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Street art by Rone

Rone’s work swiftly become an unmistakable part of the Melburnian cityscape, his images suffusing the landscape at an almost unimaginable rate. Using their “calming beauty”, their innate contrast to the walls that they grace, they thus fuse its dirt with decorativeness to form an ephemeral elegance, a transient beauty amidst the chaos of the street.

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Sally Storch

Sally Storch comes from an artistic family with roots in the Paris school of the early Twentieth Century. Her great aunt Bertha Rihani lived and painted in Paris during the 1920’s and kept the company of Henri Matisse and in particular Kees Van Dongen. Another aunt, painter Stephanie Stockton, attended The Art Students League in New York and apprenticed with John Steuart Curry in the 1930’s. Storch spent a great deal of time with both aunts, and both of these women painters were particularly influential to her as a young girl.

American Art in the early twentieth century was, to a great extent, about Regionalism and naturalistic presentation of American life with artists like Edward Hopper and Thomas Hart Benton. Storch cites these artists as great inspirations. She combines this style with that of the early Ash Can and Regionalist schools of New York to create passionate contemporary paintings that incite feelings of timelessness and romance.

The driving force in Sally Storch’s paintings is her ability as a storyteller. Her work offers a pure vision of ordinary people unsentimentally portrayed. Her paintings are made up of intricate scenarios, each person living their own tale. She allows them to go about their private lives, while we as viewers, unravel the narrative.

Sally Storch received her Bachelor of Arts degree at the University of Southern California. She currently lives and works in Pasadena.

Stephanie Retsek
Art Historian

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The upbeat art reaching a global audience
The art world is known for trying to find meaning in everything. There is one class, however, that operates in stark contrast to this thinking  in that it interprets very little. Its only pursuit is a vivid aesthetic and a bright, lush color palette. While the art establishment gives stylistic points for such moods as despair, depression and anguish, it is this so-called “naïve art” that seeks to celebrate the human narrative and is, by and large, optimistic. 

Dear Taylor,

My friend Jocelyn was watching Breakfast at Tiffany’s and she said Holly Golightly reminded her of you, her favorite artist of all time. She’s a bit of an artist herself so she made you a “Breakfast at Taylor’s” poster! 

Here’s the original from 1961. 

We love you, Taylor!

She’s seeing you in concert in St. Paul on Sunday, September 13th, and she disguised her seat number in the painting so you’d know she will be cheering you on!! <3

taylorswift
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Damien Meade ~ “Sculpting with Paint

Damien Meade makes paintings of hand-rendered busts, heads and limbs modeled in clay, tape and wire. The fabrication of these sculpted subjects is at times cursory and improvised, but this crudeness of form is dignified by the trompe l’oeil of their painterly representation. As paintings of sculptures, they are artifice within artifice, but their phenomenology can move beyond this, to where the inanimate might appear reanimated, something uncanny. The actual real collapses into an illusion of the Real, the other. It is the idea of an object as a place where paradox might fester: paintings that are surface yet illusion, forms that appear dead yet alive. As genre, they hover between still life and portraiture; as subjects, between inert matter and sentient beings. <source>