Magazine
FALL 2016 Issue
FREE
Mary Hong In the Studio and About Town ……………...
Arthur McCall Nostalgic Simplicity ……………...
Jay Hester History in the Making
Jim Hatchett Abstractions Full of Emotion ……………...
Reviews/ Commentary/ Exhibitions/ News/ Events
IN THIS ISSUE Jay Hester
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Texas: “Stories of the Land” exhibition in Boerne, Texas
J.R.M QUARTERLY Frames
Fall 2016 Issue
What’s new and exciting
PUBLISHER J.R. Mooney Galleries– Boerne Contributing Writers
IN EVERY ISSUE
Gabriel Diego Delgado
A Note from the Publisher –P.6
Katherine Shevchenko Gina Martinez Gladson
On the Cover—P.8 Contributing Photographers Contributors— P.9
ginimartini Photography J.R. Mooney Galleries
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FEATURES Fall 2016 Issue No. 1
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ARTHUR McCALL Nostalgic Emotions
MARY HONG In the Studio
10 24 JIM HATCHETT No Room for Fakers
MARGIE BARKER Cactus Cornucopia
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A Note from the Publishers The launch of J.R.M. Quarterly Magazine is all about giving an outlet to the daily happenings within the gallery and giving voice to the artists that grace the walls of this institution. The articles published in this premier edition of our quarterly magazine include: the seaside aesthetics of glass artist, Mary Hong, abstract paintings of Jim Hatchett, nostalgic qualities of Arthur McCall, the blockbuster exhibition of Jay Hester, and new works by Texas Hill Country artist, Margie Barker. These pages are packed full of educational tidbits about the artworks by our represented artists as well as consultation advice for those beginning to explore the art galleries in their communities. We look forward to continuing this literary endeavor as the year progresses. J.R. M Quarterly aims to use its pages as a vehicle to educate, entertain and enlighten our audience on a variety of topics ranging from reviews, news, artist narratives, interviews, criticism and a wide range of other art related stories from within the gallery walls . I hope you find this informative and hope you continue to follow the artistic adventures of J.R. Mooney Galleries
Sincerely,
J.R. Mooney Galleries—Boerne Staff
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On the Cover
The Comanche study was one of the first portrait studies of Jay Hester that the JR Mooney Galleries acquisitioned into the gallery. A precursor to the new Western and Native American art by Hester would do for the upcoming TEXAS: “Stories of the Land� exhibition, this Comanche study, along with three other portrait studies represent individuals and figures that will later appear in the larger western ballad paintings that will be on display in October 2016.
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Contributors
Gabriel Diego Delgado is the Gallery Director at J.R. Mooney Galleries Boerne, Texas. He has spent almost a decade in nonprofit art managementworking as Curator of Exhibitions at the Station Museum of Contemporary Art, Houston; Project Manager of Research and Development at the Museo Alameda, a Smithsonian Affiliate, San Antonio. He is a freelance curator and arts reviewer. His published articles have graced over 13 publication in Texas and for one year he also published and wrote for his own magazine titled, Plumage-TX. His artwork has been shown in Arco 2012 Madrid, Spain; New York, New York, MOCA D.C. as well as numerous galleries and venues throughout the U.S. He is now competent to appraise fine art and personal property in affiliation with the code of ethics and USPAP standards for the ISA (International Society of Appraisers).
Katherine Shevchenko attended the San Francisco Academy of Art University and the University of Texas at San Antonio, where she received her Fine Arts Degree with an emphasis in Painting. Her experience ranges from interning as a curatorial assistant at Southwest School of Art to teaching art to students of all ages. Currently, she is an art consultant/framing designer at the J.R. Mooney Gallery in Boerne. Some of her contributions include writing articles, hosting and editing the J.R. Mooney podcast, "Mooney Makes Sense" and art catalog design. She is also an artist that specializes in painting in oils and other media.
Gina Martinez Gladson graduated from AEW College of Photography and Louisiana State University with degrees in photography and communications, respectively. Her photography has been in several Louisiana galleries including The Baton Rouge Gallery, The Shaw Center for the Arts and the Louisiana Artist Alliance, and at the Movements Gallery and the Monarch Events Center in Austin, Texas. She has published a book called “The Kuna Yala� based on her stay with the Guna Yala tribe of Panama.
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A New Generation of the Forgotten
BY: Gabriel Diego Delgado
n June 10, 2016, The Huffington Post published an article by Michael S. Solomon titled, “10 Tips for Conveying Confidence - Fake It Till You Make It.” The notion of faking it till you make it is neither new nor old, neither relevant nor injudicious. In the art world it can quickly gyrate into a contradictory poser ridden context where some artists try climbing the academic ladder via pogo sticks. This is complemented by Glasstire’s Christine Reese in her article, “On Elitism: A Conversation.” She says, “Though there’s a big difference between not being able to get something out of art because you don’t understand the vernacular, versus not getting something out of it because there’s no there there.” We have novice artists armed with credentials from prestigious institutions showing blue chip educations but creating hyperbolic banality infused with an ‘art speak’ mumbo-jumbo. The contexts of the artists’ statements and misguided purpose of intents are so convoluted with a need to be included in the Who’s Who of the (insert choice city) Art Fair that the artists’ execution becomes mundane; their physical manifestations are ill-steered down a path of irrelevancy in an unstable international art market.
Photography and Design by: Gabriel Diego Delgado
In this time of Instagram artists and social media narcissists, one artist out of Houston, Texas, glides through the art world with an unassuming haphazard attitude; one that mixes a Mother Earth-majesty surfer aura, Namaste meditator with a Vietnam vet, and worldly empathetic defiance producer. Jim Hatchett, a sixty-something Abstract Expressionist artist has been calling Texas home for most of his life. The unassuming abstract painter was the premier dirt painter during the self-proclaimed ‘decade of dirt’ in the 1980’s and 90’s. Now, Hatchett has evolved into one of the leading Texas painters of our generation. The level of clarity, tightness and development in his “action paintings” are juxtaposed with explosive movements; Tai Chi inspired sweeps of color and intuitive gestural marks that seem to be driven from an outer worldly phantasm of galactic divination. Definitely not faking the expressionistic aspects of his abstract paintings, Hatchett honors his mentors like Salvatore Sarpitta and Norman Bluhm with his sincere renditions of 1950’s Ab-Ex sensibilities that are true grit and glory. Bluhm worked from a model just like William de Kooning; Hatchett works from nature like O’Keefe.
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However, unlike these household names, the Houstonian now falls outside the mainstream gallery ventures in his hometown. Jim Hatchett’s dream is to have a one man exhibition of new paintings at the Station Museum of Contemporary Art which would be curated by his favorite colleague, Station Museum of Contemporary Art Museum Director, James Harithas. Other than that, the commercial aspects of making art do not appeal to him. His choice of friends in this often ‘cut throat’ business reflects an ‘old school’ respectability where there is a trusted circle of friends and that is all that matters. “Selling…I could care less…I can exist without selling,” says Hatchett. “I love every one of them (the paintings) they are like children to me. I sometimes dig them out and look at all of them and think ‘Jesus, how did I do that?’ They all are magnificent masterpieces in my eyes…and that’s all I care about.”
From 1968-69 Jim Hatchett served in Vinh Long, Viet Nam. “I missed the Summer of Love,” he says. “I was there (in Viet Nam)”. However, both his main mentors are also vets; Norman Bluhm and Salvatore Scarpitta both served in WWII. But, Hatchett does not use the art as therapy for PTSD as some returning veterans have.
“In 1978, I was at U of H (University of Houston) and Salvatore Scarpitta was brought in for an art and teaching residency for one year. Us students were able to paint alongside him for this big mural that I think last time I heard was in storage at the Museum of Fine Arts, Houston, but I imagine it still belongs to U of H. Sal would have us mix up these paints and say, dab it here, spread it here, drip it here. We were excited to do that,” Hatchett said.
“Through a Desert Window”, 40” x 32”, acrylic
“...Tai Chi inspired sweeps of color and intuitive gestural marks that seem to be driven from an outer worldly phantasm of galactic divination.”
“Everything I am looking for, I get in the making of the painting; all the joy, all the fulfillment…it comes to me when I am creating them. Sales would be nice, but I don’t need them,” he goes on to say.
Over the next ten years Hatchett would go on to gain regional attention in the 80’s with exhibitions at some well-known galleries in Houston. However, leading into the 90’s he began to limit his color palette and change from traditional painting mediums to dirt, sand, rocks, and sticks (Mother Nature). Always an avid outdoorsman, Hatchett would make a yearly pilgrimage to Big Bend National Park. This was his psychologically cleansing journey to purify himself. He became more and more inspired by the world, by this mystical place. Inevitably, his art began to reflect the supernatural elements of Big Bend. Hatchett began creating oversized “paintings” that were reflective of Tibetan sand mandala paintings. The meditative tapping and sifting of Reviews/ Commentary/ Exhibitions/ News/ Events, Fall 2016
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“Flashing the Plasma”, 40” x 32”, acrylic,
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sand onto panels created an energy that Hatchett could not capture in his previous work. His solo exhibition at the Station Museum of Contemporary Art in 2003 titled, “A DECADE OF DIRT” showcased ten years of this series. In the exhibition catalog, museum curator Tex Kerschen writes: “These paintings do more than invoke transcendent states…they are as bound to ecology as they are to aesthetics.” “The Station showed ten years of that work, but I really explored it for twelve,” he says. “I felt like when the show came down, it was the end of the run for that series...I was bound to greys and browns for 12 years. I was ready to explode into color and really paint!” After leaving his job within the museum administration at the Art Car Museum, a folk art institution in Houston dedicated to the urban phenomenon of Art Cars, Hatchett started a new journey.
“...I was ready to explode into color and really paint!”
“Not working a 40 hour work week was a big shock to me. I did not know what to do with myself…I was lost, or in mild shock…, so I started painting and have not stopped. I paint from the time I get up to the time I go to bed. This last year I bet I have painted 200 paintings,” he says.
In talking about his new Ab-Ex work, Hatchett says he has known, friended, and painted alongside the “real deal.” He knows what goes into making traditional Abstract Expressionistic work, and it shows. “There is only one way to do it,” he says. “Fast. You can’t nit-pick, you can’t slow down, you can’t think about it. It’s pure joy, its pure ecstasy; my paintings are the residue of that joy. I think I intuitively respond to the paintings on an unconscious level…whether I am channeling some universal energy or some other thing, I don’t know. I lose track of time when I am in the zone creating. I skip meals and soon its hours later than when I started. Three hours feels like 10 minutes.”
“Shed Luster,” a 40” x 32” acrylic on illustration board, is a complex and multifarious arrangement of color bands scraped down to minimal pigments that deliver evidence of some violent and swift attack, stealing the impasto off the painting. In the process of scraping the paint away, Hatchett pushes the remainder of that color into the layer below. Reds mingle with blues in a forced and arranged marriage kind of way. We sense cohesion of the underneath resisting the traumatic suppression of the artist. Hatchett leaves pockets or windows to the unaltered deposits below. We see the strata of color as celestial bursts. Hatchett shows us artist-driven violence juxtaposed with a heavenly aura brooding and simmering like a NASA-esque image of nebulae.
“Shed Luster”, 40” x 32”, acrylic,
One of the new paintings from 2016 titled “Flashing the Plasma,” a 40” x 32” acrylic on illustration board, is a wonderful example of Hatchett’s ‘explosive’ energy as he delivers a lyrical composition with sweeps, scraps, drips, dabs, rubs and wisps that resonate with a seductively robust energy; a visual two-dimensional concubine that wants to engulf the viewer in a whirlwind of cosmic thrusts.
Jim Hatchett’s paintings are pure and unaltered interstellar energy put down on canvas, paper and board; light years beyond the fakers and makers. Reviews/ Commentary/ Exhibitions/ News/ Events, Fall 2016
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Emotional Connections By: Katherine Shevchenko
Can Inspire Fine Art Acquisitions hat is the main motivation to purchase a work of art? Is it an instantaneous connection that the viewer experiences when their eyes meet the canvas, or its investment potential? According to Artsy writer Alexander Forbes, “the vast majority of collectors (72%) say their purchases are passion-led and investment -informed, while only 6% said they’re buying art purely as an investment.” Apparently, the emotional factor of connection is still a paramount element that inspires even the most discriminating art collector to purchase. One of the strongest yearnings one can have is for reconnecting with feelings that remembering the past can give us. Paintings can remind us of gentler times by encapsulating a moment and allowing one to relive a cherished scene from days gone by. One of J.R. Mooney Galleries’ newest selections, “If Rust Could Talk,” is an oil painting on canvas by artist Arthur McCall, known for his Hill Country and mission scenes. McCall is an Atascosa County resident and a retired game warden; a position he served for forty-three years before retiring to work at his paintings fulltime. He has pursued his art since childhood, yet was only a passionate hobbyist throughout his career as a game warden. Painting was a pastime that he could use to relax from the strains and pressures of his duties, and it eventually blossomed into a successful livelihood and partnership with J.R. Mooney Galleries. “If Rust Could Talk” is a landscape of nostalgic intent, a familiar place that everyone has some recollection of visiting with anticipation on special occasions; a beloved terrain that is dotted with scrubby Texas Hill Country vegetation and patches of prickly pears.
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McCall’s familiar attention to detail is persistent throughout the piece. The color palette is limited, and in its own dreamlike way, has more light infused, gently washing over the colors, giving it a more wistful quality. The narrative of the placement of the rusting automobile and structures in the yard has a special touch. “One of the great things about my paintings,” McCall says, “Is that I can take people back to a memory, to a place, to a nostalgic moment in their life. I often hear, ‘Oh, that looks like Grandpa’s place,’ or ‘That looks like where I went hunting with my buddies.’” By capturing these feelings in his paintings, McCall is able to channel one of the main impetuses that motivate people to purchase art: a sentimental bond.
“...I can take people back to a memory, to a place, to a nostalgic moment in their life.”
“Grand Pappy’s Old Rig”, Oil, 24” x 30”, Arthur McCall
There is a unifying presence of rust on the steel shingles of the shed, the blades of the windmill and the water tower, all structures independent and with their own purpose and use. The rust acts as a visual reminder of what the elements’ toll is upon metal throughout the seasons. Each structure has witnessed the passing generations that have built and utilized them. Covering the well-worn structures in a patina, the rust suggests the sepia tone that time infuses into vintage photographs. There is certain stillness, a frozen moment in time that creates a lens into the past that is central to the mood and theme, emphasized by the stoical position and stance of these weary structures, stubborn in their tenacity in this sun-drenched environ.
McCall also explores sentimentality in other pieces, like “Grand Pappy’s Old Rig.” Even though the subject matter is similar, this painting has the atmosphere of a place that is teeming with memories. A dilapidated shed and the shell of a once reliable truck now withering away in an overgrown field of prickly pear cactus are a statement to the passage of time. Evidence of abandonment and the time span that has passed is visible by the growth of an impenetrable cactus thicket that nearly hinders one from approaching the truck on most of its sides.
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The road is the only component in the scene that has been in use, as it has been traversed by the rotations of truck tires as it winds itself up towards the horizon, back perhaps towards the bustle of the present day, away from the enshrined stillness that the country can provide. In deciding to purchase art that is emotionally driven, there is an inherent quality in the work itself that connects with you, that you invite into your home. The perception of art is extremely individual to everyone, so one painting can have an entirely different meaning to another person. Quality of ownership is motivated by intrinsic factors such as complementing your home life with aesthetic beauty that is aligned to your own tastes. While you can decorate your home with different colors and styles to appease and suit your visual senses, it is with art that you can decorate your home with feelings that are in your heart that truly give your home a sense of aliveness and peace.
“All that matters is that they have formed a Robert Patrick, an experienced gallery director of twelve years, connection with the summarizes most succinctly the universal factor that can capture viewer’s commitment, “It does not matter what genre, what work of art because the amedium, what level of taste. All that matters is that they have formed a connection with the work of art because the artist was artist was able to able to successfully share an emotion or idea, and that is important to the viewer right now.” McCall, with his proven track successfully share an record of a consistent body of work, is able to do just that - in a direct and laid-back fashion, through the skillful handling of his emotion or idea, and self-taught artistry. that is important to the ©Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, viewer right now.” Boerne
For more information about the art of Arthur McCall, please contact J.R. Mooney Galleries at (210) 828-8214 in San Antonio or (830) 816-5106 in Boerne or visit www.jrmooneygalleries.com. Above: “Wild Things”, “Up the Hills”, “The Ranch” by Arthur McCall Sources: Delgado, Gabriel D. "J.R. Mooney Galleries of Fine Art: Arthur McCall." J.R. Mooney Galleries of Fine Art: Arthur McCall. N.p., 22 May 2012. Web. 08 June 2016. Edlund, Carolyn. "A Gallery Director Speaks: The Psychology of Selling Art." Artsy Shark. N.p., n.d. Web. 9 June 2016. Forbes, Alexander. "5 Things to Know About Investing in Art Right Now." Artsy. N.p., 31 May 2016. Web. 9 June 2016
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“If Rust Could Talk”, Oil, 24” x 18”, Arthur McCall
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Jay Hester TEXAS:
Stories of the Land By: Katherine Shevchenko
ay Hester, a well respected artist also affectionately known as the “Godfather” of the Boerne art scene, returns in a prodigious and monumental fashion with his first solo exhibition of paintings in almost twenty years. “TEXAS: Stories of the Land” is his inaugural showing at J.R. Mooney Galleries of Fine ArtBoerne. This show will open on October 8th with a reception with the artist in attendance and will be on display until November 5th at the Boerne gallery location. Mr. Hester decided to chronicle pivotal events from the Texas historical canon that have taken on near mythic proportions due to their legendary status in their significance in shaping Texas’ socio-cultural landscape. Hester has prominently focused on the early days of the first settlers in the Texas area and the pivotal trials and tribulations of their encounters with the native Indian tribes of the land in times of war and the eventual culmination of treaty signings that were the first sowings of peaceful relations. Gallery director, Gabriel Diego Delgado further discusses his motivations in the show’s formulation, “I thought we could curate an exhibition directly related to this endeavor. I feel with his unique artist’s voice of Texas history, he would develop a wonderful sensibility; a kind of mystical approach mixed with self-imposed artistic liberties… depicting these often violent times.” The gallery shall become a platform in which “to give Jay Hester a voice in telling the various historical legends of Texas…” Hester has been a seasoned and avid scholar in the story of the American Southwest for many years. According to his wife, Judy, “Jay has a deep interest in Western and Native American art and has read and researched these subjects for years following his relocation to Santa Fe, New Mexico in 1980.” The exhibition is another chapter in the artistic journey of Hester, with his knowledge and aesthetic interest in preserving Texas’ rugged past in oil paint. “This passion has overlapped an opportunity through J.R. Mooney Gallery to express myself
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artistically in this personal way," Hester elaborates. The beginnings of this exhibition started in the early months of 2016, when Hester sat down with Delgado to discuss the possibilities of the scope and theme of his upcoming show. Delgado remarked on the early stages of the process, “Sitting down with the artist, we discussed aspects of various legends, historical figures and geography to see how we could pick and pull together aspects of surrounding regions to tell a cohesive story of South Texas, making it relevant to the populations of these regions; the paintings acting as historical lessons, tied as much to education as to aesthetic.” With many ideas just beginning to get formulated, Hester undergoes the preparation by diligently sketching rough compositional drawings on napkins at his favorite breakfast diner each morning. The sketches are then developed into more refined finalized drawings that are transferred to his canvases to be rendered in oils, with, of course, diligent research to maintain historical accuracy. "I spend many hours alone in my studio, as you may guess is the case with most creative people. I am not always at the easel, but for this show in particular, I have read and reread articles and parts of books detailing Texas events. I have reviewed photographic images for accuracy.” Many discoveries have been woven into Hester’s dramatic vision bringing Texas history to life and infusing it onto the canvas. According to Hester, "I knew some about the German migration and early settlement having lived in Boerne for over 20 years. However, there is a wealth of small details that gave me greater respect and appreciation of the people of this area as Texas grew and expanded.” As he works in the studio creating his works, his process is akin to storytelling. “Much like a writer choosing just
"I spend many hours alone in my studio, as you may guess is the case with most creative people...for this show in particular, I have read and reread articles and parts of books detailing Texas the right words or using too few or too many words to tell a story, deciding on the right size canvas for the composition, the number of subjects that will adequately fill the space, or the shape of the landscape that best depicts what I am trying to say in my work, [it] is a daunting task.” A quintessential character that made immense contributions to the San Antonio and greater Boerne area was the doctor Ferdinand Ludwig Herff. One of his immense accomplishments is captured in a large scale painting that recreates the infamous cataract surgery he performed on a Comanche chief; a meticulous operation that
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was performed outdoors without anesthesia. This operation saved the chieftain’s eyes and aided in paving a transition to smoother relations between the settlers and native tribes in the forthcoming years. Hester recounts on why he chose Dr. Herff in particular, “One of the most notable people that came from Germany was Dr. Herff. He was an exceptional man, noble in character and gifted as a surgeon in his time. His persona needs to be celebrated and given this platform of a solo show highlighting his story. That is what I will attempt to do."
“In the experience of wisdom gleaned from many seasons, Hester is taking more time now to contemplate and let the creative well renew itself, saying, ’I often realize that I may need more rest in between long stretches at the easel. My spirit needs recharging …”
In the experience of wisdom gleaned from many seasons, Hester is taking more time now to contemplate and let the creative well renew itself, saying, “I often realize that I may need more rest in between long stretches at the easel. My spirit needs recharging when my work is in question or I am off in some way. My answer always is more time is necessary for a better result.” As anticipation mounts and the exhibition opening date draws near, Delgado shares the aspirations that underlay the foundation for such a venture, “I hope that an exhibition of this caliber would show the collectors, patrons and appreciators of Hester’s art that at 70+ years old Hester is still a masterful craftsman in his signature genre, illustrating that he is constantly pushing his visual capabilities.” In questioning Hester on what he has done unique to this exhibition’s specific conceptual needs, the answer still remains to be seen, “Not until the show is over can I really know what I would do differently. I always say I strive for the best result, as I do hope these pieces will show." J.R. Mooney Galleries of Fine Art present: “Texas: Stories of the Land” an art exhibition by Jay Hester Opening Reception: October 8, 2016 - 4 p.m. to 8 p.m. at J.R. Mooney Galleries in Boerne Exhibition dates: October 8, 2016 - November 5, 2016 © Katherine Shevchenko, Art Consultant, J.R. Mooney Galleries, Boerne
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By: Gina Martinez Gladson
NEW WORKS
Margie Barker “Carmine”, Margie Barker, 6” x 8”, acrylic
argie Barker is a sought after Helotes, Texas landscape painter with an outstanding reputation for quality work. Her subject matter is primarily focused on the Texas Hill Country and her landscapes and cactus florals are immensely popular and adorn many of the homes in the area. Barker has produced several new works this year for the gallery. From the Switch 36 show at JR Mooney Galleries of Fine Art in March 2016, to the Boerne Parade of Artists and ongoing, this 82-year-old painter shows no signs of slowing down and her works continue to increase in value. JR Mooney Galleries has carried Barker’s work for over two years and continues the tradition of placing Barker paintings into the collections of Texans and other art collectors. A new piece, titled “Enchanted Rock,” is familiar subject matter and a symbol of pride to most Texans. Enchanted Rock is an enormous pink granite batholith located just north of Fredericksburg. A batholith is a large group of igneous intrusive rock that forms from cooled magma deep in the Earth's crust. Batholiths are made mostly of quartz, or in the case of Enchanted Rock, granite. To date, this is Barker’s only painting of the rock and the subject matter brings back many warm memories for her. She recalls when Enchanted Rock was a private park and her children use to go there to play. She loved to go there with them and take walks. She recalls: “The park was private until Johnson was president. During that time I can’t remember who was in charge but Lady Bird decided she needed to purchase this rock. Of course,
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“Seven Sisters”, Margie Barker, 6” x 8”, acrylic
NEW WORKS
“Enchanted Rock”, Margie Barker, 24” x 36”, acrylic
whoever it was thought she was talking about diamonds.” All jokes aside, Barker’s enthusiasm for her subject matter is evident in her brush strokes. Enchanted Rock is the largest such pink granite batholith in the United States. It has a dramatic appearance that Barker does an excellent job of capturing. The history and culture of the rock is also of interest and inspired Barker. From folkloric tales of a haunted rock, which geologists now attribute to the rock's night-time contraction after being heated by the sun during the day, to stories of battles and standoffs between settlers and natives, Enchanted Rock does not lack stories.
Barker’s painting also captures the wonder of the geology and nature of Enchanted Rock. The large pink granite rises from the canvas. Barker says to find the right color is a bit of trial and error. She mixes colors until she finds what she wants and then she adjusts as she goes along. The sun shines through her brush strokes and she manages to get the pinks just right. Enchanted rock is not depicted alone, but rather it stands in view with its neighboring smaller rock, and is surrounded by the landscape of the park. Barker says she loves the view from the walk up and anyone who has been to the park will probably recognize it. She chose this perspective because she enjoyed the relationship of the two rocks to each other set among the nature. She remembers trying to get in between the trees to get a clear view of both rocks and the moment she finally realized the exact image she wanted to convey. This way, the rock emerges organically from the side of the canvas and makes the valley between the larger rock and the smaller a focal point. Barker doesn’t forget to detail the surrounding landscape; she shows off the beautiful flora through her succulents and yellow flowers. More than 500 species of plants from four chief plant communities, including the Granite Rock Community, make Enchanted Rock their home.
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Another dominant painting of Barker’s is “Texas Blooms.” Here she creates a welcomed familiar scene of a Texas field full of bluebonnets and Indian paintbrushes in full bloom. This vivid landscape shows off the beautiful countryside that Barker calls home. She creates many of her paintings from photos she takes and memories she makes on her drives through the Hill Country with her husband, Bill. Barker recalls that the images that inspired “Texas Blooms” came from somewhere around Llano where there was a curve in the road with various trees growing in different vantage points. She liked the perspective the trees gave the composition and the depth they created. Barker does a tremendous job rendering them life-like; the delicate foliage does not get lost in the natural scene.
“Texas Blooms”, Margie Barker, 24” x 36”, acrylic
“...she creates a welcomed familiar scene of a Texas field full of bluebonnets and Indian paintbrushes in full bloom. This vivid landscape shows off the beautiful countryside that Barker calls home.”
Bluebonnet paintings are a popular subject matter here in Texas, but Barker pushes the envelope and keeps it fresh by opening up her fields to other flowers, in this case the Indian paintbrush. Unlike many of the traditional bluebonnet painters such as Windberg or Slaughter, where the bluebonnet is the sole flora, Barker is not afraid to add the bold strokes of red that create the Indian paintbrushes. This attention to detail gives the painting a more realistic appearance and is a prime example of why Mrs. Barker is such a sought after Texas landscape painter.
Resources Phone interview with Barker 07/01/16 https://en.wikipedia.org/wiki/Enchanted_Rock
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“Sunny Blossoms”, Margie Barker, 8” x 6”, acrylic
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JR Mooney Collection:
The Glass Collages of By: Gina Martinez Gladson Photography by: ginimartini Photography
MARY HONG
R Mooney Galleries of Fine Art is the trusted source for fine art in San Antonio and Boerne. Embarking on the business’s seventieth year, the gallery continues to showcase a mixture of prolific Texas vintage painters and contemporary artists. Although oil paintings comprise much of the gallery’s inventory, there are also a few mixed media works as well. These carefully selected pieces, such as the glass collages of Mary Hong, adhere to the high standards of quality that is associated with JR Mooney Galleries. Mary Hong is an award-winning artist based in Florida working primarily with recycled glass. Her collages are a blend of mosaic and mixed media using glass, paint and canvas. Her process is intricate, intriguing, and has its origins in ancient art forms. Mosaics, or decorated surfaces with designs made up of small pieces of hard material, or tesserae, are traced back to the fourth millennium B.C. in Mesopotamia and Greece. This art flourished during the Byzantine era when the use of manufactured materials and the technique of setting the tesserae at different angles and depths to create lighting effects became standard. St. Mark’s Basilica, the cathedral of Venice, is one of the best-known examples of Byzantine mosaics design. Consecrated in 1094, the walls and ceilings are covered with them. Glass production, also ancient, dates back to 3000 B.C. in Egypt and Eastern Mesopotamia. Stained glass gained recognition as a Christian art form in the fourth century. By the end of the thirteenth century a flourishing glass industry was established in Venice. In 1291, equipment for glassmaking was transferred to the Venetian island of
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Photo courtesy of ginimartini Photography
“Mary Hong’s studio is tucked along a row of artisan shops in Grayton Beach, just off Highway 30A...Next door is her gallery.” Murano where it eventually spread across Europe. During the nineteenth century, glass artists La Farge and Tiffany took glass artistry to new heights, creating opalescent stained glass. Many artisans blow glass, but using broken glass in collage the way that Mary Hong does began when artists experimented with recycled materials during the twentieth century. Some notable artists that have used broken glass in their works include Marcel Duchamp’s “The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),” Anselm Kiefer’s “Shevirat Ha-Kelim or Breaking of the Vessels” and the shattered glass shard animals created by Polish artist Marta Klonowska. Mary Hong developed a unique style that combines broken glass and paint on canvas. She has an ongoing collection of thousands of pounds of blown glass, sheet glass, recycled glass, stained glass, vintage glass, glass tiles, glass beads, even glow-in-the-dark glass. Hong has a proven method for creation; she starts with an idea. After she formulates her image, she sketches it. Once the idea is solidified and the sketch is in place, Hong paints her canvas. The glass comes next and Hong says that sometimes it happens one piece at a time and other times she has a glass day or a canvas day. Once she has the image as she likes, she coats the canvas with epoxy resin. In addition to her skilled eyes and hands, Hong’s tools include wheeled nippers, sanding stones and her kiln. She teaches her method at workshops in her studio and through tutorials online. Mary Hong’s studio is tucked along a row of artisan shops in Grayton Beach, just off Highway 30A. There she creates her beautiful art. Next door is her gallery. Gallery Manager, Mario Zannetti, greets visitors and will give a quick tour. The gallery space is open and airy, with lots of natural light to showcase the transparent qualities and colors of the glass. Hong’s work hangs throughout the gallery and there is a good representation of it. Comfortable and stylish benches invite the viewer to relax and take their time. There is also an inviting outside patio that displays more work and is accented by a hanging garden that Mario is creating, which adds to the charm of the gallery.
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Photo courtesy of ginimartini Photography
“There’s SO MUCH INSPIRATION to pull from the Emerald Coast of Florida! So, it befuddled me when I got the itch to create a whale! It was in my brain for a while. That’s where things start…I have a pile of old doors I got from my neighbor. They’re huge. Almost 6 ft. long and I have a stack of them all primed and ready to go. I painted one of the panels and sketched out a large whale on it. Then, I started filling it in with glass. I used long thick flowing pieces of glass for the whale’s tail, and pretty chunks of cobalt for its body…but those lines along the bottom of its mouth. I NEEDED to have
Photo courtesy of ginimartini Photography
Photo courtesy of ginimartini Photography
Hong’s beautiful glass melds and melts on the canvas taking on various forms, from the rare costal dune lakes found in the area where she lives and works to bright and colorful sea turtles and fish. She creates seahorses, whales and fish. She shares her inspirations with her followers through regular blog posts. In a recent entry, Hong discussed the inspiration and process that goes into designing a new piece, in particular, a large whale:
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definition there. I decided to cut curved strips of glass to really define that area. Then, I filled it in with bubbles to really give it that sparkly-water feel. I LOVE the final result and it was a HIT at the show!” Hong originally fell in love with glass beads on a personal trip to Greece. She attempted jewelry making before she realized it was the glass that she loved. She found a lampworker willing to teach her techniques like firing, annealing, and cutting glass. “I love glass because it’s shiny and permanent. The color will never fade, and the brilliance of those colors is intense when light passes through. It’s another dimension to color that you can’t get from just paint.” Mary Hong gets much of her tempered glass from local commercial glass companies. They donate their castoffs to her. Over time, she went from using crushed glass beads to coloring the glass herself. She currently produces over ten tints of tempered glass. If she needs a particular type that she cannot find, Hong will make it herself in her kiln. Although she primarily works with glass, she has also been known to use shells, jewelry, toys, or metal to create her art. Hong does not limit herself to nautical themes. Her subject matter also includes flags, flowers, abstractions, and landscapes. Currently, JR Mooney Galleries has three pieces by Mary Hong. The first is “Colorful Bouquet,” a tall 40”x 16” glass floral bouquet on canvas. The bouquet is a mix of different purples and cool colored glass flowers that are collected in a golden earth toned mosaic vase made of broken porcelain pottery and glass. The vase of flowers sits on a foreground of bubbled glass. The 3-D texture created by the glass is amplified by the bright, changing colors of the glass.
“I love glass because it’s shiny and permanent. The color will never fade, and the brilliance of those colors is intense when light passes through. It’s another dimension to color that you can’t get from just paint.”
Next, “Tree of Life” a 12” x 12”, is a very beautiful canvas full of glass bottle tops, marbles and other glass shards carefully arranged to create a tree. The predominant color of this tree is blue and Hong makes extensive use of deep cobalt and other rich tones. The trunk and branches are a particularly interesting blue marbled glass that adds to the depth and texture of the piece. It is exciting how Hong can take these tiny, random shards and repurpose them into a meaningful mosaic. Hong created a whole series of these trees. Finally, the third Mary Hong currently in the gallery is titled “Sparkling Celebration.” The canvas is another tall vertical, sized 40” x 16”. This mixed media uses wine bottle halves. They are filled with clear glass and glass bubbles rise from the tops of the bottles. To see a wine bottle halved with smooth edges protruding from a canvas is itself amazing, but Hong takes the composition to another level. Beneath, the foreground is covered with a multitude of bright colored gold crushed and broken glass that gives the illusion of champagne filling the bottle, bubbles rising from the top and confetti scattered about. The canvas is festive and is a perfect addition to a kitchen, wine cellar or tasting room decor. Contact the gallery at (210) 828-8214 or (830) 816-5106 or stop by our Boerne location to view and purchase. Sources: http://marysglasstechniques.com/about-mary/ https://en.wikipedia.org/wiki/Marcel_Duchamp
http://www.theartstory.org/artist-kiefer-anselm.htm viemagazine.com/article/glass-full-of-life https://en.wikipedia.org/wiki/History_of_glass https://en.wikipedia.org/wiki/Mosaichttp:// maryhongstudio.com/blue-whale-art-inspiration/
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Jay Hester:
“TEXAS - Stories of the Land” October 8, 2016 Join the J.R. Mooney Galleries of Fine Art - Boerne on Saturday Oct 8th, 2016 for an exciting evening of Western Fine Art honoring our great state of Texas in Jay Hester: “TEXAS - Stories of the Land,” a blockbuster exhibition by the legendary Western and Native American artist, as he visually explores turning events, ballads, and serenades of the old west, drawing on historical happenings in the Texas Hill Country and giving artistic voices to stories long forgotten. This exhibition celebrates the career and new artwork by nationally renowned and award-winning Texas artist, Jay Hester. In the exhibition, “TEXAS - Stories of the Land,” Hester unveils a dozen new dramatic masterpieces that tell the story of his beloved Texas. In his first solo exhibition in almost 20 years, J.R. Mooney GalleriesBoerne allows Hester to dominate and demonstrate as to why he is regarded as the “Godfather” of Boerne. Painterly renditions range from historical encounters between the Texas Rangers and the Comanche and Apache, the depot at Camp Verde, raids in Linnville and Plum Creek, Native American ambushes on early Texas/ German settlers to treaty signings in Fredericksburg. Special to “TEXAS - Stories of the Land” is Hester’s showstopper painting, a larger than life portrayal of an artistic rendition and homage to Boerne’s own Dr. Herff, performing his innovative cataract surgery on a Comanche Chief. As the legend goes, this surgery saved the Comanche Chief’s eyesight and laid the groundwork for a mutual understanding between the Native Americans and the early settlers. “TEXAS - Stories of the Land” is a dynamic Western and Native American art exhibition focusing on tales from the formative years of the Texas Hill Country and surrounding regions, hosted by the oldest gallery in Texas, J.R. Mooney Galleries.
“Come experience Texas history as these wonderful western legends come to life, an artistic journey that only Jay Hester can tell!” 34 / J.R.M QUARTERLY Reviews/ Commentary/ Exhibitions/ News/ Events, Fall 2016
Jay's passion for Western culture is evident in his work as a Native American and Western artist. His ability to capture the rustic beauty and the depth of the people and places that define the American West has gained him many honors and awards at national juried exhibitions. After college graduation in Alabama, Jay was accepted to the prestigious Art Center College of Design in Los Angeles, which further refined his painting skills. He then worked as an illustrator for Lockheed Aircraft Corporation in Georgia. He followed his passion along the east coast art show circuit, and taught art to college students in Georgia and Tennessee before heading west. It was Santa Fe, with its rich environment that sparked his interest in the Native Americans and other western subjects. While residing there he studied the character of the west, its culture and traditions, enabling him to capture on canvas and in clay the Native Americans, mountain men, and cowboys he so often depicts. In addition to private collections across America, Jay has produced commissioned paintings for Texas Tech University and Methodist Hospital in Lubbock, the Zaragosa Theater at Six Flags Fiesta Texas, USAA in San Antonio, as well as many other public collections. His monumental bronze sculptures grace The Woodlands, near Houston, Driscoll Children's Hospital in Corpus Christi, and Boerne's Veteran's Park. "Lasting Friendship," in Fredericksburg's Markt Platz, is represented by three heroic size figures depicting the treaty signing between the Comanche Indians and the German settlers, and was unveiled on the 150th anniversary of the city. He recently installed a larger than life bronze sculpture of Cadet George P. Mitchell at the Texas A&M Galveston campus. Hester’s selected gallery roster includes: Sage Creek Gallery in New Mexico, South West Gallery in Texas, Altermann Galleries & Auctioneers in New Mexico, Charles M. Russell Benefit Auction in Montana, Highland House Gallery in Texas, Phippen Western Art Show & Sale in Arizona, Kiwanis Art Show & Sale in Texas, RS Hanna Gallery in Texas, Paulson Gallery in Texas, Museum of Western Art in Texas, The Pearce Western Art Museum in Texas, Worrell Gallery in New Mexico, Mountain Trails in Wyoming, The Gallery at Brookwood in Texas, J.R. Mooney Galleries in Texas, and Mountain Trails in New Mexico. Who: J.R. Mooney Galleries of Fine Art, Boerne What: Jay Hester: “TEXAS - Stories of the Land” When: Oct. 8, 2016 Where: JR Mooney Galleries, Boerne 305 S. Main St., Boerne, TX 78006, ph. 830-816-5106 ABOUT J.R. MOONEY GALLERIES OF FINE ART J.R. Mooney Galleries of Fine Art is a full service Fine Art Retail Gallery, specializing in Texas Vintage, Local & Regional, and Contemporary Art; coupled with a world renowned custom frame shop.
J.R. Mooney Galleries of Fine Art was founded in San Antonio, Texas in 1947 by Joe and Adelle Mooney. Emerging as Modern Paint Company in 1947, with the largest selection of professional artist grade art supplies in San Antonio, the Mooney family eventually expanded their business. Modern Paint Company became J.R. Mooney Galleries of Fine Art to showcase local, regional and international artists while diving into custom framing, artist representation and other unique attributes. J.R. Mooney Galleries of Fine Art has an identity reflective of over a half-century existence; becoming custom framing experts and specializing in an array of museum quality art services. J.R. Mooney Galleries is currently providing fine art services at their signature Broadway address in San Antonio and at their Boerne location. J.R. Mooney Galleries of Fine Art has provided framing services for every American President since John Kennedy and every Texas Governor since John Connally. The galleries have also supplied the Vatican, the Royal Palace in Madrid, Queen Beatrix of Holland, as well as major collections and collectors in Europe, Asia, South America and Australia. Gallery Hours: San Antonio – Mon. – Sat. 10 am – 6 pm / Boerne – Tues. – Sat. 10 am – 5 pm
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PECIAL PR One of the J.R. Mooney Galleries-Boerne clients approached our design consultants to help him preserve a wonderful family heirloom. In his possession was a salt plate from a Theodore Havilad Lomoges collection , France, circa 1903.
The client wanted to display this salt plate in a way that would not only showcase the front glazed pattern but also allow him to see the Haviland signature and fire mark on the back. The consultants along with Robert (Bob) Mooney, President, came up with a design that included the Roma 2 1/8” Vintage antique gold moulding for the outside frame and an inner linen mat, coupled with a smaller Roma Sonora weathered bronze 1/2” fillet. The museum quality glass was fitted between the outer frame and the inner linen, placing the second and third layer of framing under the protective coating. “This collection was smuggled out of Europe before WWII. It was buried in my great uncle’s backyard for years...it was eventually unearthed and the contents were distributed to each generation. I was able to receive this wonderful item.”
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ROMA Moulding
ROJECT
“Vintage” Series 2 1/8” wide Antique Gold and Antique Silver ROMA ONE describes this moulding as: “Amongst the twenty arrondissements or districts that make up Paris there is a former fortress which stands proud as the focal point of district number one — the Louvre. A majestic masterpiece where priceless art is encased in classic elegance, founded in the spirit of authentic French tradition. It was here in the Louvre, inspired by its magnificence and contribution to modern culture that Vintage was born.”
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