This Old Palette

Budget 2012

2012-01-27T08:09:00.002-06:00

The biggest change I can find between 2011 and 2012 is that Health Insurance has gone up from $4,872 to $10,200.

But to accommodate this, salaries have gone down from $93,209 to $88,292.

Gold Medal Show : 2012

2012-01-17T09:22:00.005-06:00

It's that time of year again,

the annual Gold Medal Show

where members vote

for their favorite paintings.

Stuart Fullerton
(Honorable Mention)

Helen Oh

Ali Hasmut

Barton Faist

James Hajicek

Errol Jacobson
(Honorable Mention)

George Clark

Jack Bair

Marci Oleskiewicz
(Winner: Gold Medal Award)

James Kujaca

Kianoosh Jafari

Linda Vice

Linda White

Stephanie Weidner

Misha Livshultz

Renanne Milner

Robin Power

Michael Van Zeyl
(Second Prize)

Debra Balchen

Dan Kolleng

Donna Gerdy

Dominic Catena

Tim Rees
(People's Choice Award)

Clayton J. Beck III

*******************

This show also included
a wall dedicated to the memory
of three of our most active members
who left us last year:
Phil Renaud, Mike Wilkins, and Diane Rath

Phil Renaud

Diane Rath

And the wonderful thing about paintings is
that they can extend forever
the most intense, sensitive, and thoughtful moments
of the people who made them.

*********************

And here's a few photos
that Del Hall
took at the opening:

Del Hall shoots the New Year's Drawing Marathon

2012-01-02T07:31:00.001-06:00

We had a big crowd again, and had to put a third model into the coach house for much of the afternoon.

I guess people just couldn't wait to get out of the house at the end of the holiday.

And this was the first time I received an ovation for my culinary efforts.

(the secret is to saute the garlic and onions at 9 am so the aroma can waft into the studios. By noon, people are desperate with hunger and will enjoy eating anything)

After seeing Lenin's portrait of me in the exhibit, people were constantly asking me to levitate silverware.

Thankfully, Del took a photo that shows me as a bit less demented.

Angels in Chicago

2011-12-18T07:00:00.001-06:00

George C. Clark

Responding to a call for artists

posted on Chicago Art Resources

by Jackson Junge Gallery ,

two P&C artists

have their angelic work

on display

this holiday season.

Audry Cramblitt

Portraits of the Palette

2011-12-10T22:20:00.006-06:00

Nancie King Mertz
Sullivan in the City (Detail)

Buell Cole
Pam

Tim Rees
Brittany

Donald Valentin
Portrait of My Grandfather

Buell Cole
Rachel

Ali Hasmut
Soul

Barton Faist
Self Portrait

Buell Cole
Lady Jack

George Clark
Portrait of Octavian
in Act I of Rosenkavalier

Errol Jacobson
Artist in Red Stormy Kromer Hat

Stephanie Weidner
Errol in Hat

Michael Van Zeyl
Errol

Al Summer
Sara

Charlotte Arnold
Soul of the Poet

Michael Van Zeyl
Claire

George Zaremba

Tim Leeming
George

Miguel Malagon
White Hat

Lenin Del Sol
Stuart

Lenin Del Sol
Chris

*************************

... and here are photos
that Del hall
took at the opening

Ali Hasmut

Debra Balchen

Barton Faist

Val Yachik

Linda White

Errol Jacobson

George Zaremba

*********************

This picture was sent by Misha Livshulz
(the man on the right).

Standing to his left is Misha Liangleleben,
and to the far left is Mahood Said,
who trained at the Surikov Art Academy in Moscow,
and taught Ali Hasmut
when they both lived in Baghdad.

A slide show of his work
can be seen here

Holiday Sale Remainders

2011-11-20T19:31:00.007-06:00

I didn't get to the P&C holiday sale
until $10,000 of stuff
had already been carried away.

But still ....
I liked some of the remainders.

Like Tim Rees' one-eyed self portrait.

I am such a sucker
for Errol Jacobson's city views.

One of the many regrets in my life
is that somehow
I missed the chance to draw this model.

But I'm glad that Danaya did.

What a nice little drawing!
Nadine Michl has been a member since 2005
but this is the first time I've noticed her.

According to the internet:

She graduated with a degree in art from Southern Illinois University and attended The
School of the Art Institute of Chicago. She also studied with French portrait artist Patrick Betaudier.

David Becker on 11-11-11

2011-11-10T09:09:00.008-06:00

David Becker turns 50
on 11/11/11
so he is celebrating that event
with the opening of this exhibit
beginning at 11 am
and ending at ... you guessed it.

He put 11 paintings
into the main gallery shown above
(but regretfully,
my shot could not include
the two that were behind me)

The magical number
appears on this wall as well.

.. and this one too.

Dave has suggested
that 11 objects
have been depicted
in each of these paintings
but I have no idea
which ones they are.

Dave presents our urban world
as such a well ordered,
nice, clean, and happy place.

How provocative!

(photo credit: Del Hall)

Midwest Painters Group

2011-11-09T10:05:00.011-06:00

Tina Engels

I just ran across
this group of painters.

Their website looks like
it was designed by default
but many of their paintings
look pretty good.

Timothy King

They all live in different cities
so unlike the Palette and Chisel
their group will never own their own studio and gallery.

And judging by their website,
I doubt they have dues
or even a firm list of members.

Rob Brock

But they do put on shows
throughout the Midwest
and they have something like
a manifesto:

The Midwest Paint Group, (MPG), is an association of Midwestern US-based painters working under varied processes defined as Post Abstract Figuration.

This type of painting is built on configurations and conceptions that evolved out of the past great traditions of art and of 20th Century modernist painting. It is the group’s position that emotive and expressive abstractions are at the core of their images. Each member of the group individually interprets the perceptual-observational process into a pictorial format that evokes the strongest sense of abstract plasticity.

Painting is the power of two-dimensional space reaching into the representational visceral aspect of three-dimensional reality. In this sense, to be an MPG painter is a quest to becoming highly aware of nature’s complex beauty balanced against the nature of unifying human vision and deep emotion.

Philip Hale

And as you may guessed from the verbage,
these are all MFA's
which means they can teach
in accredited programs
instead of just week-long workshops.

Megan Williamson

Jeremy Long

Jeremy Long

Deborah Chlebek

Amy Maclennan

********************************************************

They also reach out
to include these non-members
in their shows:

Walter King

Wilbur Niewald

Wilber Niewald

Stanley Lewis

Stanley Lewis

Olivera Pudar

Olivera Pudar

Lennart Anderson

Lennart Anderson

Lennart Anderson

Lennart Anderson

Gabriel Laderman

Chris Semergieff

Albert Kresch

**********************************

Last year,
one of their shows
went into the Beverly Arts Center.

And one day I hope,
they will show their work at
1012 N. Dearborn.

The Restless Model

2011-10-25T21:39:00.002-05:00

Last Sunday's model had difficulty holding the pose,
and some artists were quite frustrated.

But I think her discomfort actually helped Bo Zhang make a memorable painting.

Perhaps Gauguin's model also had a problem holding still.

Plein Air Painters of Chicago - 2011

2011-10-25T20:42:00.006-05:00

Stephanie Weidner
Bar at the Palmer House

Stehanie Weidner
The Double Door

Stephanie Weidner

Nancie King Mertz

Mort Luby

Martha Stevens

Leslie Outten

Leslie Outten

Lee Radtke

Lee Radtke

Kevin Haller

Kathy Hirsh

Jill Zylke

Ginny Pitre-Hay

Errol Jacobson

Errol Jacobson

Errol Jacobson

Don Yang

Barbara Herring

Tim Leeming

Tim Leeming

Steve Slaske

Jeffrey Baumgartner

Panel Discussion

2011-10-15T18:54:00.011-05:00

Just found this this Youtube video shot during a panel discussion at last year's edition of Weekend with the Masters

Moderated by Richard Schmid , they addressed the following question:

Are all these wonderful new digital tools going to help us or present a danger to the spiritual growth of this movement (realism)

Panelists included (left to right) :

Carolyn Anderson

Daniel Gerhartz

Rose Frantzen

Scott Burdick

Richard Schmid

Quang Ho

Sherrie McGraw

Jeremy Lipking

These are all exceptionally bright, successful, handsome, creative people, and if you watch all seven segments, you'll find the Palette and Chisel mentioned at least twice.

It's fun to watch them speak and then look at their paintings, although, usually, for me, there's a disconnect and as one internet curmudgeon has written:

"Panel discussions aren't a means to any real end, they are just a PR ploy --another opportunity to find new students and sell DVD's ---This panel was also conspicuously inbred. They forgot to invite any real opposition ---They had started out as classicists or idealists of some sort, and had tried to define themselves in opposition to the main line of current thought in art. But Modernism got them anyway."

More of my own comments are found here .

Art For Misericordia

2011-10-09T20:06:00.008-05:00

Zhiwei Tu

"The Mission of Misericordia/Heart of Mercy is to support individuals with developmental disabilities in maximizing their level of independence and self-determination within an environment that fosters spirituality, dignity, respect and enhancement of quality of life."

Mary Qian has organized another edition of her "East-West" show as a fund-raiser for this institution. The show also includes pieces done by students of Misericordia art therapy programs as well.

More information about the show can be found on its own website

The two pieces on the left were done at Misericordia.

Tor Muehl did the two animals on the right.

Left to right:
Tor Muehl, Shizhong Yan, Audrey Cramblitt

Left to right:
Danaya Zakharava, Ali Hasmut

the painting in the center is done by Elsa Munoz
(who is currently having a one-person show at the National Museum of Mexican Art)

Detail

Shizhong Yan

Here's his website.

Mary Qian

Miguel Malagon

Miguel Malagon

Li Hu

I'm so glad Mary was able to bring him back for this show.

Tim Leeming

J. Antonio Bedolla

J. Antonio Bedolla

Clayton J. Beck III

Clayton J. Beck III

Bo Zhang

Bo Zhang

Bo Zhang

Exhibition: Ed Wentz and Jane Ellen Murray

2011-09-30T06:31:00.001-05:00

O.P.A. - Eastern Regional

2011-09-27T09:04:00.004-05:00

Tim Rees, "Roman Breakfast"

Zhiwei Tu, "Old Man Smoking his Pipe"

Mary Qian, "White II"

"Congratulations to Chicago's Mary Qian for winning the Silver Medal at the Oil Painters of America's Eastern Regional Exhibition currently being held at the Addison Art Gallery in Orleans, Massachusetts.

Ms. Qian's oil painting "White II" was one of just 86 paintings selected for the exhibition from over 600 artists across the eastern half of the United States and Canada.

As one of the top winners, Ms. Qian will receive $1,000 cash. The exhibit runs through October 15, 2011 and can be seen here

(and perhaps you recognize the model, as well as the chair)

Palette and Chisel at Re:Chicago

2011-09-19T06:29:00.006-05:00

Carl Hoeckner "Cold Steel"

To celebrate the opening of it's facility,
(conveniently located so close to the Fullerton station
on the Red Line,
you can look through it's window from the platform),
the DePaul University Art Museum
is running a show called "Re:Chicago"
that

"shows work by 40 artists, each chosen by a member of the Chicago art world, and invites viewers to join in a conversation about who’s famous, who used to be, and who ought to be."

Of course,
as with all exhibitions,
that "conversation" is exclusively one-way,
but still
it's more engaging
than usual museum exhibits
where an anonymous voice
has posted authoritative text up on the wall.

With no attempt to cover
the prominent names and styles,
there are many significant omissions.
(not a single landscape is being shown!)

But happily,
Esther Sparks,
an experienced curator and art historian
who has worked at the A.I.C. and many
area universities in her 40 year career,
has picked one of our members,
Carl Hoeckner.

Hoeckner was one of the rebellious
P&C modernists
who stormed out in a huff around 1920.

But, contentious character that he was,
he never belonged to any organization
for a great length of time,
even if he founded them.

As Sparks wrote in the text
that accompanied the above print,
Hoeckner was
"Dedicated to the bitter truth"

***********

BTW, the above print
appears on several sites on the internet,
most curiously
on this one that features homoerotic art.

The Henry Maron Alphabet

2011-09-11T20:58:00.008-05:00

Henry Maron cornered me at the Renaud Memorial last night
and said I had to see his new alphabet.

He was right.

It's as delightfully wacky as can be.

Doesn't it feel like it could have been used
for the stationary of the Vienna Secession
or some occult sect of Austrian mystics ?

The only problem,
though possibly insurmountable,
is finding a text worthy of this type face.

New Members: 2011

2011-09-09T10:49:00.010-05:00

Alexandra Kowerko

As several recent memorials remind us,
our members are continuously being promoted
to the fourth floor studio.

So it's good to remember
that new members are always joining.

Posting the names and work of new members
should really be done on the Palette and Chisel's own website

But the office already has enough work to do,
and the membership committee no longer exist.

Laura Patterson
Tamera Beeker
Michael Valente
James Johnsen
Alexandra Kowerko (and more here)
Diane Sepielli
Judy Brody
Christie Stewart
Alexandra Levanthal
Michael Rubenstein
Monica J. Klein
Ting-Itoras Chung
Nelson Ghorbanian
Kimberly Beck
Drev Sine
Nancy Littman

(Note: I'd love to show more images and links - if the those listed would send them)

Phil Renaud Memorial Exibition

2011-09-09T10:48:00.015-05:00

Quite a crowd gathered for this memorial event, unique, at least during my 20 years at the club.

As expected, there were family, students, and artists.

But what surprised me were all the neighbors who showed up.

Phil and Carol lived on a cul-du-sac that ran up against the Chicago River in Ravenswood Manor, such a pleasant little area that people got to know each other and never moved away.

Phil did this portrait when he was 16.
That's his Chicago home on the left.

I wish I could have shot the drawings close-up, but there was too much reflection. More of Phil's work can be seen here

Here's Phil's son, Bret, as a lifeguard. (he's now working on a much larger boat as a diver for the Chicago Fire Department)

grandson Phil

Here's an excerpt from a letter that was read. sent by a lifetime friend from Phil's hometown of Edmonton, Alberta:

Anybody that knew Phil knew that he was unflappable, a very laidback kind of guy A perfect example was the morning we were leaving our small city of 125,000 plus to the metropolis of Chicago.

I went to pick him up at the scheduled time of 8:00am. so that we could catch our ride with friends from Springfield who were returning home from visiting family.

When I arrived Phil was still in bed sound asleep! His mum & I got him up dressed, packed, fed & out the door just in time to catch our ride. He remained almost totally unfazed thru this whole process.

When Phil & I arrived in Chicago we set up house in a small, walk-up tenement apartment on the fourth floor with no view on State & Ohio.

We started our classes about one week late & walked into a nude life class in progress (a first for us) and proceeded to set up our drawing boards, all the while trying to maintain some semblance of cool.

Trying to concentrate on our task ahead of us, I nudged Renaud and said” Phil!, there’s a pretty girl looking at me, I think she likes me” Phil! glanced over and nonchalantly said “oh yah” and went back to his board.

As it turned out she wasn’t looking at me but at Phill!! That girl was Carol Cooper, Phil’s future wife, and the rest is history.

Here's his obituary in the Chicago Sun-Times.

Portrait by Mary Qian

(my New City review of the show is here )

Del Hall shoots the Labor Day Drawing Marathon

2011-09-06T06:46:00.009-05:00

ThisOldPalette is proud to announce the appointment of
Del Hall as the website's official photojournalist.

As you can see above, Del,
who's been a member of the P&C for three years,
has had many years of experience.

**************

************

and here's a few from my camera:

Mike Wilkins Memorial

2011-09-04T08:50:00.011-05:00

Here's the Mike Wilkins
memorial exhibit
at the National Veterans Art Museum

Mike was a Marine mapmaker in Vietnam
and served on the board of the Veterans Museum.

He was also a serious sketcher,
this being one of this his sketchbooks
from 1969

Pretty good for a 23 year old kid
in his spare time.

The exhibit also includes
books from 1977, 1989, and 1995

Mike was very good at a classical style
of figure drawing,
but as this detail shows,
he could have been a delightful
abstract artist as well.

1967

Marine on Patrol, 1967

Maintenance on helicopter
Marble Mountain Air Force Base
1967

Artists creating mural, 1968

Control Tower, Marble Mountain, 1968

1967

Perimeter, Marble Mountain, 1968

1968

1968

1968

1967

Calisto

Unlike most of the artists at the Veteran's Museum,
Mike never looked back.

When he left Vietnam,
he left that subject matter
behind as well.

Fall Competition, Kelly, 1998

Koko, 1987

Patricia, 1974

Michael, 1979

1996

Draw Bridge, 1999

2002

2002

Looks like a scene from the Palette and Chisel.

A Monday night model, perhaps.

Health permitting, Mike was regular at those workshops
which he invariably entertained
with his improvisational comedy.

Emotional Content

2011-08-31T06:30:00.012-05:00

Mary Qian

"I have also been very impressed by Mary Qian. She has a lot of talent and a lot of personality. That's a weird painting, but I love it. Let's hope Mary can avoid the pull of the market down. What may allow her to do that is the new mixed gallery, which Ann Nathan in Chicago is just one example of. Nathan is not what one would call a realist gallery, by the old delineations, and Qian is about the most traditional artist there. Nathan has no problem with weird, and would appear to require it. But this means that Qian is straddling the old markets, showing at both Nathan and Legacy, for instance. I don't think Legacy would show this work, and neither would Saks or Greenhouse. This seems to be confusing for Qian, who is experimenting with a lot of styles and subjects. Nothing wrong with that, though, as long as she keeps producing good work."

Painter, and internet curmudgeon, Miles Mathis, has recently singled out Mary Qian for admiration in one of his periodic rants about the emotional content of contemporary realist painting.

Also mentioned, though not as positively, are several other artists/teachers associated with the P&C : Richard Schmid, David Leffel, Sherrie McGraw, Greg Kreutz.

"I remember hearing a speech by Richard Schmid, an influential realist, who stated this pretty much in those words. For him, art seemed to be a technical matter and little more. Although his paintings did not lack all content (at least back in the 80's), his teachings stressed the technical and abstract side of painting to such an extent that almost all students misunderstood him. The students became so obsessed with “edges” they forgot that a painting also required a subject, and not only a subject but an object. Meaning, there had to be a reason to paint the thing beyond your desire to refine edges.

As I recall, Schmid has also advised students to "paint what you love", but who can write a "how to paint" book without prioritizing technique?

Can I really feel such horror in a realist gallery? I can and do. It is now a revulsion beyond any argument about taste. There are many things in this world I don't care for but can abide. Art has now gone far beyond that. It fills me with a dread: not an existential dread like Sartre felt when he picked up the rock at the beach (see the book Nausea), but a real and immediate dread, like the dread a cat would feel in a room of a million mice. Or, more precisely, the sort of dread you would feel in a room with a million robots. These androids have faces like yours, but they do not see the world as you do: are they really your brothers, or will they malfunction the next moment and tear you limb from limb?

Some have tried to sell realism as a humanizing force in contemporary art, or as a counterbalance to the brutalities of modernism and postmodernism, but even where realism has avoided being absorbed directly into the postmodern agenda (as Currin or Saville or Nerdrum has been absorbed, for example), it has not avoided being being de-spiritualized and corporatized with the rest. An art drained of all content cannot be a humanizing, and so realism has become little more than an alternate dehumanizing. Conceptual art and realism have become two paths to the same end.

Do you agree with him?

I share his preference for Jeremy Lipking over Nerdrum, Currin, and all of the other figure painters that he mentioned, while I don't think that contemporary landscape painting is as emotionally barren as he suggests.

Mostly I'm just glad that someone looks at so much contemporary realism and then writes passionately and succinctly about it.

Ever since American academia bought into Clement Greenberg's distinction between art and life (i.e. avant garde and kitsch) most of those who love paintings of people and the world around them have been burdened with an intellectual inferiority complex that keeps them silent and clannish, just as the members of the Palette and Chisel have little interest in having their gallery display any work other than their own.

Exhibition: Sculpture and Drawing 2011

2011-08-21T11:36:00.007-05:00

Susan Frolichstein

Sheila Hori

Roger Akers

Roger Akers

Robin Power

Misha Livshultz

Lois Raub

Lois Raub

Lenore Murphy

Lenore Murphy

Larry Paulsen

Larry Paulsen

Keith Raub

James Johnsen

Ivonne Hobfall

Henry Mcalevy

Gilbert Ghez

George Clark

Don Yang

Debra Balchen

Danaya

Danaya

Brian Clare

Brian Clare

Bodo

Bert Stephens

Barton Feist

Barton Feist

Barbara Humbert

Vision 2006

2011-08-16T20:19:00.002-05:00

In 2003, P&C board members
retreated to a meeting room
in Lakepoint Tower
to establish some organizational goals
to be realized over the next 3 years.

Unfortunately, within a few months
all of the officers would resign,
and the members who replaced them
have spent the last 8 years,
trying to avoid the kind of confrontations
that drove their predecessors to quit.

So this list was abandoned
within a few months of its creation.

Whenever a board
is finally ready to resume
building the Palette and Chisel,
this list would be a great place to start.

(items of interest to me
are highlited in red )

-----------------------------------------------------------

Palette and Chisel Academy of Fine Arts
Vision 2006
Strategic objectives to guide our planning for the next three years.
Authored by
The Board of Directors of the
Palette and Chisel Academy of Fine Arts
Spring, 2003
Alan C. Hruby — FacilitatorlScrivener

………………………………………….

Palette and Chisel Academy of Fine Arts
Vision 2006

Educational Services
Marketing
The Palette and Chisel will define itself to the public as the place where a serious student can receive a first-class education in representational fine art at a fraction of the cost of alternative venues. We will also continue to serve the needs of the professional or recreational artist who desires a less formal experience.

Curriculum

We will focus on creating a balance in our course offerings in order to develop both fundamental and advanced artistic talent. We will also consider how we might offer non- studio art courses such as art history. We will continually review curriculum offerings as to their success and question how to improve our services.

Academy-Faculty Relationships
We will improve communications between the Board of Directors, the Education Committee and the faculty through an ongoing more formal relationship that fosters the exchange of information and the expression of needs. An element of this relationship will be to request that the faculty choose representatives to participate in Education Committee meetings.

Managing Resources
We will develop a disciplined process to enable us to determine optimal use of space currently designated for educational purposes in our buildings. This process will consider anticipated revenues and costs of alternative uses, the demand for each alternative use, and the consonance of each alternative use with our mission. In situations where the merits of alternative uses are comparable, we will give preference to the more artistically advanced use.
We will be also guided by these goals for the next three years:
• To increase the cumulative number of Paid Workshops by one each year,
• To increase the cumulative number of Class Offerings by one each year,

• To not only maintain the current number of Open Sessions but to also increase the number of Open Sessions as much as practical, subject to cost and demand considerations,
• To create an ongoing process, which will state expectations and then monitor, measure, review and evaluate the success of each educational activity, and
• As demand for educational services grows, to carefully uncover and evaluate all alternatives before adding or converting building space to classroom use.

Membership
Organizational Structure
As a first step, we will determine an appropriate organizational entity that will develop and implement appropriate action plans for the attainment of our growth and member commitment goals. This entity will also identify financial and human resources required for meeting the goals, and with concurrence of the Board, implement the action plans.
Growth Objective
The Palette and Chisel annual growth objectives of dues paying members (net of losses) are as follows:
EQY Objective
2003 5% over EQY 2002 actual
2004 10% over EOY 2003 objective
2005 10% over EOY 2004 objective
We will attain these objectives through a variety of recruitment and retention initiatives aimed at creating a member-friendly organizational culture and demonstrating our value as a resource for the serious artist.
We will develop and implement membership recruitment initiatives including, but not limited to, the following:
• Promotion of the Palette and Chisel in local media
• Reciprocal recruitment efforts at other schools, universities and other art organizations
• Recruitment efforts directed to non member class and drawathon participants as well as other nonmembers wishing to exhibit their work in our galleries
• Patron membership drives
• Out-of-area membership drives of possible nationwide scope

We will also develop and implement membership retention initiatives including, but not limited to, the following:
• Developing the Palette and Chisel as a resource for serious artists both as to the business of being an artist and as to a place where they can obtain ongoing artistic mentoring as an Advanced Student
• Actively listening to the needs of members and making reasonable efforts to accommodate them
• Actively cross-promoting additional programs to those attending classes and workshops at the Palette and Chisel
• Giving appropriate recognition for the volunteer services provided by members
• Distributing information packets covering bylaws and other helpful information to new associates
• Assigning mentors to new associate members to facilitate their socialization within the organization
• Actively recruiting new associates to serve on committees
• Arranging for second portfolio reviews for new associates
• Recognizing long-term members for their continuing support
Member Commitment
We will communicate the need for a greater sense of personal commitment from the members and students of the Palette and Chisel. We will establish minimum expectations for volunteer service for all members bearing in mind that extenuating circumstances may excuse individuals from such service.
We will develop a mechanized system that will match an individual’s service interests with the needs of the organization and will actively solicit his or her participation. Finally, we will develop plans to facilitate the conversion of associate members to artist members after one year to foster their personal sense of commitment to the organization.

Exhibitions
Overarching Goal
In consonance with our mission and bylaws, we will seek to serve and enrich the public through the display of fine works of art created by our members, our students and selected other artists. We will increase the Palette and Chisel’s visibility to the public and in so doing enhance our members’ exhibition benefit.

Gallery Operations
We will professionalize our gallery operations by establishing specific hours of operation and making the public aware of these hours. We will enhance the visitor experience of our guests by commissioning a volunteer Gallery Manager to have general responsibility for creating a positive public image for our galleries with the aid of member and exhibitor support. Responsibilities of the Gallery Manager will include the management of volunteers, contractual compliance with exhibiting artists, and the recommendation and subsequent oversight of appropriate security measures. The Gallery Manager will participate in the Exhibition Committee meetings.
Exhibition Promotion
As a service to our member exhibitors, we will establish and offer mailing lists of other art gallery owners, public and private art administrators, and corporate collection curators for their use in promoting their shows. We will also offer to them a list of individuals who purchased works at our prior shows. We will append to this list the names of purchasers of their work and make the updated list available to subsequent member exhibitors.
We will create and maintain a slide and digital file of Palette & Chisel artists’ work to assist in compiling group shows. In addition, we will explore the uses of the Internet as a promotional tool to feature previews of exhibitors’ works.
We will develop partnerships with other art organizations, small art galleries and ethnic museums with the goal of creating reciprocal fine art exhibition opportunities. We will also investigate additional venues for the exhibition of selected member group shows.

Relations with Exhibiting Artists
We will review and update the contracts, guidelines and forms we provide our exhibitors. The revised contracts will incorporate gallery use and installation standards. We will also clarify deposit requirements that will (1) provide security that the artist will in fact have a show, and (2) provide security against damage to the gallery as an incident to the show. We will also establish a non-contractual expectation with exhibiting artists that they have some presence in the gallery during their show, particularly if there is no one available to sit during a specific time period.

Optimal Use of Gallery Space
At this time, we have contractual commitments with exhibiting artists well into 2004 that we must honor. Therefore, we recognize that we will have to defer the complete achievement of any changes in our gallery use policies until some time in 2005.

Nonetheless, we delegate to the Exhibition Committee the transition to an exhibition scheduling process that recognizes the following guidelines:
• Allow for an annual show aimed at attracting the best artists in the country. This show would require a separate detailed plan and would be subject to the approval of the membership.
• Allow for an annual Gold Show displaying works of members aimed at inspiring the continuing improvement of their artistic expression.
• Allow for an all media student show that would be invitational by their instructors.
• Enable workshop instructors to display their work coincident with the duration of their workshops.
• Allow for one or two theme exhibitions (still life, landscape, etc.) each year.
• Allow for an annual fund raising event such as the Spring Cleaning Show.
• Allow for a Palette and Chisel instructor show.
• Accommodate reciprocal agreements with other galleries for the display of their artists’ work.

Building
Overarching Goal
In consonance with our mission and bylaws, we will preserve and enhance the value of our building to foster its use as a center for art education, exhibitions, workshops, studios and as a meeting place for its members. We also will develop the Public Areas of the Palette and Chisel into an attractive venue for fund raising.

Building Aesthetics
The Public Areas shall mean the grounds, front building façade, front entrance, foyer, galleries, dining room and front staircases to the second floor and basement. We will preserve and restore these areas as closely as practicable to their original architectural character and elegance.
The Members Areas will consist of the second and third floors, kitchen, rear staircase to the second floor, coach house and basement studios. We will preserve the current aesthetic for these areas, which we view as utilitarian functional spaces meant for serious artists at work.
We will make select improvements to the Administrative Area to foster a more professional business image.

All modifications to the building will be subject to (1) the need for adaptive reuse of the building as a public not-for-profit arts organization, (2) certain modernization considerations listed below, and (3) the spending approval processes in effect.
We will consider modernizing our building with respect to bathroom fixtures, kitchen appliances, utilities, air conditioning, lighting fixtures, wall surfaces, security and safety measures, office functions or as otherwise required by law or as approved by a member quorum majority.

Leveraging our Building for Fundraising
We will create and sustain a momentum in the restoration of the Public Areas to demonstrate to potential donors that the Palette and Chisel is a vibrant, proactive organization that provides vital cultural services to the public and is worthy of their support. We will hold fund raising events in our building. We will show these potential donors that they can expect the impact of their donations to be manifest in additional specifically identifiable improvements to the property or services.
As part of our print campaign, we will tell the public of the long, rich history of our building and its stature as a National Historic Landmark and Chicago Landmark

Building.
Investment Guidelines
We will apply a disciplined approach to evaluating possible investments in our building. We will clearly understand the rationale for each investment. Examples of such rationale are as follows:
• Legal necessity
• Safety and security
• Repair and restoration
• Maintenance of current building functions
• Enhancing the gallery visitation experience
• Enhancing the educational/workshop experience
• Other improvements
The Building Committee will have primary responsibility for resolving spending priorities subject to the approval of the Board. In developing these priorities, they will first recognize that investments to meet legal requirements or to assure safety or security are of paramount priority followed sequentially by repair and restoration and then maintenance of current building functions. In considering the prioritization for enhancements or improvements, they will be assigned priorities based on considerations of (1) how strong is the need or want, (2) how urgently is it needed, and (3) how much will it cost and (4) how will it be funded?

Financial Assurance
Showing Our Appreciation
Appreciating our donors is paramount to our success. We will recognize that donative support can be given in a number of ways, including cash contributions, sales commissions and the personal service of members beyond what would normally be expected. We will continue existing member recognition programs as well as establish criteria to distinguish a class of member-donors whose contributions significantly exceeded the norm so that we may express special appreciation for them. We will also develop new recognition programs for nonmembers to express our appreciation and to foster a closer continuing association between them and the Palette and Chisel.

Funding our Future
We recognize that sustaining our financial health underlies our ability to deliver our services. We will prudently manage our existing lines of business as well as our fundraising efforts in order that their total contribution to the Palette & Chisel will meet the financial requirements of our Vision. As part of our annual budget cycle as well as a new three-year budget view, we will establish annual income targets for each line of business, which will become targets for the respective committees to achieve:
• Membership Dues -- Membership Committee
• Classes and Workshop Income -- Education Committee
• Exhibition Commissions -- Exhibition Committee
• Studio Rentals -- Building Committee
• Donations, Event Income and Grants -- Fundraising Committee

Fundraising Organizational Structure
We will determine an appropriate organizational entity that will develop and implement appropriate action plans for the attainment of our fundraising goals. For purposes of discussion herein, this organizational entity will be referred to as the Fundraising Committee. The Fundraising Committee will also address the following considerations:
• The need for member involvement in fundraising planning and events.
• The role of the Palette and Chisel staff in fundraising activities.
• The need for and best uses of consultants.
• The knowledge gained from an examination of historical giving.
• The extents to which we use Palette and Chisel funds and staff resources to sponsor activities which in turn are intended to raise additional funds.

• The creation of a “Case for Support” identifying and articulating why both members and the public should support the Palette and Chisel.
• The creation of attractive and compelling media to present our “Case for Support”.
• The development of professional fundraising techniques for approaching donors including annual drives, targeted drives and deferred gifting programs.
• The creation of an annual calendar of fundraising events.
• The standards for and maintenance of our list of wants, needs, priorities and costs to present to donors wishing to make targeted contributions. This list will require coordination with our Executive Director and the various other committees and will encompass all aspects of Palette and Chisel operations where donations are welcome.
• The continued observance of our donor’s Bill of Rights to assure that donors remain satisfied after they make their contribution.
• The development of activities in which donors can involve themselves with the Palette and Chisel.

…………………………………………..

Lowly Links

2011-08-14T21:25:00.002-05:00

Two Palette and Chisel people,
Andy Conklin and Helen Oh,
have just been included
in Tim Lowly's
rather remarkable
listing of visual artists

As he puts it, it is:

"somewhat biased towards conceptually engaged representational painting"

Which seems to categorically exclude the more Romantic kind
as exemplified by Richard Schmid and Jeremy Lipking,
as well as the social realist kind
as exemplified by the 20th C. Russian and Chinese schools.

So don't expect many more P&C artists to make the cut.

But do expect to see a lot of good artists
from around the world
whom you have never seen before.

Exhibit : Rich Morrow

2011-08-07T19:43:00.005-05:00

Incredibly enough,
I was driving past the ball park
on June 21, 1984,
listening to the game
on the car radio
when Sandberg hit that second home run,
and like everyone else in Wrigleyville at that moment
I began to scream.

Self portrait

As Rich explains above,
the following is a tribute
to his new home town,
New Salem, Illinois

Here's his foray
into Greek mythology

East West Encore

2011-07-27T06:32:00.010-05:00

Last April's "East-West" show at Murphy-Hill Gallery
was so exciting,
Mary Qian and Miguel Malagon
decided they would mount it again
at the Palette and Chisel.

Here's some of the pieces
that were also shown
at Murphy-Hill:

Zhi Wei Tu

Sherrie McGraw
(Jessie believes that she was the model)

Sherrie McGraw

David Leffel

David Leffel

Yan Shi Zhong

detail

-------------------------------------------------------------------

As before,
the concept of the show
is a little fuzzy.

Since the traditional
Chinese brush painters,
like Andy Chan,
have been left out,
this time it seems to be
mostly about
Chinese social realism
and its European roots
with an emphasis
on the Russians.

While the artists
who are neither Chinese, Russian,
or social realists
seem to have been included
only because the organizers like their work,
making this a motley conglomeration
like every other
Palette and Chisel group show.

And like almost every other P&C show,
no attempt was made
to publicize the show
beyond an email
to the membership.

Zhi Wei Tu

Here's my favorite,
a portrait of Jerry Ruiz
done at the weekly
3-hour members' portrait session
late Sunday afternoon.

Mary Qian

Miguel Malagon

Liu Kairong

Moissei Liangeleben

Moissei Liangeleben

Helen Oh

Nicolai Fechin (1881 - 1955)

(the three Fechin pieces come
from Val's collection.
It's a real shame
that the Art Institute of Chicago
does not have a single piece
by this important Russian-American artist)

Nicolai Fechin

Nicolai Fechin

Danaya Zakharava

Andrew Conklin

Andrew Conklin

Clayton Beck III

Clayton Beck III

Bo Zhang

Bo Zhang

Exhibit: Ali Hasmut

2011-07-10T10:27:00.005-05:00

The appeal of the Palette and Chisel
to artists from around the world
has always fascinated me.

In the beginning,
it was mostly men from Germany and Austria

More recently,
we've had our share
of Russians and Chinese.

But, so far as I know,
Ali Hasmut is our first member from Iraq.

And, as noted in my post
about this year's Gold Medal Show
I really enjoy his work.

It may be in the ongoing tradition
of American Impressionism
championed by Richard Schmid and Jeremy Lipking,
but there's a kind of sensuality
that also feels very Middle Eastern to me.

Let's hope he can find good market
for his work here in Chicago
so his next show will be in a commerical gallery.

(My review of his show can be found here .)

Exhibition: Susie Forstmann Kealy

2011-06-28T09:16:00.002-05:00

A Wonderful Video

2011-06-15T09:23:00.008-05:00

Nude from Hillary Bachelder on Vimeo.

Stephan Giannini has kindly sent me
a link to the short video
that Hillary Bachelder
has made to
document Diana Baker's
final days as a model
working at the Palette and Chisel.

Diana has moved back to Indiana.

It's a nice slice of P&C life.

You'll recognize the 3rd floor studio
and several of the usual suspects
who now frequent it the most.

But more poignantly,
it documents a period
in a person's life
and demonstrates
why she was so highly respected
as a model.

Here's a group of pieces
by Palette and Chisel members
that she has sent me:

Stuart Fullerton

Stephan Giannini

Larry Paulsen

Keith Raub

George Clark

Danaya Zakharava

Buell Cole

But my favorites
are the ones done by Tim Rees,
with whom she arrived in Chicago
almost 2 years ago:

Here's more pieces
pulled off her website

Demos for Diane

2011-06-12T18:58:00.003-05:00

David Leffel

Here's the three demos
that were done
in a fund raiser
for Diane Rath
this weekend.

Bo Zhang

Scott Burdick

Exhibit: Summer Suite 2011

2011-06-11T20:17:00.008-05:00

Mary Klug

I draw with each one
of these characters
every week
so everything they make
appears to me
as just one more quip
in an ongoing conversation.

Peggy Sanders

Bodo Stolczenberger

Bert Stephens

Standard Operating Procedures

2011-06-11T17:38:00.001-05:00

March, 2011

Palette and Chisel
Academy of Fine Arts

STANDARD
OPERATING
PROCEDURES

S.O.P. #1

Communications

The President, Board of Directors and Executive Director are encouraged to communicate with the membership on a timely and as needed basis. These communications may take place through several means including but not restricted to:

1) E-Mails from the office.
2) Status “update” letters or memos from the President or Executive Director
3) Questionnaires or other forms of communication to ascertain membership feedback on a given issue.
4) General publications such as the “Quick Sketch”
5) Ads, catalogues and other outreach communications
6) Meetings

S.O.P. #2

Nominations and Elections:

Elections for officers and directors are held at the Palette & Chisel per its
bylaws. Elected officers serve 2 year terms while directors serve 3 year terms. Notification of upcoming elections is governed by the following rule:

To assist the Recruiting Advisory Group, the Executive Director shall send a letter to all Voting Members six (6) weeks before any election meeting, requesting that they notify him if they wish to stand for election to any director or officer position to be filled at said meeting. A week later he or she shall send an
e-mail follow-up along the same lines to all Voting Members on the Artist Member e-mail list. All responses to such communications will be relayed by the Executive Director to the Recruiting Advisory Group.

Elections are conducted by secret ballot and administered by the Executive Director. The Executive Director accepts votes through mail, fax or in-person balloting. The Executive Director assembles, in secret, all ballots cast prior to election night. He or she then conducts additional in-person voting on election night.

The Executive Director must review all ballots prior to tabulation to determine if they are legal ballots cast only by current artist members. As provided by bylaw, there is no “proxy” voting in elections. Each artist member must individually vote for the candidates of their choice in one of the manners indicated above. On election night, ballots are tabulated by at least 2 artist members who are not candidates in the current election. The tabulations may be observed by a representative of a candidate as long as the identities of voting members remain secret. All ballots are secret ballots in that any member’s vote is made and tabulated in strictest confidence. The ballots shall be kept for one week and then destroyed by the Executive Director.

S.O.P. #3

Advisory Committees and Executive Director Responsibilities

In the past, the Palette and Chisel was strictly a volunteer organization. Out of necessity, day-to-day operations and general policy were determined by various committees under the overall oversight and approval of the Board. This is no longer necessary. The employment of a full-time Executive Director and staff has shifted the responsibilities of day-to-day operations and other activities from volunteers and committees to the Executive Director. This does not preclude the use of committees but changes their function. The Executive Director interacts with the Board to determine policy and overall management functions. The Board may also use committees to guide it in making decisions.

The P&C bylaws outline a structure to form committees. “Standing” committees include Education, Special Programs, Exhibitions, Building and Grounds, Membership, Fundraising and Studio. When specific duties of the standing committees are unspecified by the Board of Directors, they will remain inactive. The Board can also form a committee not specifically mentioned in the bylaws. Committees may form, assemble and convene only in response to a call to do so from the Board of Directors. The Board will establish the business to be pursued by any committee. All committee determinations are to be reported to the Board on a timely basis.

S.O.P. #4

Board Meeting Attendance by Persons Other Than Directors and Officers

To assure open and frank discussion among the Board of Directors:

1. Directors meetings are not open to non-board members for participation or “observation” as a general rule.

2. Should a P&C member wish to speak to the Board in regard to a specific issue or give a specific report, he or she should contact the office to be added to the agenda. The presenter will be available to the Board during the relevant time, and then be excused from the remainder of the meeting.

3. Conversely, the Board may request that a member appear in front of the Directors as in #2 above.

4. Should a member request to “observe” a meeting or a part thereof and that request be granted by the Board, the observer may not participate verbally or in writing unless a direct request is made to the observing member. Unless permission is granted no one may use a recording device during meetings.

S.O.P. #5

“Electronic” Board Meetings

As established in the bylaws, from time to time the Board of Directors may, out of necessity, conduct a meeting or part thereof via phone or e-mail.
An absent Board member may be contacted during a board meeting to participate in the meeting, discuss issues or vote on a motion.
Also, from time to time, it may be necessary to convene the Board via e-mail to ratify a seconded motion or comment on a given issue without actual physical presence. In that case, minutes will be recorded of the e-mail meeting and it will constitute a Board meeting.

S.O.P. #6

Records Availability

All pertinent records of the Palette and Chisel are available to the membership and general public pursuant to Illinois State statutes governing non-profit 501(c)(3) corporations. Access to records available under the law may be obtained by contacting the Executive Director.

S.O.P. #7

Bylaw Revisions

As stated in the bylaws, a two-thirds majority vote of artist members is required to amend, revise, delete or add to any bylaw of the Palette and Chisel. The 2/3 vote language in our bylaws has been reviewed on a voluntary basis by members of the legal profession, both non-P&C and P&C members. They have confirmed that the bylaws call for a 2/3 vote of the ENTIRE voting membership (artist members), not a simple 2/3 majority of those in attendance or voting “absentee” at any given quarterly membership meeting.

S.O.P. #8

Fees and Similar Matters

The Palette and Chisel bylaws provide for the establishment of admission fees, membership fees and dues. All other fees, rents, assessments, etc., are established by the Board of Directors with the advice of the Executive Director and the P&C Certified Public Accountant.

S.O.P. #9

Studio Rental Conflict

Studio Renters who have issues with their rental rate or other policies regarding studio usage should contact the Executive Director with those concerns. The Executive Director and renter will work to resolve the difficulties. Should the renter wish to take up the matter with the Board, he or she may do so by submitting a request to the Executive Director to be included on a board meeting agenda. The renter and the Board will work to resolve the issue through correspondence or appearance at a board meeting.

S.O.P. #10

Exhibition Guidelines

The Palette and Chisel walls have been renovated at considerable cost to the membership. Guidelines for installation and removal of work have been established to eliminate possible damage to the new surfaces, particularly the fabric covering. It is the responsibility of all exhibitors to adhere to the guidelines and to maintain the appearance of the galleries for future exhibiting members.

INSTALLATION:

• Only smooth nails will be permitted. No screws or textured (ring shanked) nails will be allowed. Picture hooks or other hanging devices are not permitted. The Palette and Chisel office must approve, prior to installation, the type and size of the nails to be used, and reserves the right to reject any nail considered damaging to the walls.

• No positioning marks can be made on the walls. The position of artwork can be done with pushpins, t-pins, map pins or other small smooth pins that will not mar the fabric. No pencil, pen, chalk, pastel pencil, or tape of any sort are permitted.

• Adhesive labels of any type cannot be attached to the walls. Labels may be attached with pushpins or other smooth pins, only. Removable adhesive putty such as UHU HOLD or UHU TAC are not permitted. Adhesive numbers are not permitted. No lighting changes may be made in the galleries except with permission from the Executive Director.

REMOVAL OF WORK:

• It is the responsibility of each exhibitor to remove all nails and labels from the gallery walls at the end of their exhibition. It is also the exhibitor's responsibility to remove any debris from the floor or other gallery surfaces.

• The Palette and Chisel office will monitor all installations and removal of artwork. Exhibitors who are in violation of these guidelines are subject to monetary fines, loss of exhibition privileges, loss of P&C membership.

Rental Rate: The fee for the North gallery and the South gallery, together, is $250.00 for a period not to exceed twelve days. Payment is required at contract signing to ensure exhibition dates.

Commission Rate: 20% (twenty percent) of any sales is the commission due the P&C. The P&C does not charge commission until after $1,250 of work is sold. All checks must be made out to The Palette & Chisel.

Gallery Hours: The exhibitor is required to keep the gallery open Saturday & Sunday from 11 am to 3 pm. The exhibitor may set different gallery hours on the day of the opening reception.

Hanging/Removing Exhibition: The exhibitor is given one day immediately prior to the exhibition period to hang the show. The exhibitor has one day immediately after the rental period to remove all work from the galleries.

Additional Rules:
A. The hallway on the main floor is not included in the gallery space rented.
B. The Dining Room and Library are not to be used for display of art without expressed written permission from the Palette & Chisel. If request is approved, an additional fee will be assessed.
C. The exhibitor has total responsibility for gallery sitting.
D. The exhibitor will provide the office with the name or names of gallery sitters along with the hours listed on the invitations. Visitation hours must be cleared with the Palette & Chisel before invitations are sent.
E. All art from the exhibit must be removed before the end of the second day after the show. A $25.00 storing charge is assessed per day thereafter.
F. Any sales made that do not include the commission of 20% to the Palette & Chisel will constitute serious fraud and result in dismissal from the organization.
G. Should paintings be shipped to the P&C for an exhibition, a handling fee will be charged.
H. Disclaimer – Reasonable precaution will be taken to safeguard exhibitor’s work; however, the P&C will not be responsible for loss or damage to artwork from any cause.

S.O.P. #11

Classes & Special Workshops

A) All instructors are freelance teachers. As such, the Palette & Chisel is relieved of all responsibilities regarding salary and benefits.
B) Any instructor interested in teaching a class must submit a resume and a detailed description of the class, in writing, for the administration’s approval, at least 30 days in advance of proposed starting date.
C) Only members of the P&C will be eligible to apply to teach ongoing classes.
D) Responsibilities of the instructor:
1. Set fee for the class. A registration surcharge of $35.00 per class will be charged to students. All tuitions are established by agreement between the instructors and the Executive Director.
2. Instructor agrees to pay $20.00 per hour for use of the 2nd floor, basement and Coach House classrooms. The rate for the 3rd floor studio is $25 per hour. If the class size is small, the instructor may pay 40% of fees collected after the registration fees are subtracted. The instructor’s rate is either the hourly rate or the 40%, whichever is less.
3. Special workshops will be negotiated on ad hoc basis.
4. Pay for additional equipment needed to operate class.
5. Hire and pay all models.
6. Instructor will also provide dates, times, course and fee schedules to the office prior to each semester at a time designated by the executive director.
7. Set own policy regarding cancelled classes and make-ups. Schedule of make-up classes must be cleared with the Executive Director.
8. Instructor and class are responsible for cleaning and straightening the classroom after each class. Non-members may not stay in the classroom(s) after class or clean up, or anytime an instructor is not present.
9. Instructors are expected to promote their classes.
E) Palette & Chisel will provide storage space. No lockers will be provided to non-members.
F) A written class evaluation may be supplied by the office to be filled out by participating students at the completion of the session and reviewed by the office for evaluation before another class is scheduled. This is also for the benefit of the instructor.

S.O.P. #12

Private Non-Residential Art Studios
It is the policy of the Board of Directors to select the best possible lessee for each studio based upon these criteria:

1. That a lessee is an Artist Member or an Associate Member in good standing who becomes an Artist Member within one year after commencement of the lease. Artist Members receive priority on all available studios.
2. That the lessee will actively use the studio space to create works of art.
3. That the lessee agrees to abide by the provisions of the lease and any rider thereto.
4. That the lessee agrees to abide by the general rules and policies of the Palette & Chisel as they apply to private studio space, including the rules prohibiting smoking and the use of materials that are offensive to others who may be working nearby.
Leases for the private studios are for one year, expiring December 31 of each year. Renewal of the lease is not automatic. Renewal is based upon review of the lessee’s adherence to the lease terms and the above criteria. The Board of Directors makes a final decision on the selection of lessees AND the renewal of leases. Leases can be broken, with a 60 day notice, by either party.

Each studio has one lessee who is responsible for paying the rent ON TIME. That lessee will sign the lease and pay security deposit of one month’s rent. Lessee may share the studio with another Palette & Chisel member. If a lessee is interested in sharing studio space, priority consideration will be given to artist members already on the waiting list. The sharer will pay rent to the lessee – who is ultimately responsible for the studio. Lessee shall inform the Palette & Chisel office and the Board of their intent to share studio space and “sharer” must be approved by the Board of Directors.

Private studios may not be used to conduct organized, formal classes.
Private studios may not be used to generate personal revenue by any means other than the sale of artwork produced by the lessee or sharer of said studio.
In order to be placed on the waiting list, the interested party should contact the Palette& Chisel office.

As studios are leased, the lessee’s name is taken off the waiting list.
If a lessee wishes a different studio, the lessee must be placed on the bottom of the waiting list as of the date of the new request.

An applicant may choose to remain at the top of the list, refusing a studio when offered, until “the right one comes along.” In that case, the studio will be offered to the next in line, until someone accepts the offer.

Placement on the waiting list is determined by date of application.

S.O.P. #13

Studio Monitor Responsibilities

1. Hire and pay models
2. Set pose/lighting, etc.
3. Regulate members’, models’, and visitors’ conduct when necessary, in accordance with workshop rules. (See S.O.P. regarding open studio rules)
4. Answer doorbell if the office is unavailable.
5. Answer 3rd Floor Studio phone.
6. Closes workshops:
a. Clean up.
b. Put away equipment.
c. Unplug extension cords and appliances, shut off lights throughout the building.
d. Ensure all visitors have exited.
e. Lock gate in PM.
7. Arrive approximately 15 minutes early to let in the model and visitors and set up for the workshop.
8. Collect visitor fees and workshop tickets.
9. Fill out model voucher envelopes to be deposited in monitor’s locker. Monitor must fill out the attendance on the voucher envelope for each session they supervise.
10. Act as a host to new guests. Promote the P&C and membership.

S.O.P. #14

Executive Director Review

A performance appraisal of the Executive Director and issues regarding his/her salary and benefits will be addressed by the Board of Directors at least once a year. If the subject has not been dealt with by the Board during the previous calendar year in question, a special Board meeting will be convened for the purpose during the next month (January). The Executive Director will have an opportunity to present an “Annual Report” to the Board.

S.O.P. #15

Open Studio Rules

1. The monitor is totally in charge of the session. This includes but is not restricted to:
a. Setting the pose… the monitor has total say in the pose including stand placement, backdrops, lighting (or not), etc.
b. Calling breaks
c. Selecting music
d. Misc.

3. The monitor is in charge of setting up the room (easels, benches, etc.) and controlling spacing.
a. Should a monitor request that a participant move an easel or take up less room for the benefit of the group, he/she must do so.
b. Should a monitor wish a sitting painter to take up less room, move their bench or give up an extra bench for the betterment of the group, he/she must do so.
4. The monitor is in charge of maintaining discipline during the session. This includes restricting excessive talking and maintaining overall decorum.
5. Participants are encouraged to refrain from engaging the model in excessive banter. Figure modeling is a vulnerable profession… an innocent comment or compliment can be misconstrued.
6. Personal fraternization with models on P&C grounds is prohibited.
7. Photography of the model is prohibited unless the monitor interacts with the model to obtain permission. (The model may charge a fee). Participants’ direct requests to a model for photos are prohibited. Nude photos of models are prohibited.
8. Continued open studio poses may be set up over several sessions. Participants may mark their spot for a pose to be continued (tape indicating easel placement with painters name and dates of session noted). For multiple sessions, participants should be in place 30 minutes PRIOR to the session. Otherwise, their spot is no longer saved. Saving spots for a fellow participant is not allowed. The monitor, however, under certain circumstances may save a spot for a late arrival or guest.
9. Early setups. While the P&C has always operated under a “first come” basis for setting up prior to a session, some reason must be used. The monitor can ask a participant to move (#2 & #3 above)
10. Cell phone calls are not permitted.
11. Anyone is responsible for bringing food and drink into a session is responsible for cleaning it up afterwards.
12. The monitor is empowered to remove a participant from a session if the participant blatantly ignores the monitor’s enforcement of the above rules.
13. Unresolved conflicts between a monitor and participant should be taken to the Executive Director and ultimately to the Board if still unresolved.

Memorial Day Drawing Marathon

2011-06-02T07:05:00.006-05:00

I've been neglecting to
shoot pictures of the drawing marathons lately.

So thank goodness
Don Colley
has stepped into the breach.

He even provides some critical commentary
as well as a portrait of the
"keeper of the feral mane"

He would have to be recognized
as one of the Palette and Chisel's
most serious, committed, and able artists,
but as of this date,
he still is not a member.

(though the recent inflation
of workshop ticket prices
may soon convince him to join)

If anyone else has posted pictures
of their work at the drawing marathons
I'd love to link to them.

*********************
additions as follows:
*********************

George C. Clark

Walter Parke

2011-05-27T09:46:00.013-05:00

Walter Parke, "Janice on Brownie"

Sheila Wolfson studied with Walter Parke
at the Palette and Chisel
back in the 1970's,
and she has just sent us
some photos from that class
as well as from her collection
of Parke's prints and paintings.

(she also notes that when she visited his home
it was packed with stacks of paintings
and she wonders where they all went.
Anyone with more images to share
would be much appreciated!)

Born in Little Rock, Arkansas in 1909, Walter Parke studied at the Art Institute of Chicago and with Wellington J. Reynolds (1869-1949).

He began teaching at the Palette and Chisel in 1966, and was a member of the Brown County Art Guild, Municipal Art League, and the Oak Park Art League.

According to Sheila:

There is a Parke at the Union League Club, but I’ve never been able to find it. And the actor Vincent Price had collected many of his paintings. I don’t know if they were for his personal collection or for the Sears thing he was involved in.

Many years ago I went to the Cuneo Museum and Gardens in Vernon Hills, and was thrilled to see 3 or 4 huge portraits on the walls by Walter Parke. (His portraits were extraordinary!!!) The next time I saw him I mentioned them, and he told me that in his youth he had lived in a groundskeeper/custodian shack on the grounds of the mansion for three years, while he painted numerous portraits of Cuneo family members. After he died I happened to back there again, and there was only one portrait hanging, of Mrs. Cuneo’s sister, who had lived at the mansion with them for many years. The curator at the time didn’t know what happened to the others.

"This is a mural he painted somewhere in a capitol building, I believe. He only had a small snapshot of it, and I took it and had some enlargements made for him, and kept one for myself, but I see the color has faded badly."

Student in Saturday class: “Walter! Don’t work on my drawing…I want to be able to say I did it.”

Walter Parke: “Well, be sure to tell them you did it wrong.”

These are some other images
I found on the internet

And here's some pulp fiction
he illustrated in 1946

The above was sent to us
by a print collector
who specializes in the Alamo

Exhibit: Ruth Van Sickle Ford

2011-05-23T07:43:00.012-05:00

Two blocks south of Seidel's sculpture
on the New York Street Bridge,
is the Aurora Public Art Commission gallery
which features another Palette and Chisel member,
Ruth Van Sickle Ford (1897-1989)
through Aug. 12

(Here's the review I wrote for Newcity )

This exhibit commemorates
the publication of the above biography
"Warm Light, Cool Shadows"
by Nancy Smith Hopp.

In addition to about 30 paintings,
this exhibit also has a display
of memorabilia,
including the above photo
of Ruth teaching.

and a view inside her famous "Round House"
designed by Bruce Goff

Here's an aerial view
lifted from Google Maps.

This painting is called "The Mask",
and I think it's a self portrait.
(but that's only my guess)

Memorial Bridge - Aurora

2011-05-21T11:38:00.016-05:00

I finally made it to Aurora, Illinois
to see the statuary
that Emory Seidel
made for the New York Street Memorial Bridge.

(above is a contemporary adaptation
by Marisa Karolek
as a bottle label for a local winery )

It's a bit sad looking,
as would be appropriate
in a memorial to soldiers
who died in the First World War.

And the elements are not kind to cast concrete.

But the funereal mood
has been completely blown away
by the casino that's been built
on the upstream side of the bridge.

That's another one of Seidel's statues,
"Victory"
that's been framed by the facade.

I suppose this figure
was originally intended
to be laying a wreath
in honor of the fallen.

But now she represents
Lady Luck.

Here's a smaller version that was accepted into the Chicago and Vicinity Show at the Art Institute in 1922.

I like these eagles
which can symbolize valor
as well as cash.

But I'm puzzled by this relief.

Why the mother and child?

Why the worker with a hammer?

Perhaps they represent the peaceful life
for which the soldiers gave their lives.

But what have they got to do
with slot machines and poker games?

Exhibit: Sheila Wolfson and Friends

2011-05-17T19:50:00.003-05:00

Sheila Wolfson

*****************

Mary Qian
(portrait of Misha Liangleleben)

Miguel Malagon

Miguel Malagon

Lenin Del Sol

Exhibit: Timothy Rees

2011-05-01T12:40:00.005-05:00

Tim can certainly do an impressive oil sketch,
but I do wish he would do more all-over pieces
like the one shown above.

Portrait of Debra Balchen
(as the "Merry Milkmaid"?)

Self Portrait
(as the "Marlboro Man"?)

Perhaps it's only because I know
both the model and the artist,
but I find Tim's paintings of Diane to be
the most poignant work recently shown at the P&C.

Artropolis 2011

2011-05-01T08:07:00.007-05:00

Carl Hoeckner, 1883-1972
"Homecoming", 1918

Except for the above,
this year's Artropolis is showing
most of the usual suspects
found in previous years:

2010

2008

2007

I first saw "Homecoming" in this show at the Chicago History Museum 3 years ago.

Now it's for sale,
and a mere $220,000 will take it home.

Hoeckner was one of the P&C modernists
who quit club around 1920,
finding the rest of us to be too conservative.

Frederick Mulhaupt (1871-1938)

Catherine Maize

Catherine and Patrick used to live in the basement of the P&C,
and her still-life
now hangs in the library
above Frederick Gray's portrait of Marzolo.
(the man holding a cigar)

Once a year, her San Francisco Gallery, Paul Thiebaud brings her recent paintings to Art Chicago.

Catherine Maize

Catherine Maize

Louis Oscar Griffith (1875 - 1956)

Griffith has been dead now for 55 years,
but every year new landscapes of his,
usually from Brown County,
have been appearing at the Antiques Fair

Griffith

Griffith

Frederick Gladstone Gray

2011-04-30T21:08:00.004-05:00

This painting should be familiar
to anyone who has been a a member of the Palette and Chisel
over the past 80 years.

It was done by Frederick Gladstone Gray (1881 - ?)

You should also recognize this one
even if the reflections off its glass frame
make it difficult to see.

The subject is another member of the club, Leo Marzolo.

The P&C newsletter indicates
that it was exhibited in the
36th Annual Exhibition
(which must date to something like 1931,
and then both paintings
were exhibited in the 1945
50th Anniversary Show
at the Art Institute.

The newsletter also tells us that:

By 1932 Gray's debt to Joe (the cook) was more than $150, and the club was forced to consult with its attorney, Charles Selleck, about the "legal procedure necessary to attach money Mr. Gray would realize from pictures in hands of Chicago Galleries Association for the purpose of satisfying the debt he owes Joe Haynes, the Club caretaker." Gray's paintings didn't sell, and the club booted him out in 1932.

Sources on the internet tell us that:

"Frederick Galdstone Gray (American, 1881-1930) was a California/Missouri artist known for figure, genre and portrait painting. He studied at the St. Louis School of Fine Arts and in Paris at Academie Julian under Jean Paul Laurens. Except for 1909 when he resided in New York City, he was a resident of his native city until about 1917.

But obviously they are mistaken about when he died.

Here are some of his other paintings

"Making Art" by Jack Beckstrom

2011-04-28T07:01:00.029-05:00

Frank Holme

Among the ambitious projects for this site
has been the creation of a membership bibliography

As it turns out, however,
our members have been too prolific
for me to keep up with them.

A few, like Frank Holme (1868 - 1904)
printed their own limited edition books of art.

Several others, like Carl Krafft (1884-1938) made instructional manuals.

(and more recently we have William Schneider,
Richard Schmid , and Ted Smuskiewicz

Most illustrated the books of others,
though a few illustrated their own,
like Cyrus Baldridge's "I was there with the Yanks in France" , and at least one, Oskar Hansen, wrote a a fantasy novel

But perhaps the most unusual publication of all
is the above guide to "Making Art"
recently self-published by the
Academy's current vice-president, Jack Beckstrom.

Issues of composition or “the magic”
(as Richard Schmid puts it)
are dismissed as "artsy nonsense",
and the only technique discussed
is how to digitally photograph
a model upon a rotating platform.

Leaving this to be
more like a book of art theory,
one that addresses the question of:

"How to make art that lasts"
or
"How to facilitate long term notoriety"

based upon the author's
interest in evolutionary biology.

(the text in color are direct quotations)

As such, it is more open to debate
than an instructional book based
upon a respected practitioner's taste and knowledge.

So let the debate begin!

********************

"Behavioral scientists tell us that public opinions concerning ideal human forms are tied to deep seated reproductive and survival considerations."

But how do scientists account for the wide variety of idealizations? over the centuries and around the world?

Venus of Willendorf

The oldest art pieces we know of (around 20,000 years old) show round little female figures, with pendulous mid-sections and breasts; tight, patterned hair or head coverings and no facial details. These features were likely sculpted due to primitive copying skills and the fertility enhancing purposes of the little figures. It is unlikely that people of that time thought such features were the attractive female ideal of their day.

Why so unlikely? (other, of course, than the fact that they may not appeal to you)

Aren't various "enhancing purposes" involved in the creation of almost every everything people make - and why assume that the sculptor of the above piece was trying (and then failing) to copy a model?

In the center of Florence, Italy, there is a statue by Michelangelo of "David" --one of the most admired statues in history. No one can know, of course, the specifics of what the Biblical character David looked like. The anatomy of the statue strikes us as it did viewers in Michelangelo's time as (male) beautiful. This work is no small part of the sculptor's reputation as one of history's greats. In that same Florence square, a stone's throwaway, is a fountain of Neptune, a fictional god of the sea, by Ammanati. Neptune is depicted by a male figure comparable in size to the
David. There has been a lot of negative criticism of the Neptune fountain. You might well agree that it is not very "good." The male figure is rather heavy-muscled and uninspiring. I wouldn't be surprised if it looks very much like the model Ammanati used. Notice that the subject, Neptune, is mythical so the sculptor could have made the statue look like whatever. . . Had he been able to use the same model Michelangelo did it is likely Ammanati would have gotten more credit as a sculptor than he has.

But could the boyish figure of Michelangelo's "David" have expressed the cruel, relentless power of a Neptune?

And if most viewers over the centuries have disliked the Ammananti fountain -- why hasn't it been moved away from the center of Florence in 500 years?

Perhaps because the casual, ignorant opinion of the tourist or man-in-the-street has never been a deciding factor.

This might explain why the central piazzas of historic Italian cities do not resemble an American theme park.

A solid standard of measurement was lost when verisimilitude (does it look like the subject?) was increasingly ignored or discarded. Nothing solid and objective has replaced it. Much of modem art is "decorative." We can all agree on that. But that concept is about as non-objective (in the eye of each beholder) as a term can be.

But when was precisely measured verisimilitude to a model (which is the only kind that can be considered objective) ever used as a standard?

And if “virtually every adult human is an expert on the human anatomy", why are so many adults (including the author) not concerned about the excessive size of "David"'s head and hands?

Is any modem art "fine" in the sense that term was used before the 19th Century? If someone in the art world tells you he has the answer to that question, don't be taken in. No judgmental standard exists here. And, the art professionals do not have some aesthetic judgment gift that you do not. That is the truth. How do I know? How do you prove a negative? How do you prove that something is not there? If it were there, couldn't we assume that really intelligent people with healthy senses would know it?.

I cannot do better here than to refer you to the person with apparently the highest I.Q. in the world, Marilyn vos Savant. She said, in the year 2000, that experts who extol the talent of what she calls impulse artists (her example: Picasso) will one day find themselves in the position of the entire adult community which was deluded into thinking that the emperor was not naked in Hans Christian Anderson's fairy tale, "The Emperor's New Clothes."

What if sensitivity to the quality of art is learned through experience - just as it is to the quality of wine or coffee?

Some very intelligent people are interested in art, others in handicapping horses. and many are just interested in themselves.

So what can we conclude? I suggest that each one of us should have unabashed confidence in our own ability to appreciate art. This is not something learned at universities or from gallery owners or "art expert" writers. If you like what you see, say so

And yet, the author finishes his book by telling us:

If you found the writing easy to read, we can thank my concentration on English literature in college and my stint as an editor of a law journal"

So why is education and experience important in the ability to write, but not to draw, paint, or sculpt?

************

To summarize the rest, the answer to
"how to make art that lasts" is to make it realistic enough to satisfy
"virtually every adult human who is an expert on human anatomy regardless of formal education" , and to use subject matter of
"near universal appeal" that will catch attention, while avoiding
"politics and social controversy"

This man-on-the-street kind of realism,and nonchalance towards subject matter and style, accounts quite well for the author's own work, especially the piece in the Palette and Chisel's own front yard, but it doesn't go very far towards distinguishing the kinds of thing that have been cherished, collected,and protected by people who didn't make it themselves.

(the only work in the Beckstrom art museum was made by Beckstrom himself, while no other museum has yet to collect him)

The author also fails to distinguish the visual difference between a live model and a photograph of one.

Apparently that difference is as unimportant to him as the difference between the "impulse art" of Picasso and everyone else, or the difference between a passport photo
and a portrait by Rembrandt.

Laredo Taft - Charles Mulligan - Albin Polasek

The Palette and Chisel has a long tradition of satirical humor,
and hopefully "Making Art" was written in that spirit.

But otherwise, it is willfully ignorant
of the great tradition our members have studied, taught, and practiced
as exemplified by the three sculptors shown above
who led the sculpture department at the Art Institute
from its beginning until the middle of the 20th Century.

(note: Taft wasn't actually a member of the Palette and Chisel,
but since it began in his studio in 1895,
he deserves some credit for our existence.)

In addition to his many monuments.
Taft also wrote a great deal about
the history and principles of sculpture
(hint: it's not about copying a model)
some of which can read here , here , here, and here .

Exhibit: Kishio Takeda

2011-04-19T20:52:00.006-05:00

Wow.

These flowering trees
are so extravagent,
they seem like some kind of
benign alien life form
that has come to planet earth
to help humanity advance
to a higher level.

According to Wikipedia,
in Japan, cherry blossoms are:

"an enduring metaphor for the ephemeral nature of life, an aspect of Japanese cultural tradition that is often associated with Buddhistic influence, and which is embodied in the concept of mono no aware. The association of the cherry blossom with mono no aware dates back to 18th-century scholar Motoori Norinaga. The transience of the blossoms, the extreme beauty and quick death, has often been associated with mortality"

In his last exhibit
Kishio took us to a variety of
scenic places.

But this time,
the show feels like
a pilgrimage
in honor
of the cherry tree.

East West

2011-04-12T21:36:00.019-05:00

David Leffel, Andy Chan, Zhi Wei Tu

Mary Qian and Bo Zhang
had been bouncing around
the idea of having
an exhibition of local Chinese artists

Miguel Malagon

When Miguel Malagon
suggested the 40,000 square feet
that Murphy-Hill Gallery
has over in the
former Sears-Roebuck corporate headquarters
near Homan and Roosevelt

Mary Qian

Bo knew a group of artists who,
like him,
had studied and taught in China,
and ended up the Mid-west.

Calling themselves
the Oil Painting Society of Chinese American,
they have 15 members
most of whom teach art
in universities and community colleges
in Ohio, Missouri, Wisconsin etc.

Mary Qian

While Andy Chan is at the center
of a group of traditional Chinese artists
called
the Chinese Artists’ Association of North America.

Bo Zhang

So the idea was
to combine those two groups,
plus some of the non-Chinese artists
whom Mary had gotten to know
in Chicage, especially from the Palette and Chisel

Bo Zhang

And finally this huge show,
came together
as the last art show
Murphy Hill Gallery
will have before their space
is taken for commercial development.

Andy Chan

Andy Chan

Andy Conklin

Helen Oh

Zhi Wei Tu

Zhi Wei Tu

Zhi Wei Tu

Clayton Beck III

Above are the members
of the Peoples Republic
of Dearborn Avenue
who participated.

Some other participants
are shown as follows:

Sherrie McGraw

Here are the non-Chinese
artists whom Mary picked
to represent
both Impressionist
and Academic styles

Sherrie McGraw

Matthew Almy
(of the Ravenswood Academy,
where many of our models also work)

Magdalena Almy

Magdalena Almy

David Leffel
(who comes to the P&C
from New York
one week a year
to teach a workshop)

David Leffel

************

Konstantin Maksimov (1913-1993)

One of the highlites
of the opening
was the arrival
of Moissei Liangleleben.

Konstantin Maksimov

Incredibly enough,
Moissei had once studied
with Konstantin Maksimov
who is to Impressionism in China
what St. Patrick is to Christianity in Ireland.

Konstantin Maksimov

Back in the 1950's,
the Soviet Union sent
Maksimov to teach a social-realist style
to an elite group of students in Beijing,
and many of the artists in this exhibit
were students of those students.

Konstantin Maksimov

Like all Soviet painters,
Maksimov's work is completely unknown
in this country.
(and unfortunately none of the above pieces
were included in this show!)

Li Hu

Li Hu
is a Professor of Art
in Oshkosh, Wisconsin,
and is President
of a group of oil painters
who were trained in that tradition.

Above is the kind of painting
that defines social realism

Li Hu

While here's one
that seems to define
contemporary art.
(i.e. -- I have no idea what's happening,
but it seems to be bad)

Li Hu

His quick studies are my favorite

Li Hu

Li Hu

Li Hu

Yan Shi Zhong

Here's another one of my favorites

detail

Yan Shi Zhong

Victor Wang

Victor Wang seems to have adapted
to the contemporary artworld
better than many of the others.

Here's his website.

Victor Wang

Yingxue Zuo

Here's another one of my favorites.

Yingxue Zuo

Mary says that he's into German Expressionism.

detail

Richard Lee

I wish he was showing more drawings like this one.

Dajiang Hu

I don't know where
this was painted,
but it feels like Wisconsin

Feng Xie

Feels a bit like Rembrandt,
but then
Rembrant's landscape drawings
feel a bit Chinese.

Li Lin Lee

I'm not sure
how this artist got included,
since he's not a member
of any of the three groups involved
and Mary's emphasis
was on realism in this exhibit.

But I'm glad he was
(and he does show his work
in a local gallery (Walsh )
that specializes in contemporary Asian)

Ruby Wang

There weren't very many
traditional ink or watercolor paintings
in this show.

This was one of my favorites.

Here's her web site.

Jialing Li

Chur Jialing Liu

Felicia King

Annie Liu

Left to right:

Yingxue Zuo, Zhiwei Tu, Mary Qian, Yan Shi Zhong, Annie Liu

*************

This is the kind of show
that I wish
the Palette and Chisel
would begin to sponsor.

I.e. -- based on somebody's idea
of what ought to be seen,
rather than on whoever is a member.

(Especially since recently,
membership has been open
to everyone regardless of ability
to do anything other than pay the dues)

Paul Albert Plaschke

2011-03-30T10:45:00.006-05:00

Paul Plaschke (1880-1954)
was the cartoonist
who did those pages of
charactures of Chicago artists from the 1940's
shown in the last post

Sleepy Sid

And he was listed as an artist member
of the Palette and Chisel
for its 1916 exhibit at the Art Institute.

Suffragette, 1913

But so far as I can tell,
he never lived in Chicago.

Born in Berlin, Germany,
his family moved to Hoboken, New Jersey in 1884.
He studied engineering at the Stevens Institute,
then drawing at the Cooper Union Art School.

At the Art Students League,
he studied with the painter and cartoonist, George B. Luks,
who drew the pioneer comic strip, “The Yellow Kid.”

In 1898 he moved to Louisville,
married a local girl,
set up house in New Albany, Indiana
(across the river from Louisville)
and worked as a cartoonist for the
Louisville Commercial and the Evening Post.

He began painting landscapes in 1905,
and hung out with the Brown County painters,
many of whom were members of
the Palette and Chisel Club

detail

He won awards at
the Richmond, Indiana, Art Association show of 1917;
the Nashville. Tennessee. Art Association show of 1925;
the Hoosier Salon of 1929 and 1934;
the Louisville Art Association of 1932;
and the Southern States Art League in 1936.

detail

He was cartoonist for Louisville’s Evening Post,
Louisville Times,
Chicago Herald Examiner,
and the Sunday Courier Journal
from 1913 to 1949,
working as well for the Herald Examiner
and other Hearst newspapers

He illustrated books, including
"Kentuckians as we see them" (1905)
and "Club men of Louisville in caricature and verse" (1912)

One of his pieces was collected by
the Vanderpoel Art Association.

He was a member of the Association of Chicago Painters and Sculptors,
the Society of Arts and Sciences in New York,
the Hoosier Salon Society,
and the Southern States Art League.

He also served on the Board of Governors
for the J.B. Speed Art Museum
and as a director of the Louisville Art Academy.

(this was back in the day
when artists, not just rich people
served on the boards of art museums)

Above is the cover of a catalog
that accompanied a 2008
exhibit of his works
at the Howard Steamboat museum

Chicago Artists from the Forties

2011-03-29T20:00:00.009-05:00

Alice Seabourne (the daughter of former P&C president Harry Leon Engle) has sent me the above page of charactures of Chicago artists.

No date was attached, but judging from their ages, it would seem to have come from the early 1940's. (Claude Buck had moved to California by 1945)

The cartoonist was P&C member, Paul Plaschke.

Ethel Crouch Brown
Macena Barton
Anna Lynch
Karl C. Brandner*
Oscard D. Soellner*
Gianni Cilfone*
F.R. Harper
Albin Polasek*
Oskar Gross*
Jerome J. Klapka
Antonin Sterba*
Fred Torrey
Jacob Richard
Wilbur G. Adam
Emory Seidel*
Julius Moessel
Rudolph Ingerle*
Roy Ketchum
Karl Plath*
Walter Krawiec

*member of Palette and Chisel

Frederic Tellander
Marie Blanke
Paul Plaschke
Yvonne L. D. Pryor
Harriet Krawiec
Averil Conwell
Leslie Buck
Farrand Dodge
Paul Lehman
Claude Buck
Gasper J Ruffolo
Ruth Sherwood
Frank Dudley*
Leo Marzolo*
Ruth Van Sickle Ford*
Benjamin S. Kanne
Harry Engle*
Elmer A. Forsberg
Edithe Jane Cassady
William H. Mosby
John Wittrup
Tunis Ponsen

George Draws

2011-02-26T22:03:00.005-06:00

George is something
of a mysterious person

I still don't know
his last name
(and he won't tell me)

But he's been drawing here
at least as long as I have

and I've always liked his drawings.

He's not just drawing bodies,
he's also slicing up space.

the fellow
at the right
is Brian Kotwica

His day job
is driving
an ambulance.

Faculty Show - 2011

2011-02-15T22:21:00.015-06:00

Update: the P&C faculty show has been moved to the
Sage Center for the Arts
in
Hillsdale College
thanks to Sam Knecht
who leads its art department.

More details are found here

(this is the first time,
that I know of,
that a P&C exhibition
has gone on the road.)

Don Yang

Ed Wentz

Michael Van Zeyl

Willilam Schneider

Romel De La Torre

Diane Rath

Dale Popovich

Helen Oh

Marci Oleszkiewicz

David Lefel

Bob Krajecki

Phil Kantz

Jim Krajecki

Tom Francesconi

Bo Zhang

David Becker

Clayton Beck III

Audrey Cramblitt

*********

By way of comparison,
here's
the faculty show of 2007