exhibit ions
There is probably no artist whose work is more recognizable or more
loved than Vincent van Gogh (1853–1890). There are also few artists
about whose life so much is known and has been written. His late
beginnings as an artist, his support by a devoted brother, his fervid out-
pourings so clear in his canvases and his passionate letters, his mental
instability, the episode of his ear, his poverty and lack of appreciation
during his lifetime and his tragic death by his own hand at age 37 are
common knowledge.
Well known too is his enormous posthumous success. Van Gogh
paintings have sold for incredible prices, further underscoring the sad-
ness that he didn’t live to see his own recognition. In the 120 years
since his death, not only has his art become appreciated worldwide,
but he himself has become the object of deep affection and admiration
as a very special individual. Novels and songs have been written about
him; he has been the subject of movies and television specials. In most
of these, his art has been treated as a given, as a supplement to a nar-
rative focusing on his heart-wrenching life. Unfortunately, and without
his permission or to his profit, his name has been attached, sometimes
in particularly bad taste, to products as diverse as artists’ paints, vodka
and toothpaste. He has become, in contemporary terms, a brand and,
indeed, a very successful one.
So much is known about van Gogh because of the extraordinary
good fortune that hundreds of his letters have been preserved, espe-
cially those to his brother Theo. These very personal commu-
nications provide a deep insight into their author, his outlook
on the world, his interests in art and his hopes for his own art.
They are beautifully written and can be appreciated for them-
selves. It might easily be argued that van Gogh would have
become famous through his letters even if his paintings had
totally disappeared. We appreciate his passions, his concern
for people and the romantic nature of the undiscovered and
unrecognized genius we derive from writings. It seems clear
in looking at the work of van Gogh—especially in light of his
difficult life—the truth of his vision and what he has to say are
instantly communicated.
BECkstrand, walkEr & nOrris GallEriEs
about van Gogh-By Robert A. Yassin
Unknown Artist, after Vincent van Gogh (1853–1890)Original: Portrait of Trabu, An Attendant at Saint-Paul Hospital, Saint-Remy, September 1889Oil on canvas, 24" x 18¼"Kunstmuseum Solothurn, Solothurn, Switzerland
FAR LEFT: Unknown Artist, after Vincent van Gogh (1853–1890)Original: The Church at Auvers, Auvers-sur-Oise, June 1890Oil on canvas, 37" x 29¼"Musée d’Orsay, Paris, France
NEAR LEFT: Unknown Artist, after Vincent van Gogh (1853–1890)Original: On the Outskirts of Paris, spring 1887Oil on canvas, 15" X 18"Private Collection, Scarsdale, New York
THIS ExHIBITION IS GENEROUSLY UNDERWRITTEN
BY AN ANONYMOUS DONOR.
exhibit ionsexhibit ions
about Van Gogh continued from page 3
Unfortunately, knowing so much about van Gogh makes
it difficult, if not impossible, to separate the person from
the work he created and to critically view his art with an
unprejudiced eye. Indeed, how can the knowledge of the pas-
sion that leads to self-mutilation and suicide not be applied
to his paintings, not be considered in trying to assess his
achievement? Octave Mirbeau, writing just months after his
death, was already unable to do this, unable to provide a
dispassionate view of van Gogh’s art. He observed: “ . . . what
was great and unexpected, as well as too violent and exces-
sive in the harsh yet delightful talent of Vincent van Gogh, is
intimately bound up with the fatal mental illness that predes-
tined him, still young, to death.” Interestingly, Theo’s widow,
Jo, who with single-minded dedication was responsible for
establishing her dead brother-in-law’s fame, recognized the
impact the letters would have on the fair appreciation of van
Gogh’s art. She did not release the artist’s letters for almost
25 years after his death. But it was already too late.
By 1934, when Irving Stone published his famous
biographical novel Lust for Life, van Gogh had become the
romantic paradigm of the starving artistic genius, and 23
years later, when the movie based on the book was released,
van Gogh as a person became even more fixed in the mind of
the public. For anyone who has seen this film, it is very dif-
ficult to separate Kirk Douglas, the actor who so sensitively
portrayed van Gogh, from the real person.
While it may well be that we know too much about van
Gogh to appreciate his art independent from its creator, and
while it may be because of this fusion, it is certain that his
art has had enormous influence world-wide. It is loved and
appreciated for the unique and very personal vision of its cre-
ator, for its brilliant color, for its passion, for its humanity and
for the sense of what artists like to call “artistic truth”—that
is, its ability to communicate fully van Gogh’s powerful and
heartfelt emotions. The work seems to talk directly to us, and
we respond accordingly—just advertise an exhibition of van
Gogh’s work and you have an instant “blockbuster.”
So what is the little Palos Verdes Art Center trying to do with an
exhibition titled About van Gogh? Well, why shouldn’t the Art Center
have a van Gogh exhibition, why shouldn’t it provide the public with
an opportunity to learn about him and his work? To understand what
the exhibition is and what it hopes to accomplish requires a discussion
of its genesis.
In a review of Van Gogh’s van Goghs, an exhibition that circulated
in the United States including a stop in Los Angeles, the critic made
the observation that many exhibition visitors spent more time in its
extensive sales shop than in the galleries with the real pictures. This
led to a search for items related to van Gogh that one might find in a
museum shop. A quick look resulted in a staggering array of van Gogh-
brand items. A visit to eBay at anytime generally results in more than
4,000 offerings (to be sure many are duplicates). This suggested that
an exhibition of van Gogh items—van Goghalia, if you will—might make
an interesting exhibition in itself, a conceptual exploration of the intel-
lectual degeneration of a great artist’s work through its exploitation
in surrogate form, running the gamut from very nice to very unique to
questionable to totally politically incorrect.
This also suggested exploration of another idea suggested in the
review: How could an established museum talk about the genius of
the artist in the galleries and then inundate the public with so many
items that really have nothing to do with his
art in the sales shop, taking advantage of the
artist’s fame and worse, even making fun of
him? What do these items, such as the disap-
pearing ear coffee mug, the pin-the-ear on
van Gogh party game, the plastic action figure
with interchangeable heads (one of the artist
with beard, the other with bandaged ear) and
so on, have to do with the artist’s creations?
Is this an internal conflict between the educa-
tional responsibilities of the art museum and
the need to generate income? When questioned about marketing prac-
tices, shop managers generally respond that: 1) it is necessary to help
FAR RIGHT: Unknown Artist, after Vincent van Gogh (1853–1890)
Original: Still Life with Beer Mug and Fruit, The Hague, Etten, December 1881
Oil on canvas, 17½" x 22¾"Von der Heydt Museum, Wuppertal,
Germany
NEAR RIGHT: Unknown Artist, after Vincent van Gogh (1853–1890)
Original: Harvest at La Crau with Montmajour in the Background, Arles,
June 1888Oil on canvas, 28½" x 36¼"
van Gogh Museum, Amsterdam, The Netherlands
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5artifacts
exhibit ions
with the museum’s bottom line, and 2) the public wants these items.
Or does the public buy them because they are available? The question
remains as to whether museums should be promoting what would be
called “rip-offs” if the artist were alive.
As work progressed in this way and a significant body of van Gogh
stuff accumulated, the idea of doing a more complete show on van
Gogh, not only exploring the notion of the van Gogh brand but also the
work of the artist himself, took form.
Clearly, it is impossible for the Palos Verdes Art Center to mount a
show of van Gogh originals—the facility is not large nor secure enough
and the costs would be astronomical. Instead, the show will consist of
38 excellent painted copies after van Gogh, plus a number of drawings
reproduced digitally. In these, the work will be explored in depth with
a goal to try to see and to understand van Gogh’s art for itself and, as
much as possible, separate from his persona. At the same time, these
reproductions will provide a context for the van Gogh brand materials
that will form an adjunct within the context of the exhibition, not apart
from it.
Using copies might seem like a questionable way to examine
an artist’s work, but art history has been and continues to be taught
from surrogates. Indeed, there are major precedents for using them
as a means to appreciate art, especially in lieu of the availability of
originals. For example, much of what we know about ancient Greek art
is based on Roman copies of what became lost Greek originals. These
copies were further copied in later centuries, especially during the
Renaissance. Even Michelangelo has been cited as making a “fake”
classical work. Regardless, without these copies, our understanding of
Greek sculpture would be less than it is.
As art museums and art schools developed in the 18th and 19th
centuries, they were filled with plaster casts made of originals such
as the Parthenon frieze or the Venus de Milo. Students—including
van Gogh—used these to learn how to draw. Beginning as early as the
15th century, people learned about great works of art through prints
made after them, an activity that continued to grow through the 19th
century, when the practice was accelerated by the development of pho-
tographic reproduction, first in monochrome, sometimes hand-colored,
and eventually by colored reproduction. Much of van Gogh’s
knowledge of the artists whose work he admired was secured
from prints, many of which he collected himself. The basic
way art history has been and still is taught is through slides
and photographs, enormously expanded today by digital
images and images on computer screens. Coffee table and
related illustrated books with colored reproductions remain
popular. These are all surrogates, but fully effective ways
to learn about the history of art and its appreciation. In fact,
until the great expansion in art museums in the 20th century
and the advent of easy air travel, very few people had the
opportunity to see real works of historic art.
All these means have limitations, though undoubtedly
digital imaging and re-creation will ultimately resolve them-
selves into ever-more exact reproductions. Virtual reality for
art may, indeed, become reality. For this exhibition, the use
of well-painted, appropriately framed reproductions of van
Gogh’s work to detail his artistic development and contribu-
tion as well as the textures and colors of the originals will pro-
vide at least the sense of real paintings. This exhibition might
be considered like a slide lecture, but with real paintings. A
digital reproduction of the original painting will accompany
each work for comparison, along with labeling focusing on it
as a work of art and putting into it context. Thus, About, the
exhibition’s title, defines what it is.
To extend the educational content of the exhibition, a
number of interactive opportunities will be included. Viewers
will be invited to participate in a several hands-on projects to
stimulate thinking about the artist and how he worked. There
also will be video and computer components. The ultimate
goal is to provide an experience leading to a greater under-
standing and knowledge of van Gogh’s work and an apprecia-
tion of its place in the history of art, even though there will be
no original van Goghs in the exhibition.
By the way, did I mention, everything in the exhibition
is for sale?
NEAR LEFT: Unknown Artist, after Vincent van Gogh (1853–1890)Original: Portrait of Postman Joseph Roulin, Arles, early August 1888Oil on canvas, 32" x 25½"Museum of Fine Arts, Boston, Massachusetts
FAR LEFT: Unknown Artist, after Vincent van Gogh (1853–1890)Original: Vincent’s Bedroom in Arles, Arles, October 1888Oil on canvas, 28½" x 35½"van Gogh Museum, Amsterdam, The Netherlands
exhibit ions
Art at Your Fingertips invited Palos Verdes
Peninsula elementary school students to
Express Yourself!, and they did! Now more
than 1,000 examples of their work from this
Art Center 34-year-old visual arts outreach pro-
gram are testimony to what they learned about
art techniques, art history and aesthetics.
The five projects, taught by AAYF’s 300+
volunteer docents, are:
• swimming with Hockney (created by
Robin Kiss): Swimming pool paintings in water-
color and colored pencil.
• Perspective on Pissarro (created by
Julia Tedesco): Impressionistic landscapes uti-
lizing one-point perspective in pencil and tem-
pera paints.
• Miro’s Constellations (created by
Gloria Feldman): Surrealistic drawings with hid-
den pictures, whimsical lines and balanced
design in markers, chalk and oil pastels.
• Calder’s kinetics (created by Erika
Snow Robinson): Playful standing wire mobiles
with colorful shapes in mixed media.
• abstraction in Bloom (created by Anjale
Perrault): Abstract floral still lifes in tissue
paper and glue on black-painted canvas.
BECkstrand & walkEr GallEriEs
student art Exhibition: art at Your Fingertips
Calder’s Kinetics by Jenna, Grade 5, Soleado
Miro’s Constellations by Skyler, Grade 3, Silver Spur
Swimming with Hockney by Savannah, Grade 2, Pt. Vicente
Abstraction in Bloom by Nicholas, Grade 4, Chadwick
Perspective on Pissarro by Juliane, Grade 3, Silver Spur
exhibit ions A P R I L 9 – 2 4
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7artifacts
Shaping Space by Barrett, Ridgecrest
Sixth-graders at Miraleste, Palos Verdes and
Ridgecrest Intermediate Schools annually tour
an Art Center exhibition and then create art
with a visiting artist. There were three projects
this year.
In Story in a Box, students built small
assemblages in boxes in the style of Joseph
Cornell. The project, taught by Robin Bott, pro-
jected from the wall in a play on the title of the
Art Center’s Off the Wall exhibition.
Shaping Space was designed by Karla
Commins to correlate with winter’s Surf and Turf
exhibition. Students used cut paper shapes to
create their own landscape “paintings.”
For Art on a String, Robin Kiss showed
students how shading and varying color values
create the illusion of depth. The project, Art
in Flight, incorporated traditional designs by
Asian kite masters.
nOrris GallErY
student art Exhibition: Partners in art
Story in a Box by Alec, Miraleste
Shaping Space by Aaron, Ridgecrest
Art in Flight (samples by instructor Robin Kiss)
Honor the Young artists and Celebrate with their Familiesat the Exhibition reception, 2 – 4 pm sunday, april 18
Story in a Box by Brooke, Miraleste
A p r i l 1 6 & 1 7
2010 Homes Tour Extraordinaire
Mid-Century ModernHome of rosina and Bruno Baur
Designed by renowned modernist architect
Richard Neutra, this small (2,100 sq. ft.)
Rolling Hills home features expansive views
of Catalina Island through the forked main branches of a tree specifically placed by
Neutra to frame the seascape and the home’s hillside gardens, which feature native
California, Australian and South African plants. Floor-to-ceiling windows, indoor and
outdoor redwood trim and red flagstone floors throughout the two-bedroom home
and onto the patios seamlessly blend interior and exterior.
The current owners, who purchased the home in 2004 from the original owners,
have lovingly restored the home to its original condition, replacing all of the beech
cabinetry and remodeling the master bathroom (Ogawa Depardon Architects). The
original tile remains in the hall bath.
On display throughout are art and artifacts from their travels to India, Southeast
Asia and South America as well as the wife’s weavings and antiques from their Swiss
childhood homes. A sleek, efficient and colorful Snidero kitchen includes Bosch
appliances and a GE Monogram Heat Induction cooktop.
Three magnificent peninsula homes with
inspired architecture, compelling design
and unsurpassed vistas are featured on
this year’s Homes Tour Extraordinaire.
These comfortable, livable homes,
each enhanced with customized floral
arrangements, will be open to you from
10 a.m.–4 p.m. Friday and Saturday, April
16 and 17 on a tour benefiting the palos
Verdes Art Center’s visual arts educa-
tion, exhibition and community outreach
programs.
The tour, sponsored by The Circle and
led by co-chairs Ann Buxton and Nancy
Guenther, includes two homes in rolling
Hills, for which there will be a shuttle bus
from St. John Fisher Church, and one in
rancho palos Verdes, to which partici-
pants drive themselves. At the Art Center,
there also will be a selection of unique
boutiques, including a booth of Classy
Collectibles donated by Circle members.
Tickets are $40 in advance ($45 on
tour days). The ticket price includes an
al fresco luncheon served from 11 a.m.–
3 p.m. at the Art Center. At the luncheon,
tickets can be purchased for raffle prizes
ranging from a trip to Washington, DC, to
an 18-K gold bracelet. raffle tickets are
$10 each or three for $25 or six for $35.
Homes Tour Extraordinaire tickets may
be ordered online at www.pvartcenter.org
or by calling the Art Center, 310-541-2479.
California Mediterranean ranChHome of Julie and russell Coser
Designed by architect George M. Sweeney, this
10,000 sq. ft. Rolling Hills ranch, situated on
bluff-top ConteMporaryHome of Andrea and Jamie Lewis
Designed by architect Richard
Landry in 1993, this sophisticated
Rancho Palos Verdes oceanfront
contemporary home, with five bed-
rooms and five-and-a-half baths in
6,500 square feet, invites a luxuri-
ous indoor-outdoor lifestyle with
its high volume ceilings, sky-lit
marble entry, over-sized fireplaces
and expanses of glass and mir-
rors. A curved informal dining area
projects from the kitchen over the
outdoor pool area, while the mas-
ter suite has an “infinity” mirrored
bath including a his-and-her whirl-
pool tub. The architect’s innovation
and attention to detail are evident
throughout from the keyhole arch-
es to the colorful accents of neon
lighting.
Complementing the archi-
tecture is a sophisticated interi-
--Photos by Catherine Balcom
or design scheme with minimalist-style furniture,
electronically-operated window shades, custom-
designed area rugs and wall sconces, recessed
lighting and a green, grey, brown and rust palette. A
state-of-the-art media system is available through-
out the property.
approximately two acres overlook-
ing Los Angeles harbor and Long
Beach, features an open floor plan,
beamed ceilings, wine cellar and its
own banquet hall, used frequently
by the homeowners to host chari-
table events. Everything was cus-
tom-designed from the doors and
railings to the ceilings, floors and
cabinets.
The kitchen is the heart of this
home with an expansive design
that lends itself to entertaining on
an intimate or a grand scale. Note
the inset tanyaki grill, fireplace sur-
rounded by Idaho fieldstone and
limestone floor laid in a Versailles
pattern.
The charming courtyard
includes a barbeque, large cooking
fireplace, bar and ornamental “wall
of fire.” Beyond are fruit trees, rose
garden and vegetable garden.
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9artifacts
Bob Yassin, the Art Center’s
chief executive officer and cura-
tor of the About van Gogh exhi-
bition, will present a series of
four informal talks on Vincent
van Gogh. These are intended
to provide a deeper understand-
ing of van Gogh as a person, as
an artist and as a powerful fig-
ure in the history of modern art.
This series will be held on four consecutive Thursdays,
beginning May 20, on the Art Center patio. Each evening
will begin at 5:30 p.m. with wine and cheese. The talks will
begin promptly at 6 p.m. and last no more than one hour,
although Yassin will stay longer to answer questions.
This is a free program, but a donation in any amount
is requested. The suggested amount is $5. Reservations
are required and may be made by calling the Art Center,
310-541-2479, at least two days prior to each lecture.
tHE sCHEdulE is:
May 20: The Family van Gogh—The Nurturing of a Great Artist?
May 27: The Luckiest Artist in the World—How and Why Did van Gogh Become So Famous?
June 3: Is van Gogh a Great Artist, and How Do We Know?
June 10: Fair Use and van Gogh’s Work—The Problem of Artistic Fame in the Absence of Copyright
at h
ome
with
VIN
CEN
T
E-Mail Addresses, Please!Postal and printing prices aren’t going down,
and most people now have computers and
email accounts. Therefore, we are trying to
build a complete data base of members’ e-mail
addresses. When we ask you for your e-mail
address (for example, when you renew your
membership or register for a class), please
share it with us.
With e-mail we can swiftly update you
on Art Center activities and news (especially
important when we finally start construction!)
and, perhaps, save some money on routine
mailings. We promise we won’t share your
address with any other person or group—just
like we keep your snail mail addresses and
phone numbers private.
springtime wearable artSignatures, The Artists’ Studio’s wearable art fashion show,
is set for 12:30 p.m. Saturday, May 1, on the patio.
The $35 tickets must be purchased in advance. Send
orders with check payment to The Artists’ Studio, Palos
Verdes Art Center, 5504 W. Crestridge Rd., Rancho Palos
Verdes, CA 90275, or call The Artists’ Studio at 310-541-
2479.
Unique clothing and jewelry created by 21 TAS members
will be featured on the runway. Participating artists are Lyn-
Rae Ashley, Lori Bailey, Olivia Batchelder, Suzi Click, Nancy
Comaford, Joy Gonzalez, Marilyn Harrison, Paul Hartstein, Jill
Kollmann, Carrie Lieb, Justine Limpus Parish, Karen Pester,
Dawn Quinones, Pam Reid, Joe Rooks, Anne Sheikh, Vicki
Szamborski, June Treherne, Frances Wang, Julie Watrous and
Vicky Williams.
annual MeetingFriday, June 25
Celebrate Chefs Vi(sponsored by The Associates)
Saturdays, July 17, 24 and 31
Palos Verdes Concours d’EleganceSunday, September 19
saVE ThE daTEMark your calendar and
plan to attend.
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1
1artifactsGiacometti, Kandinsky,
Matisse and Nevelson . . .
. . . Foreign names to most pre-schoolers, but nearly 100 three
and four-year-olds attending the Miraleste Early Learning
Academy have created art in the style of these masters,
thanks to the latest program to come under the Palos Verdes
Art Center’s Partners in Art umbrella.
“These children are being introduced to the great mas-
ters and to the elements of art (line, shape, form, color,
texture, space and value) to make them Art at Your Fingertips
ready,” said Gail Phinney, the Art Center’s education director.
Phinney supervises the pre-school program, which pro-
vides monthly sessions at one of the two pre-schools admin-
istered by the Palos Verdes Peninsula Unified School District.
Robin Bott, a popular Art Center Art Camp and children’s
class instructor, works with Phinney to design and teach the
lessons.
So far this school year, the children have learned about
shape, color and pattern by making tissue paper collages on
a glass plate in Matisse under Glass.
Kandinsky on Silk introduced them to expressive lines
and color as they painted abstract designs with bold lines on
a silk hoop.
Air-dry clay and wire armatures helped the children make
credible models of Giacometti’s walking men. The project
Walking with Giacometti emphasized form and texture.
Assembling Art with Louise used pre-painted wooden
objects and lots of glue as the children created three-dimen-
sional assemblages in the style of Nevelson. The lesson
focused on shape, balance and unity.
There’s one artist (as yet unchosen), project and lesson
yet to come. The complete program will then be available for
sale to other pre-schools throughout the area.
Other packaged programs available through the Art
Center’s Partners in Art are a third-grade residency focusing
on botanical illustration to teach the art of observation and a
fourth-grade residency on California Impressionism. The final
Partners in Art program is the long-running sixth-grade exhi-
bition tours combined with related artist-taught classroom
projects.
Palos Verdes art Center
Through April 7:
Suzanne Kuuskmae (watercolors),
Marilyn Harrison (jewelry),
Group 3-D.
April 8–May 5:
Annie Clavel (abstract paintings),
Paul Hartstein (jewelry),
Mother’s Day 3-D.
May 6–June 2:
Victoria Sekits (pastels),
Jan Napolitan (ceramics),
Frances Wang (jewelry).
June3–July 7: Ginny Bacon
(watercolors), Vicki Szamborski
(jewelry), 3-D Wedding Gifts.
Village Center300C Deep Valley, Dr., Rolling Hills Estates 310-265-2592
Through March 29: The Mind’s
Eye, Lois Olsen & Jody Wiggins
(paintings), Paul Conrad (sculp-
ture & political cartoons), Philip
Earl (photography). Receptions:
1–5 p.m. Sunday, April 11 &
1:30–4:30 p.m. Sunday, May 9.
May 10–June 20: Kaleidoscope,
Don Crocker & Kynard Spencer
(paintings), M.C. Armstrong
(ceramics). Receptions: 3–6 p.m.
Sunday, May 16 & 1:30–4:30
p.m. Sunday, June 20.
June 21–August 1: Sunshine, Joy
Gonzalez & Min Li (paintings),
Adrian Sandstrom (ceramics).
Pot-Throwing Demonstration &
Reception: noon–5 p.m. Sunday,
June 27.
in the artists’ studio:
Janet BaszileEdward Carson BeallDenise GuzmanMaude LandonRichard LohrerMarilyn Long
Georgene McKimJulia PartonDebbie RichardsonLaura SalvayJane ShuttMohini Syal
BOard OF trustEEs
Donald Crocker, Chairman of the BoardAllen Lay, PresidentLoren DeRoy, President-ElectBetty Wing, First Vice PresidentNancy Cumming, Second Vice PresidentGrant Niman, TreasurerLiz Fitzgerald, SecretaryRobert A. Yassin, Chief Executive Officer & Executive Director
BOard OF adVisOrs
Advisory CommitteeBetty Wing, ChairPamela AndersonNancy BlackVirginia ButlerNancy ComafordLisa GentryJohn KaytorJudy KrehbielMarcia LamkinsJan NapolitanDebbie RichardsonLinda RobertsJane ShuttLynne VarianoVickie Walker
Advisory CouncilJames Cheney, ChairSusan BeallWalter R. (Rod) Burkley, Jr.Myron A. (Mike) FriedmanJacqueline S. MarksJan NapolitanRod PevelerPeter PhinneySharon RyanRobert B. ShehTseng-Yao Sun
HOnOrarY BOard
Dr. O. Allen Alpay Martha Norman Dorothy Chacksfield Edinger Harlyne J. Norris
staFF
Robert A. Yassin, Chief Executive Officer
Oscar Aguilar, FacilitiesScott Canty, Exhibitions DirectorBecky DesRosiers, Membership Coordinator Angela Hoffman, Education CoordinatorBruce Milbury, FacilitiesGail Phinney, Education DirectorBarbara Ruiz, Weekend ReceptionistKathy Shinkle, Public Relations Director Jeanne Starr, Administrative AssistantJeff Stellges, Raffle Manager/Facilities CoordinatorJaffar Syed, BookkeeperAnn Willens, Administrative Director
Kathy Shinkle, ARTifacts EditorChristine Barnicki, ARTifacts Designer
The Palos Verdes Art Center inspires individuals to celebrate, appreciate and create art.
EndOwMEnt trustEEs
richard lohrer, Chair Myron A. (Mike) FriedmanPaul Nibarger
George L. RomineGeoff Wainwright
M–F, the weeks of July 19 & 23 and August 2, 9 & 16
Morning (9 am–noon), afternoon (1–4 pm) and all-day (9 am–4 pm; bring your lunch) programs
Half-day programs: $200 (members $170) / Full-day programs: $270 (members $240)
See the complete camp schedule on www.pvartcenter.org or call Angela Hoffman, education coordinator, 310-541-2479.
Please note, there is NO Early Bird Discount on camps.
PAint DrAw SculPt collAge crAFtS
SuMMer Art cAMP Ages 5 – 12
If the ticket thresholds are reached, our
Grand Prize winner can shop for the
house of his or her personal dreams
and we will buy it as the 2010 Palos
Verdes Dream House!
Or, if your dream is a trip around the
world, take the alternative $1,000,000
cash prize and make that happen!
This is the eighth year for the Art
Center’s Win Your Dream House Raffle.
In the first seven, over $9,900,000 in
cash and prizes were given away to
holders of more than 1,500 winning
tickets.
If 24,000 tickets are sold (at
$150.00 each), the Grand Prize winner
can shop for a $1,500,000 house for
Art Center to buy. Or, if 22,000 tick-
ets are sold, the winner can choose a
$1,200,000 Dream House. (The house
must appraise for at least the prize
value—no cash refund if a house of
lesser value is chosen.) In either case,
the winner also has the option of the
$1,000,000 cash prize.
The $1,000,000 alternative cash
prize (with no Dream House option)
is available at 20,000 tickets. If fewer
tickets are sold, the winner will receive
50% of the net proceeds, up to a maxi-
mum of $1,000,000.
This year’s Grand Prize drawing
will be held at the Art Center at 5:30
p.m. Tuesday, April 27, 2010. The ticket
purchase deadline is 4 p.m. Saturday,
April 24. Purchasers of two or more
tickets will also be entered in a special
$25,000 multiple ticket drawing. To be
eligible, tickets must be purchased at
the same time in the same name(s).
Tickets won as prizes in the four Early
Bird drawings are not eligible.
Order forms, complete rules and further information about the Choose Your Dream House raffle can be found at the Art Center’s website: www.pvartcenter.org or call 310-541-2035 to have the rules mailed to you.
Tickets can be purchased with check, money order or credit card (MasterCard or Visa) at the Art Center from 9 a.m.– 5 p.m. Mondays through Fridays, 10 a.m.–4 p.m. Saturdays or 1–4 p.m. Sundays, or with credit card by calling 310-541-2035 during those hours. Orders can be faxed to 310-541-0248 or 310-541-4370 or mailed to the Art Center, 5504 W. Crestridge Rd., Rancho Palos Verdes, CA 90275.
imagine! Choose Your Own dream House in the Palos Verdes Peninsula, torrance, san Pedro or Beach Cities! swimming pool, or ocean view? Five bedrooms, or just two luxurious ones? Mediterranean, or modern? Old-fashioned charm, or all the latest conveniences? whatever.
MALAGA COVE LAWN SHOWS SET
Meet the artists at this year’s Malaga Cove Lawn Art Shows while
searching for the perfect painting, photograph, ceramic vase or
necklace.
The Palos Verdes Art Center’s eight artists groups sponsor
these weekend shows at Malaga Cove Plaza, Palos Verdes Dr.
West, between Via Corta and Via Chico, Palos Verdes Estates.
Each show is open from 10 a.m.–5 p.m. Saturday and Sunday.
The 2010 dates are:
April 17 & 18
May 15 & 16
June 26 & 27
July 24 & 25
August 21 & 22
September 25 & 26
It’s Not Too Late!
Pick Your Own Dream House
12
1
3artifacts
1
M a Ya P r i l
1 Signatures Fashion Show, 12:30 p.m. (see page 10)
4 Docent Council, 9:30 a.m.
7 About van Gogh Opening Reception, 5–8 p.m. Exhibition runs through July 18 (see pages 3–5)
11 paletteers, 10 a.m.
12 Art at Your Fingertips Brunch, 9:30 a.m.
13 peninsula Artists, 9 a.m.
15–16 Malaga Cove lawn Art Show & Sale, 10 a.m.–5 p.m. (see page 13)
20 Vincent van Gogh lecture i, 5:30 p.m. (see page 10)
24 Artists Open Group, 7 p.m.
26 The Circle, 9:30 a.m.
26 pADA, 6:30 p.m.
27 Vincent van Gogh lecture ii, 5:30 p.m. (see page 10)
27 The Associates, 6:30 p.m.
31 MEMORIAL DAY
calendar
on the road with PVAC artistsPat woolley has two paintings in a juried show of work created
in Venice, Italy. The show at Broome Street Gallery, New York
City, runs through April 5.
karen wickham has two paintings in the 2009 Paint America
Competition, a traveling show which is next at the Waterford
Hotel, Oklahoma City, April 23 and 24. The paintings can also
be viewed at www.PaintAmerica.org. Ocean Shoreline placed in
the Top 100 entries.
lawrence Yun was the pastel judge for the 2009 Prismacolor
For Art’s Sake National Art Competition. He also has a solo exhi-
bition Palm at Sarah Lee Artworks & Projects, Bergamot Station,
2525 Michigan Ave., T1, Santa Monica, from April 17 – May 22.
Reception: 6 – 8 p.m. Saturday, April 17.
Through April 25, the gallery at The Norris Center for Performing
Arts is displaying work by sue Cutler. From April 26 – June 21,
Phil Brunner’s travel paintings will be featured.
Students in Dael Patton’s Abstract Acrylic Mixed Media class
will participate in an exhibition of their work at Nina’s Art
Gallery, 18187 Van Ness Ave., Torrance, from May 1 – June 30.
Included in Abstract Artists from the Palos Verdes Art Center are
rosemary Bandes, Mae Fuchino, Herlinda Giandalia, ruth Meyer, nina Ogura, debora Young and dael Patton.
6 paletteers, 10 a.m.
8 peninsula Artists, 9 a.m.
12 Spring classes begin. Term runs through June 19.
12 pVAC Artists, 9:30 a.m.
13 Docent Council, 9:30 a.m.
16–17 Homes Tour Extraordinaire, 10 a.m.–4 p.m. (see pages 8 & 9)
17–18 Malaga Cove lawn Art Show & Sale, 10 a.m.– 5 p.m. (see page 13)
18 Student Art Exhibition Reception, 2–4 p.m. Exhibitions opens April 9 and runs through April 24. (see pages 6 & 7)
21 peninsula Artists, 10 a.m.
22 The Associates, 6:30 p.m.
24 Win Your Dream House Raffle Final Deadline, 4 p.m. (see page 13)
27 Win Your Dream House Raffle Final Drawing, 5:30 p.m. (see page 13)
28 pADA, 6:30 p.m.
1
14
1
5artifacts
J u l YJ u n E
4 INDEPENDENCE DAY
12 Summer classes begin. Term runs through August 28.
17 The Artists Studio, TBA
17 Celebrate Chefs VI, TBA.
19–23 Art-rageous Art Camp, 9 a.m.-4 p.m. (see page 12)
24 Celebrate Chefs VI, TBA
24–25 Malaga Cove lawn Art Show & Sale, 10 a.m.–5 p.m. (see page 13)
26-30 Art-rageous Art Camp, 9 a.m.-4 p.m. (see page 12)
31 Celebrate Chefs VI, TBA
3 Vincent van Gogh lecture iii, 5:30 p.m. (see page 10)
10 Vincent van Gogh lecture iV, 5:30 p.m. (see page 10)
14 pVAC Artists, 9:30 a.m.
23 pADA, 6:30 p.m.
24 The Associates, 6:30 a.m.
25 Annual Meeting, TBA
26–27 Malaga Cove lawn Art Show & Sale, 10 a.m.–5 p.m. (see page 13)
on the road with PVAC artistsGifts have been received in memory of:in memoriam Enid Coors by Betty Strauss
anne Mackenzie by Pat Cox dorothy riddick by Drexel Family Foundatiom.
Also, a gift has been received in honor of:
Palos Verdes art Center staff by Bob Yassin
artists: The next deadline is May 15. This will be for any
awards and for exhibitions between July and September 2010.
Please let us know of your success by calling 310-541-2479 or
emailing [email protected].
tHank YOu:• the Circle for its supplemental gift of an additional $18,500
from the proceeds of the 2009 Homes Tour Extraordinaire.
• ridgecrest intermediate school advanced Orchestra, led
by Mrs. lewis-wang, for the entertainment at the Art on
a String opening reception. Also, for helping with the kite
making project at the reception, the members of Girl scout
troop 6925—khallisa Budhwani, alison do, Christina Huang, sabrina inoue, austi kaji, Julia kawashima, randi linke, Megan Moilanen and alyssa Oda—and its leader, Mila linke.
• Palos Verdes Concours d’Elegance for its $15,000 gift.
• art at Your Fingertips for hosting the Art on a String recep-
tion, especially coordinators lisa kaji and Mary Moore and
volunteers ani abudy, nicola Grimes, Jeff Henry, Yukari kouchi, Judy krehbiel, tracy lazarus, trisha Moilanen, amanda nahin, CeCe nahin, thea sanderson and danielle wyss.
tel: 310-541-2479 fax: 310-541-9520
www.pvartcenter.org E-Mail: [email protected]
X
Non-profit
U.S. Postage Paid
Permit #356
Palos Verdes Peninsula,
CA 90274
5504 W. Crestridge Road
Rancho Palos Verdes
CA 90275
GallErY HOurs
Beckstrand GalleryNorris GalleryWalker GalleryMonday–Saturday: 10 a.m.–4 p.m.Sunday: 1–4 p.m.
The Artists’ Studio Gallery Palos Verdes Art CenterMonday–Friday: 10 a.m.– 5 p.m
Saturday: 10 a.m.–5 p.m.Sunday: 1–4 p.m. The VillageMonday–Saturday: 11 a.m.–6 p.m.Sunday: Noon– 6 p.m.
OFFiCE HOurs
Monday - Friday: 9 a.m.– 5 p.m.Saturday: 10 a.m.– 4 p.m.Sunday: 1–4 p.m.
PaloS veRdeS aRt ceNteR