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by Melanie Campbell-Carter, posted by Deb Shaw

Aloe broomii hybrid, Melanie Campbell-Carter, © 2018. Image protected by Digimarc.

Aloe broomii hybrid, Melanie Campbell-Carter, watercolor on paper, © 2018. Image protected by Digimarc.

BAGSC member Melanie Campbell-Carter is returning to Texas wearing her Botanical Artist hat! As fellow members know, in 2014 Melanie relocated to Southern California from Texas to study botanical art.

Melanie was thrilled to see an article in the March 2018 issue of The Botanical Artist about a new ASBA Circle in north Texas. The Circle’s first juried exhibition, Botanical Art: Flowers, Fruit and Fungi, will take place June 14 – August 9, 2018, at the Botanical Research Institute of Texas (BRIT) in Fort Worth.

Now living and painting full-time in Tucson, Melanie will be exhibiting two new paintings in Fort Worth, Aloe broomii hybrid and Caesalpinia pulcherrima.

Contact Denis Benjamin for more information about the Botanical Art Collective (BAC) in Texas, or if you would like to join. BAC also has a public Facebook page: https://www.facebook.com/groups/1502598476445397/.

Caesalpinia pulcherrima, Melanie Campbell-Carter, © 2018. Image protected by Digimarc.

Caesalpinia pulcherrima, Melanie Campbell-Carter, watercolor on paper, © 2018. Image protected by Digimarc.

by Janice Sharp, posted by Deb Shaw

Please be aware that when you deliver artwork to a local BAGSC exhibition, the BAGSC members who are hanging the exhibition will be collecting everything together and transporting artwork to the exhibition location. This is usually done by one or two people who will be carrying the art into the location.

Mitsuko Schultz's packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing box showing the interior box and artwork. Photo by Janice Sharp, © 2018.

To do this efficiently—and safely for the artwork—it is best to have all the art in portfolios with good carrying handles, clearly labeled with the artist’s name and contact information.

Facilities where we hang art often do not have convenient places to pack and unpack art. Therefore, delivery in a portfolio allows the art to be simply slipped out of the portfolio or slipped back in.

Art in the portfolio can be protected with Foam-Core or cardboard. Plexiglass is notorious for scratching easily. Foam-Core or cardboard across the front that does not touch the surface of the plexi will help protect it. Please see the sample photos of Mitsuko Schultz‘s portfolio to the left which contains an interior box made of cardboard to support and protect the framed artwork.

The box is sufficiently wide to accept at least two pieces of art. An additional sheet of cardboard could be used between the frames if two were inserted into the box. This kind of a system makes it extremely easy (and safe) to unpack and repack art.

Mitsuko Schultz's packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

Mitsuko Schultz’s packing portfolio showing the interior box and artwork. Photo by Janice Sharp, © 2018.

We ask that all BAGSC members exhibiting use a similar system to make it easy for those who are hanging and taking down exhibitions.

Of course it is expected that people mailing art will do so in a suitable mailing container instead of a portfolio!

 

We thank everyone for their attention to these important details.

by Deb Shaw

Deborah Shaw will be having a one-person exhibition at Chez Shaw Gallery—no relation 🙂

Entitled “Botanical Portraits,” the exhibition will run from  May 12 – July 31, 2018. Deborah’s watercolors and graphite drawings feature California native plants as well as other fascinating specimens of the plant kingdom.

The opening is May 12, 2018 from 6 – 9 pm, and is open to the public. Visiting the Gallery on other days is by appointment only, 562-708-3803. Chez Shaw Gallery is located at 1836 Nipomo Avenue, Long Beach, California 90815.

Opuntia spp., Fruit, Prickly Pear “Tunas,” Watercolor on calfskin vellum, © 2016, Deborah Shaw, dbshawstudios.com Digital image protected by Digimarc.

Opuntia spp., Fruit, Prickly Pear “Tunas,” Watercolor on calfskin vellum, © 2016, Deborah Shaw. Digital image protected by Digimarc.

 

 

by Kat Powell, posted by Deb Shaw

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. Photo by Teri Kuwahara, © 2018.

Some of the workshop participants getting ready for a final critique with Carrie Di Constanzo. L to R: Mary Jo Newman, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Melanie Campbell-Carter, Kathlyn Powell. Missing from photo: Patricia Mark, Alyse Ochniak.  Photo by Teri Kuwahara, © 2018.

What a fabulous experience! We were honored to have the awe-inspiring Carrie Di Costanzo for a workshop on the use of gouache in botanical art. First of all, Carrie’s work is beyond exquisite — I suspect I was not alone in getting goosebumps while gazing at her originals. They are miraculous in their refinement and perfection. Although Carrie works her magic in other media such as egg tempera and watercolor as well, it is her masterful handling of gouache that we focused on for those wonderful three days.

We all had a choice of working on a large deodar cedar cone, kumquats on a branch, loquats on a branch, or tulips. One participant requested a cactus as a subject, and The Huntington very kindly supplied that subject as well.

Reviewing artwork with Carrie Di Constanzo. Photo by Kathlyn Powell, © 2018.

Reviewing artwork with Carrie Di Constanzo. L to R: Teri Kuwahara, Carrie Di Costanzo, Suzanne Bassani, Janice Sharp, Carol Readhead, Mary Jo Newman, Melanie Carter-Campbell. Missing from photo: Patricia Mark, Alyse Ochniak. Photo by Kathlyn Powell, © 2018.

Carrie demonstrated several ways of using gouache, as the medium is quite versatile. She showed her favored method of laying down a pale “wash” of her mixed paint that consisted of a highly controlled stippling using her amazingly fast feathery stroke of dilute gouache on a dry brush. Texture was instantiated from the start and retained throughout with this technique. Subsequent layers were laid down with generally successively more concentrated pigments with the occasional unifying dry brush wash over. She worked from light to dark in this method, somewhat reminiscent of watercolor.

She also demonstrated an approach using titanium white mixed to varying degrees into her colors to opacify and smooth the deposition of color and it had a depth and richness rivaling oils while retaining the luscious velvety matte surface of gouache. Indeed, in this approach, the handling is more like that of oils or acrylics and many renowned artists such as James Gurney use this method. [See some of James Gurney’s favorite gouache artists here.] Lights do not necessarily need to be retained and working dark to light is possible. Highlights and light structures such as Melanie’s cactus spines can be directly added on top.

Carrie showed us that gouache is like watercolor in re-solubility but has a higher pigment load, yielding greater opacity. It can be used in a watercolor way with wet, dilute translucent washes retaining the light of the paper, building up to a gorgeous matte depth of color. It can also, again, be used somewhat like oils or acrylics, with light pigments over dark. This allows for going over sections with many layers until one is satisfied, without harming the surface or looking overworked. Thus, you can push a painting further. One can also use gouache to exquisite effect on toned papers, like botanical artist Albert R. Valentien did. Carrie showed us how she creates a toned sheet for such an approach.

Carrie encouraged us to use the method that we felt most comfortable with and everyone had their own unique look to their paintings, and all were lovely. The medium was adaptable to each person’s individual style of painting.

A Little About Gouache:
Gouache has a history that goes back to the 9th Century. Illuminated manuscripts and Persian and Mughal miniatures were painted using opaque watercolors mixed with white or on white priming. Chinese white was also freely used in Western watercolors in the nineteenth century as “body colors”, distinguished by their beautiful precision (see, for example, the watercolor and body color work of William Trost Richards). For many subjects, such as landscapes, body color made it possible.

Zinc white (Chinese white) as a pigment had become available in Europe in the mid-19th century (although in use in Persia, India and China since at least the 12th century) and thus at least partially displaced the more opaque but very toxic lead white. It is no wonder that artists happily explored the possibilities of this new pigment! (Especially en plein air, once pigments were packed into tubes.) We are lucky to have access to nontoxic, very opaque titanium white (introduced 1921) as well as zinc white.

Gouache was favored by commercial artists during the twentieth century for its beauty, speed of drying, and matte surface which the camera loves — it is renowned for reproducing extremely well. It got a bit of a bad rap because of the fugitive quality of many of the paints then in use — pieces were made for the camera rather than the frame, so archival lightfast pigments were not always employed. Now, however, we have beautiful, fully lightfast gouache pigments available to us from numerous pigmenters. Also, the medium suffered some stigma in the pretentious “Fine Art” vs “illustration” controversy.

Technical instruction in gouache has become very difficult to come by over the last few decades, so I cherish the training we were so fortunate to obtain with a Master Artist like Carrie. I personally have longed for this type and quality of didactics for nearly half a century. Opacity is another dimension of control which enhances the ability to work the magic of mimesis.

Profound thanks to Carrie Di Costanzo, a real treasure both artistically and as a person, to the Education Committee for bringing her, to The Huntington for hosting us, to Patricia Mark for supplying subjects and to BAGSC for everything!

posted by Deb Shaw

Sally Jacobs' "Buddha's Hand (Lemon Fingers) Watercolor," 19x16. Part of Sally Jacobs' "Sundays at the Farmers Market" exhibition at the TAG Gallery in Los Angeles.

Sally Jacobs’ “Buddha’s Hand (Lemon Fingers) Watercolor,” 19×16. Part of Sally Jacobs’ “Sundays at the Farmers Market” exhibition at the TAG Gallery in Los Angeles.

BAGSC Member Sally Jacobs‘ exhibition, “Sundays at the Farmers Market” will be at the tag Gallery in its new location: 5458 Wilshire Blvd., Los Angeles, California 90036: April 17 – May 12, 2018

The Opening Reception is this Saturday, April 21, 5 – 8 pm

Artists’ Talk, Saturday, April 28, 3 – 4 pm
(includes a raffle for a print)

Drawing Class: “How to Draw a Leaf,” Saturday, May 5, 1 – 3:00 pm. Beginners welcome. Class size limited; contact Sally to register.

Jeanette Marantos, LA Times wrote an article about Sally’s exhibition for the Home & Garden section, entitled “This L.A. artist grows luscious fruits and veggies — in watercolor”. Read the article and see a slide show of all Sally’s paintings in the show.

Congrats Sally!

tag Gallery
5458 Wilshire Blvd., Los Angeles, CA 90036
email: gallery@taggallery.net
310.829.9556
Gallery hours: Tuesday – Saturday, 11 am – 5 pm

Sally Jacobs with an armful of inspiration.

Sally Jacobs with an armful of inspiration.

by Teri Kuwahara and Deb Shaw

BAGSC gathered at the Madrona Marsh Nature Preserve in Torrance for the January meeting to feature the ongoing mural project of BAGSC member Estelle DeRidder.

The interior of the meeting room walls in the Madrona Marsh Interpretive Center have been filled with Estelle’s paintings of the plants, animals and insects found in Marsh. She has spent countless hours capturing each plant in its native environment. The meeting was highlighted by featuring Estelle as our guest speaker, adding her wit and wisdom in starting and continuing this ambitious project. In addition to discussing her process and goals, Estelle also spoke about the challenges of creating such a large work, including determining scale, practical techniques, and interesting visitors (of the human, insect and avian varieties).

Estelle was recently honored by the Cultural Arts Commission in Torrance for her work on this mural. [See BAGSC News blog article about the award here.] The Marsh staff and volunteers from the Friends of the Marsh group were also present to support Estelle, a true indication of how much she is respected and admired. A video was made to highlight Estelle’s mural project for the Cultural Arts Awards ceremony and we were fortunate to view it.   It has now been posted on YouTube so members unable to attend the meeting can enjoy it, and can be found here: https://youtu.be/zExN3JWTcMY

Our sincere thanks go out to Estelle for bringing BAGSC to the attention of Madrona Marsh. Estelle’s mural can be viewed in the Interpretive Center, Tuesday through Sunday, 10:00 a.m. to 5:00 p.m. Additional thanks goes to Tracy Drake, Park Services Manager, Community Services Department, City of Torrance; Hilary and Dave Jamieson; and, Lance Hill for his wonderful photographs of the meeting.

The Marsh is located at: 3201 Plaza del Amo, Torrance, CA 90503.

Click on any image below to see larger images in a slide show format with full captions for each photo.

by Lee McCaffree and Deb Shaw

Filoli’s 20th Annual Botanical Art Exhibition is a celebration of spring flowers from their wonderful historic Garden. Artworks in the exhibition are from local and international artists (some of them graduates of Filoli’s Botanical Art Certificate Program) and are depicted in watercolor, colored pencil, pen and ink, oil, and graphite.

Jurors were Peggy Feidler, botanist, and Carol Woodin, botanical artist; curators were Lee McCaffree and Catherine Watters. The exhibition includes 44 pieces by 36 artists, including the curators and juror Carol Woodin, many of them artists who are exhibiting for the first time.

Awards:
Bourn Award for distinction with an emphasis on horticulture: “Sunflower Awakening” by Jeannetta vanRaalte
Roth Award for distinction with an emphasis on traditional botanical art presentation: Paeonia lactiflora, Pink Peony by Miksuko Schultz (and BAGSC member!)
Jurors Award for distinction with an emphasis on botanical art presentation: Papaver somniferum, Poppy by Jean Emmons
Jurors Award Honorable Mention: Tacca chantrieri, Cat’s Whiskers by Stephanie Law

The exhibition runs from February 23 – May 20, 2018.

BAGSC members in the exhibition include: Nina Anzte, Catherine Dellor, Joan Keesey, curator Lee McCaffree, and Mitsuko Schultz.  Carrie Di Constanzo has two pieces in the exhibition: Carrie will be coming to teach a BAGSC workshop in April, 2018, to be held at The Huntington Libraries, Art Collections and Botanical Gardens.

Click on any of the images by BAGSC members below to see a larger image. These paintings, as well as all of the artworks in the exhibition can be seen online at OnlineJuriedShows.com

In addition to “A Palette of Flowers,” the Filoli Florilegium is on display in its entirety throughout the House.

Filoli Historic House & Garden is A Site of the National Trust for Historic Preservation and is located at 86 Cañada Road, Woodside, CA 94062, (650) 364-8300.

Congratulations to the award-winners and all the participants!

by Deb Shaw

Botanical Art Worldwide is listed on the American Express Essentials Culture site as one of 15 Art Exhibitions to see this spring at this link: https://www.amexessentials.com/top-art-exhibitions-events-spring-2018/

Congratulations to Akiko Enokido, her Camellia japonica var. decumbens is included (number 14 of 15 in the slide show). Thank you to the ASBA facebook page for the notification!

BAGSC and ASBA member Akiko Enokido's, Camellia japonica var. decumbens.

BAGSC and ASBA member Akiko Enokido’s, Camellia japonica var. decumbens.

by Deb Shaw

Every three years, the California Native Plant Society (CNPS) Conservation Conference brings together California’s conservation community for scientific sessions and lectures, field trips, workshops, special events and networking. Each conference also has a native plant botanical art and photo contest. This year included a California native plant tattoo contest as well!

BAGSC members Olga Ryabstova and Gilly Shaeffer taught botanical art workshops at the Conference.

Congratulations to the CNPS Botanical Art Contest winners (including BAGSC members):

These images and more from the exhibition can be viewed at: https://www.facebook.com/pg/CaliforniaNativePlantSociety/photos/?tab=album&album_id=1587978757905901 Participating BAGSC members included: Ellie  Yun-Hui Tu, Kim Garrison Means, Nina Antze, Donald  Davidson, Estelle DeRidder, Susan Jackson, Joan Keesey, Lee McCaffree, Olga Ryabtsova, Mitsuko Schultz, Gilly Shaeffer, Janice Sharp, Deborah Shaw, and Jude Wiesenfeld.

Kudos to all who participated, and a special thank you to Elizabeth Kubey, CNPS Conference Assistant and the CNPS art panel: Tina Curiel, Wendell Pascual, Lesley Randall, and Nancy Elizabeth Saltsman.

by Tania Norris, posted by Deb Shaw

BAGSC handouts for "Portraits of Bonsai from The Huntington Collection." Cover image, Ficus retusa, watercolor on paper, © 2018 Anna Suprunenko. Brochure and photo by Olga Ryabtsova, © 2018.

BAGSC handouts for “Portraits of Bonsai from The Huntington Collection.” Cover image, Ficus retusa, watercolor on paper, © 2018 Anna Suprunenko. Brochure and photo by Olga Ryabtsova, © 2018.

The Botanical Center at The Huntington Library, Art Collections and Botanical Gardens, is the location for the BAGSC exhibition ‘“Portraits of Bonsai from The Huntington Collection.” The paintings received many admiring comments from the public and participants at The Huntington’s Bonsai-a-Thon held the weekend of February 24 – 25, 2018.

Demonstrations during the two-day event were given by Olga Ryabtsova, Mitsuko Schultz and Tania Norris. The questions and comments from the viewers were many and varied. They ranged from ‘how do you?’, ‘I could never do that’, ‘are they for sale?’ and ‘where do I find classes?’ etc. People were really interested and appreciative of our participation.

Amazing Bonsais everywhere! Photo by Olga Ryabtsova, © 2018.

Amazing Bonsais everywhere! Photo by Olga Ryabtsova, © 2018.

The wonderful and patient Bonsai master, Ted Matson, gave a long plug for BAGSC before he started the auction of bonsai for the attendees. He mentioned how BAGSC members had come weekly to paint The Huntington Collection. Ted also mentioned the upcoming ASBA “Out of the Woods” art show at the Brody Center (May 18, 2018 to August 27, 2018) and was most complimentary about the BAGSC paintings.

Olga Ryabtsova (L) and Mitsuko Schultz (R) demonstrate in front of the BAGSC wall of Bonsai Portraits. Photo by Jude Wiesenfeld, © 2018.

Olga Ryabtsova (L) and Mitsuko Schultz (R) demonstrate in front of the BAGSC wall of Bonsai Portraits. Photo by Jude Wiesenfeld, © 2018.

It was also wonderful to see many BAGSC members attending the event. A few additional BAGSC demonstrators or BAGSC members who could answer questions would have been appreciated. Don’t be shy — all levels of expertise are appreciated at our outreach events, and seasoned BAGSC participants are always on hand to lend a hand.

Jude Wiesenfeld with her painting Juniperus Californica, © 2018. Photo by Mitsuko Schultz, © 2018.

Jude Wiesenfeld with her painting Juniperus californica, © 2018. Photo by Mitsuko Schultz, © 2018.

Thank you to Ted Matson and The Huntington for this wonderful opportunity; and kudos to all BAGSC papticipants!

by guest author Rosemarie Dempsey, posted by Deb Shaw

BAGSC member Donald Davidson will be exhibiting his second solo show, “Botanical Field Illustrations in Watercolors II” at
Wohlfarth Galleries, Washington, DC
3418 9th St., NE, DC
March 10 thru April 6, 2018
Artist’s Reception: Saturday, March 10, 2018,  3-5 pm

Davidson’s second solo show of dramatic watercolors of native botanicals at Wohlfarth Galleries goes on display March 10 – April 6, 2018. Last year’s show nearly sold out and focused on works from deserts and Vieques, Puerto Rico, as will this year’s.

Viewers will find a return to the spare, unvarnished approach that seemingly belies Davidson’s devotion to neo-expressionism back in the 1980’s. In his depiction of the Puerto Rican native plant, Talinum fruticosum, an edible succulent related to the portulaga found in many DC area gardens, the artist’s captures its rooted, yet lively dance of nature with direct brush and pen strokes that reveal the anatomical elements key to its botanical identification.

Davidson received his first solo museum show as a painter of native flora from the Centennial Museum of El Paso in 2004. The exhibition became a traveling show displayed at National Park Visitor Centers. His work was featured in a 2016 exhibition, Flora of the National Parks, at the US Botanical Garden on the Smithsonian Mall.

Awarded the Presidential Gold Medal for Volunteer Service, Davidson has created over 600 watercolors spanning 20 years, as an artist-in-the-park, under the auspices of the US Department of Interior in support of its mandate to monitor and preserve native species on public lands nationwide. Ten percent of sales will be donated to Friends Group of the Vieques National Wildlife Refuge to help with Hurricane Maria recovery.

Wohlfarth Galleries are open Wednesdays–Saturday 11-4 and by appointment in the heart of Brookland Arts’ District: 3418 – 9th St. NE WDC 20017  (1 block from Red Line Metro)
Contact: Lavinia Wohlfarth, (202) 526-8022

by Janice Sharp, posted by Deb Shaw
This weekend, (February 24 and 25) is the Bonsai-a-thon at the Brody Botanical Center, The Huntington Library, Art Collections and Botanical Gardens, San Marino, California, from 10 am – 5 pm each day.

Andrew Mitchell, The Huntington, hangs the final painting in the "“Portraits of Bonsai from The Huntington Collection” in the Brody Botanical Center. Photo © 2018, Olga Ryabstova.

Andrew Mitchell, The Huntington, hangs the final painting in the ““Portraits of Bonsai from The Huntington Collection” in the Brody Botanical Center. Photo © 2018, Olga Ryabstova.

BAGSC’s “Portraits of Bonsai from The Huntington Collection” exhibition is on display in the Brody Botanical Center in conjunction with this event. The exhibition includes 12 artworks by ten BAGSC artists in a variety of media, including watercolor, graphite, ink, etching, colored pencil and oil on paper. Participating BAGSC artists include: Terri Munroe, Tania Norris, Veronica Raymond, Olga Ryabtsova, Mitsuko Schultz, Gilly Shaeffer, Janice Sharp, Deborah Shaw, Anna Suprunenko, and Jude Wiesenfeld.

BAGSC members have been invited to participate in the Bonsai-a-thon weekend, demonstrating art/drawing of Bonsais. If you are interested in participating contact Olga Ryabtsova to coordinate your participation. Artists should be prepared to be demonstrate from 1:00 pm to 3:00 pm Saturday February 24 and/or Sunday February 25.

Bring friends and family and come soak in the world of Bonsai. Southern California Bonsai masters will be there, sharing their knowledge and passion for the art form in this annual event that includes exhibits, demonstrations, prize drawings, a “Bonsai Bazaar,” and a live auction at 3 p.m. each day. Proceeds from the event support the Golden State Bonsai Collection at The Huntington.

The Huntington is located at: 1151 Oxford Road, San Marino, CA 91108. Parking is free, and the Bonsai-a-thon event is free; however, general admission is required. The Bonsai-a-thon and “Portraits of Bonsai from The Huntington Collection” exhibition take place in the Brody Botanical Center.

by Deb Shaw

The American Society of Botanical Artists (ASBA) has announced the selected artists for Botanical Art Worldwide: America’s Flora, a groundbreaking collaboration between botanical artists, organizations, and institutions around the world.

This worldwide exhibition and its events will call attention to the importance of conserving our planet’s botanical diversity. Each participating country will provide digital slide shows of up to forty works, to be compiled with all other countries’ images and shown at each venues during the run of each exhibition. Opening events, lectures, demonstrations, webinars, workshops and other events will be held (with some shared online), so visitors can learn more about contemporary botanical art and the earth’s floristic regions and botanical wealth.

For the US exhibition, the jurors were: Susan T. Fisher, Botanical Artist and Educator; Patricia Jonas, Author and Editor; William McLaughlin, Plant Curator, US Botanic Garden; and, Susan Pell, Ph.D, Science and Public Programs Manager, US Botanic Garden. The jurors selected 46 artworks from more than 200 submissions, including artwork by BAGSC members Mitsuko Schultz, Gilly Shaeffer, and Deborah Shaw. A complete list of artists can be seen on the ASBA website. All artworks feature native plants of the US, and images will be available on the ASBA website once the exhibition opens.

The ASBA, in collaboration with the United States Botanic Garden in Washington, D.C., will present the juried exhibition of plants from around the United States, staged in the U.S. Botanic Garden’s gallery space. After remaining on view at the U.S. Botanic Garden through October 2018, the exhibition will then travel through the end of 2019. Similar exhibitions will be held in more than twenty other countries.

A Worldwide Day of Botanical Art will be held on May 18, 2018, with events held for 24 hours, following the sun from venue to venue.

Participating countries include: Australia, Bermuda, Brazil, Canada,  China, Costa Rica, France, Germany, Indonesia, Ireland, Italy, Japan, Korea, Mexico, Netherlands, New Zealand, Russia, Scotland, South Africa, Thailand, the United Kingdom and the United States. Several other countries are in the planning stages and will be announced.

Some goals of the exhibition include:

  • Presenting a unified message about the ability to link people with plants through botanical art.
  • Acknowledging and building upon the increasing connections between botanical artists worldwide.
  • Increasing appreciation and understanding of the world’s plant diversity and its interconnectedness.
  • Raising awareness about the worldwide movement in botanical art.
  • To engage in a project to document some of the wild plant species of the world.

Click here for Botanical Art Worldwide Exhibition Info and Participating Countries  Be sure to return to the ASBA website to see updates about the artists and the exhibitions.

Congrats to all the participating artists, organizations, and institutions from around the world!

Click any of the images below to see an enlarged image with artwork information.

by Deb Shaw

The Third New York Botanical Garden Triennial, Out of the Woods: Celebrating Trees in Public Gardens is on display at the The New York Botanical Garden, in Bronx, New York from November 18, 2017 – April 22, 2018. Information about the exhibition, including images of all the artworks is on the ASBA website.

Forty-four artworks were selected from more than two hundred submissions, depicting one of the planet’s most important and beautiful resources: trees. Each of these subjects have been found in botanical gardens and arboreta throughout the United States and around the world.

Artists have been working on this project for the past three years, not only capturing images of trees, but also drawing attention to the institutions that shelter them: botanical gardens and arboreta. A central goal of the exhibition is to highlight the role of botanical gardens and arboreta in the research/scholarship they provide, as well as their education and outreach to the public.

The artists respond aesthetically to these inspiring subjects, and have depicted everything from seedpods to branches and bark to an entire forest floor. Each artist has written a statement about their artwork; artists’ statements can be read on the ASBA website.

Jurors for the exhibition were:

  • Joanna Groarke, Director of Public Engagement and Library Exhibitions Curator, The New York Botanical Garden
  • Todd Forrest, Arthur Ross VP for Horticulture and Living Collections, The New York Botanical Garden
  • Robin A. Jess, Past Executive Director, ASBA
  • Barbara Macklowe, Photographer, former Principal, Macklowe Gallery

Congratulations go to all artists participating, including BAGSC artists Akiko EnokidoDeborah FriedmanAsuka HishikiOlga Ryabtsova, and Mitsuko Schultz. (Clicking on the names of the artists goes to their artist’s statement page on the ASBA website; click on any of the images below to see them enlarged in a slide show format, with artist and painting information.)

Congratulations to the award-winners:

Gold Medal:
Asuka Hishiki, Black Pine Half-Cascade Style Bonsai, Pinus nigra
Omiya Bonsai Art Museum, Saitama, Japan
Oil on Paper

Silver Medal:
Lucy Martin
Bigleaf Maple with Inky-Cap Mushrooms, Acer macrophyllum, Coprinellus sp., University of California Botanical Garden, Berkeley, CA, Gouache on Paper

Bronze Medal:
Ingrid Finnan
Snake Branch Spruce, Picea abies ‘Virgata’, The New York Botanical Garden, Bronx, NY, Oil on Paper

Honorable mentions:
Beverly Allen
New Guinea Dinner Plate Fig, Ficus dammaropsis, The Royal Botanic Garden Sydney, Sydney, Australia, Watercolor on paper

Alexandra Negoita Vulcu
Bigleaf Magnolia, Magnolia macrophylla, Hortus Conclusus, Stone Ridge, NY, Watercolor and acrylic ink on paper

Barbara Oozeerally
Stone Oak, Lithocarpus pachyphyllus, Caerhays Estate, Gorran, St. Austell, England, Watercolor on paper

Beverly Fink
Tree Aloe, Aloe thraskii, Marie Selby Botanical Gardens, Sarasota, FL, Watercolor on paper

As with previous New York Triennial exhibitions, Out of the Woods will be traveling after the closing date at The New York Botanical Gardens, including coming to The Huntington Library, Art Collections and Botanical Gardens in May, 2018. Watch for future postings of lectures and other activities at The Huntington that will occur around the exhibition. BAGSC Members also will host a concurrent exhibition of local artists around the same theme at the Brody Botanical Education Center at The Huntington.

The current traveling schedule includes: The Huntington Library, Art Collections, and Botanical Gardens, San Marino, CA, May 19 – August 27, 2018; Foundry Art Centre (in time for the next ASBA conference), St. Charles, MO, October 5 – December 28, 2018; Tucson Botanical Gardens, Tucson, AZ, January 25 – April 13, 2019; Minnesota Landscape Arboretum, Chaska, MN, May 9 – August 13, 2019.

Front cover of exhibition catalog, featuring Leiden’s 300-year Old Liriodendron tulipifera, by © Esmée Winkel, watercolor on paper.

Front cover of exhibition catalog, featuring Leiden’s 300-year Old Liriodendron tulipifera, by © Esmée Winkel, watercolor on paper.

Exhibition catalogs may be purchased on the ASBA website for $12.00 ($10.80 for NYBG members). The full-color, 60-page catalog features all of the artwork in the exhibition as well as essays illuminating the pivotal importance of living collections in the conservation of the planet’s trees, and the continued significance of botanical art in the 21st century.

 

by Beth Stone, posted by Deb Shaw

BAGSC members might like these two upcoming events at The Huntington Library, Art Collections, and Botanical Gardens:

Lecture – Cochineal in the History of Art and Global Trade
Sunday, 12/10/17 at 2:30 pm

Garden Talk & Sale – California “Super Bloom” 2017
Thursday, 12/14/17 at 2:30 pm

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