After Refreshments, Lucy Moves from Drafty Studio into Good Home.

Howard Sherman scored a residency several months back at Vermont Studio Center, the self-described “…largest international artists’ and writers’ Residency Program in the United States.”

Off he went to the northern Green Mountains (having been awarded a grant by the Dedalus Foundation). When he came back he had a whole new line of works: Blind Contour Lines, Marker on Paper 2010.

Which he showed off in early October at his studio. His invitation pronounced:

My recent residency gave me an opportunity to grow and experiment in unusual ways. My intention was to spend my time there painting. Upon arrival, my plans changed. Using the figure as a point of departure, I ended up investigating drawing in new ways. I'd love for you to stop by my studio to see the results. Refreshments will be served.

We went to see. Consumed refreshments. And enjoyed the work – so much that we purchased one, which apparently is a hard habit to break; it reinforces our status as “multiple Sherman collectors.” (Maybe some day he’ll list The Baron Collection on his Biography page, huh?)

“Lucy,” just arrived via the McMurtrey Gallery frame shop, is now at home. The black-and-white effect is a departure from Sherman’s advancing work which is filled with color explosions. But the line is all the artist’s. Pretty soon, we’ll figure out just where she’ll be hanging. Meantime we’re enjoying the new piece, thank you Howard!

Sherman by White: Portrait of the Artist as a Young(ish) Man.

 

Great minds think alike, I don’t remember whether you said it first or I did, “That’s a photo!”

I’d seen artist Howard Sherman in his working duds. Frank White the Photographer, whose studio is next to Sherman’s at the Docks here, has seen Howard paint-covered as well. Still, when Howard walked out onto the loading dock with us, I guess we had to be together for the idea to pop.

We both knew it. White went on to take the photo:

There are many different approaches to capturing expressions of people. When I shoot people for myself, I go for the toe-in-the-water shot. I have found that if I am ready when the person comes in the studio, and can immediately capture an image, the first shot is usually the best…the cutting edge expression has to be quick.

This was the first image that I took of Howard. I probably shot about 30 images, but after this one, none of the others had this cocky, “Aren't I hot” look. They all looked too nice. We had fun, but those subsequent captures could not compete with the first one.

Photo: Copyright © 2009, Frank White Photography. All rights reserved.

Sherman’s Show

It is hard to know which of the elements contribute to a powerful Howard Sherman opening at the Art Museum of Southeast Texas (AMSET) last Saturday evening. Since, by definition, it is now after the opening, you have to be satisfied by two out of three…but you ought to go.

Start with the most granular: Sherman’s huge new paintings demonstrated an upgunned sensibility. The show’s title piece, Eating Your Friction, is immense but by no means the only striking piece. I’m not a critic, you know that. And the Barons own several Sherman paintings so I’m not objective. Still, this is an amazing new set of works that shows how far Sherman has evolved. Fortunately, the provocative bits – one reviewer calls it “in-your-face art” – are still vividly present. My favorite is shown above: Flea Market Mood Ring.

During the Artist’s Presentation, Barbara Nytes-Baron asked, “Howard, none of our paintings have pink in them. Why are you using pink in these new pieces?” Sure enough, there are pinks and greens – Sherman noted that he’d gone to these unusual colors because they made him feel uncomfortable, they were not normally present in his palette. He’s pushing boundaries (which sounds banal until you see the work). Barbara and I were pleased to have been in on the premier.

Which took place, secondly, in the superb AMSET on Main Street in downtown Beaumont. Before last week, we’ve treated Beaumont as just a place to stop for a bite to eat on our drives to and from Atlanta. We’re going to have to change that – AMSET is a treasure. AMSET Executive Director Lynn Castle has offered a space that’s perfect for Howard paintings; visitors will be amazed, I think, to find this caliber of museum display evidenced by the Sherman exhibition. (Spend time with AMSET’s folk art collection; of its permanent acquisitions, I loved Daedelus by Paul Manes – the subject matter is beautifully handled by the scope of the piece.)

Third, the attendees were invited to a post-opening reception sponsored by major supporters of the arts in Beaumont. I’d like to thank Kim and Roy Steinhagen for opening their home to a rather large gang of art groupies from Houston. The real benefit of this reception was to add a significant new dimension, a personal one, to our Beaumont visit. “The natives are friendly and bright!”

Houston and Beaumont are just 97 miles apart: Not a very big drive for people who want an art adventure. See this show – it will do you so much good and it will change the way you think of Southeast Texas. I promise.

“Thank you,” all who made Opening Night such a treat.