Posts Tagged ‘Wearable Art’
Saturday, June 18, 2011, the doors at Factory Studios open at 6:30 p.m. sharp. Doors will close at 7:30 p.m. and Art+Cloth+Street kicks off. If you show after 7:30, you don’t get in. The show is a fundraiser for the Factory Studios and tickets are $75 for front row seats and a limited edition Teton Art Lab print & four drink/raffle tokens; $20 for standing room and one token. Tickets are on sale at Valley Bookstore, Shades Café and via Factory Studios.
An “evening of art and fashion,” the show features exciting new work from three of Jackson’s most creative emerging clothing designers, Abbie Miller, Calla Grimes, and Owen Ashley.” Local arts specialists Lyndsay McCandless and Suzanne Morlock will discuss–perhaps debate–the intersection of clothing, art, and fashion. A runway show follows.
Abbie Miller/A.M. Renegade : “I’m working with the idea of geometry instead of drape,” she said. “I always like to see how far I can tip everything to the stage of bad proportion or ugliness, and then pull it back to a point where its flattering on the body. I like a play between natural and urban, earth tones and synthetic colors. It has to do with my fascination with cities and my weird romance with construction sites mixed with the experience of living here…” www.abbiesumiller.com
Calla Grimes: “My approach to designing clothing starts really with my own desire to wear easy everyday clothing that features the body’s best assets,” Grimes said. “I love to feel that I am in a wonderful piece of clothing that can be worn day into night, with a very strong element of the feminine. I use linen, linen blends, wool jerseys and fine knits, and silks of every kind.” callajacobson@gmail.com
Owen Ashley/Ashelter: Owen Ashley is a Jackson native and a founding designer for Anomoly Farm. His own label, Orson Ashelter, features functional outdoor-inspired fashion. “You can wear all of it outside and it won’t get ruined,” he said. “If it is meant to keep you warm it will; if it is supposed to keep you cool it will.” Ashley is currently working with shotgun-perforated vinyl faux leather, reclaimed from the Jackson Hole Airport. owen@anomalyfarm.com
www.factorystudios.org. Contact: Abbie Miller, abbgrab@gmail.com or 307-760-5035
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“The landscape is the tangible connection between man and God. It is a very humbling task—trying to paint the unseen qualities of a landscape as well as what is seen.” – Glenn Dean
Altamira Fine Art presents Bill Schenck, Glenn Dean and Logan Hagege in a new show, Earth & Sky, opening Thursday, June 16, with an artists’ reception from 5-8pm. Works remain on exhibit through June 26.
Schenck is the West’s Roy Lichtenstein. A bold, flattened pop-art style is Schenck’s hallmark. A former Jackson Hole resident, the artist now
lives in Santa Fe, New Mexico. His work reflects his environs and their people. In his early paintings, a sense of ‘makin’ a bit of fun’ of Western cowboys and cowgirls was common. Though Schenck continues to paint in a bright comic book style, a new reverence for indigenous peoples is evident. Native Americans are depicted in softer romantic hues, horses are purple spirits set against vast Southwestern deserts. “His work is characterized by hot colors, surreal juxtapositions and patterning which explore clashes between wilderness and civilization, the individual and community, nature and culture, freedom and restriction,” notes the gallery.
Hagege was born in 1980; he’s a mere 31 years old. A biographical profile describes Logan as being influenced by diverse past masters: Gustav Klimpt, N.C. Wyeth, T.W. Dewing and
Maynard Dixon. In Hagege’s works I see Klimpt’s sensuality of line; N.C. Wyeth’s dramatic, historic compositions; Dewing’s proud, emblematic portraits; and Dixon’s electrifying Southwestern vistas. I can’t help thinking that German painter Hans Holbein (1497-1543), the greatest portraitist of his day, has cast his spirit into Hagege’s paintings.
Dean is a landscapist. Maynard Dixon’s powerful influence reappears in Dean’s glowing Southwest mesas and endless skies. Clouds billow & morph, pulling us toward Heaven. Ranch hands and cowboys are tiny figures passing through great canyons and deserts. Nature is dominant. Western landscape painters of the early 1900′s “…emphasized the importance of seeing the color of light combined with interesting compositions and seemingly effortless designs, while carefully observing the simple and basic characteristics of a specific location,” says the artist. “It still feels like I’m at a magic show when I see work by those artists.”
Magic runs through it; and by “it,” I mean this show. www.altamiraart.com
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Saturday, June 18, is “Saturday U” day at the National Museum of Wildlife Art. Two presentations to note:
9-10 a.m. — “The Oglala Lakota (Sioux) and the Modernization of American Culture, 1848-1890,” presented by Jeff Means, history assistant professor.
10:15-11:15 a.m. — “Public Art and Community: Building Partnerships through Art,” presented by Susan Moldenhauer, UW Art Museum director and chief curator. Why is public art important, and what can it do for a community? Moldenhauer discusses how the program “Sculpture, A Wyoming Invitational” was created and implemented.
For more details, or to register for college credit or Professional Teaching Standards Board (PTSB) credit, call Susan Thulin, CWC outreach coordinator, (307) 733-7425.
A huge benefit of Facebook is reconnecting with friends you thought you’d never see or hear from again.
I want to tell you about Elizabeth Galindo and her sister Pam. Elizabeth was my earliest, best childhood friend. I knew her as Beth Wright; she now 
goes by Elizabeth, or Liz. We became friends in the ’60′s. We went to elementary school together, up in the hills of Santa Monica, California. She had long, dark, tendrils and olive skin; I was a squinty blond with blotchy pale skin and a bowl cut. We both loved Barbie. We loved the Mamas and the Papas, the Beatles, Nancy Sinatra, the Beach Boys, boys, swimming in the pool, riding, her mom’s hot dogs, granny gowns, 45′s, cool cars, lying on the beach, gym class, sleep overs, summer camp, Yardley lipsticks, Marco Polo. We were inseparable.
That’s me on the far right, Beth next to me. I and my brothers are hangin’ at the Wright’s pool.
I had two baby sisters, Sarah and Annie. Beth had an older sister, Pam. We idolized her, of course. We never thought we’d grow up, but if we did it would be very hip to look and act like Pam. She was a loving big sister. She watched over us when she was asked to, she chuckled at our little girls games, she was very protective of Beth. And, as you can see from the photo top left, she was gorgeous.
About a year ago, out of the blue and after decades of not having a clue what had become of my childhood friend, Liz found me through Facebook. A miracle! Liz–I will refer to her as Liz from here on–had very recently lost Pam to lung cancer. If ever a broken heart jumped through a website it was Liz’s as she spoke of her loss and emotions. 
Pam would have been just 61 a few weeks ago. These sisters had a powerful connection; they were best friends, continuously supporting one another.
People come together for a reason. We are sent to one another to learn and exchange energies and passion and lessons. And hopefully love. When Liz contacted me, she had no idea that I too had lost a sister to cancer. Annie, the baby in our family, had died five years earlier, a victim of metastatic colon cancer. She was 35.
Pam’s birthday is February 15. Annie’s is February 18.
Liz is a couture designer and researcher. She designs remarkable period costumes and gowns for the film industry. She has two sons she loves with fervor. And Liz has created a remarkable way to commemorate Pam and to raise funds for cancer research. Here is her story, a story that began in the Fall of 2008:
“While taking care of my best friend and sister Pamela during her battle with lung cancer, I began doodling on my clothing. I doodled on jeans, skirts and blouses—whatever I had on, as I waited outside Pam’s treatment rooms. I doodled as I watched her sleep. Writing in a journal was not personal enough at that time; I wanted to create something I could physically feel as well as write down my thoughts and prayers. Drawing was my way of keeping in touch with my passion for art, fabrics and my “couture sister.”
After more than a year of mourning I finally approached my dear friend, pattern-maker Colleen. She helped me create garments I call Journal Skirts. I wore them to various functions 
and my classes (Liz is pursuing a PhD). I used the journals for taking class notes, doodling, autographs, recording memories…. all sorts of record-keeping! After a while, people began asking me where they could purchase a skirt or journal; and that is when I knew Pamela was guiding me towards an idea that would help raise funds for cancer research.
20% of every journal skirt purchase price will be donated to the American Cancer Society. This link will bring you to my Journal Skirt Website: http://web.me.com/journalskirt/Journal_Skirts/Welcome.html . These skirts are wearable art, they’re performance art, and they are art from my heart to yours. Go forth and create. And thank you.”
Sincerely, Elizabeth P. Galindo
