PORT TOWNSEND — Downtown art galleries will stay open until 8 p.m. Saturday with special exhibits for the Saturday Art Walk.
Among them are Port Townsend Gallery, Gallery 9, Aurora Loop Gallery and Northwind Art.
The Port Townsend Gallery is featuring Kathy Tilley and Sue Stanton this month, and the artists will be on hand at the gallery, at 715 Water St., during the gallery walk from
5 p.m. to 8 p.m. Saturday. Light refreshments will be served.
Tilley lives and paints on the Toandos Peninsula near Quilcene. She began creating art full-time after a career in social work. Born in Aberdeen, she spent her childhood in small fishing communities in Alaska and on the Washington coast.
She studied art in a two-year art program at Grays Harbor College with artist Eric Sandgren, and photography programs at Clover Park Technical College and Everett Community College.
A principal theme in her art is the desire to tell a story using the human figure, where the inner life of her subjects is left open to interpretation.
Stanton moved to Port Townsend in 2012 from Colorado after a career in primary education. Her love of children and their whimsical perspectives inspire her 3D work. Watercolor, pen and ink and acrylics are her mediums.
Her husband provides raw material for 3D work.
The Port Townsend Gallery is open daily from
10 a.m. to 5 p.m., as well as by appointment. For more information, call 360-379-8110 or see www.porttownsend
gallery.com.
Gallery 9, at 1012 Water St., is featuring Michael Hale’s acrylic paintings and Jon Geisbush’s wood turnings this month.
A native of the Pacific Northwest, Hale has been working on art since he could hold a pencil. He has studied at Washington State University, the Burnley School of Professional Art in Seattle and The Museum Art School in Portland, Ore. He is a Vietnam War veteran.
Hale started an architectural rendering business, first in the Northwest and then in the Phoenix area. Moving to Los Angeles in the early ’90s, Hale became a scenic artist for various movie and scenic production studios. He moved to Port Townsend in 2000.
“There was just too much of everything to paint here: the water, the mountains, the boats and, yes, that grand old architectural element of buildings … beautiful, red-bricked buildings.”
Geisbush is a native Washingtonian and a self-taught woodturner who picked it up after retiring from an engineering career. When he returned to Western Washington, his interest in woodturning increased with the availability of new sources of wood from local trees and interaction with other woodturners.
Gallery 9, home of the North Olympic Artist Cooperative, is open from 11 a.m. to 5 p.m. six days a week. It is closed on Tuesdays.
For more information, see www.gallery-9.com
Aurora Loop Gallery’s May Show, “A Sense of Place,” showcases the work of two artists, Mary O’Shaughnessy and Chris Witkowski. The artists have reflected on what “place” means to them, and how it has informed their artwork.
A meet-and-greet at the gallery at 971 Aurora Loop is from 5 p.m. to 8 p.m. Saturday.
Witkowski’s oil paintings are of vignettes around Port Townsend. She says that, for a small town, Port Townsend encompasses a wealth of distinct areas that can have the ability to trigger all the senses.
O’Shaughnessy’s work has to do with memories, and how they affect and infect the perceptions of life. She is working in collage form, using letterpress prints and mono printing to create depth in a two-dimensional form.
Aurora Loop is open from noon to 5 p.m. Tuesday through Sunday. For more information and directions, see Auroraloopgallery.com.
“Showcase in Bloom,” which opened this week at Northwind Art’s Jeanette Best Gallery, celebrates artists from Port Ludlow, Port Townsend, Port Angeles, Bainbridge Island and Sequim. Makers who work in clay, oils, photography, metal, textiles, watercolors and other media are among the 24 Showcase Artists.
“Showcase in Bloom” brings the newest works into the front room, at 701 Water St., through May 29. In addition, the first Saturday Art Walk in Port Townsend keeps the gallery doors open, with free refreshments, until 8 p.m.
The gallery’s hours are noon to 5 p.m. Thursdays through Mondays. More information about this and other Northwind Art activities can be found at https://northwindart.org.
If you keep even half an eye on global mainstream news, you will have probably seen what has surely become the most famous piece of AI-generated imagery to date. ‘PSEUDOMNESIA | The Electrician’ was created or rather ‘prompted’ by German photo media artist Boris Eldagsen. The portrait (see it on his website (opens in new tab)) is, admittedly, a very beautiful image indeed, and the folks over at the Sony World Photography Awards 2023 obviously thought so too, because Boris’s entry won the 2023 Creative category. Here’s where things get really interesting – he declined to accept the award…
What’s ensued is a rather messy situation with conflicting narratives from the World Photography Organisation and Boris himself (there’s a detailed breakdown of events on his website and reports from numerous news outlets). But what matters is that an AI image, however knowingly or unknowingly, won a category in one of the most prestigious photography awards in the world.
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Boris’s reasoning for entering the image was to facilitate a discussion around AI imagery, and he’s certainly achieved what he set out to do. So here’s my two cents. Firstly, there’s no place for an entirely AI-generated image in a photography competition, because it’s not photography. A photograph is created when light exposes a sensor or a piece of film, if these elements are not at least partially involved in the creative process then the image simply isn’t a photograph.
Things get complicated when you consider the use of AI-generated imagery alongside a photograph to form a composite. As far as I’m concerned, such images can only be judged on a case-by-case basis, and this is nothing new. Photography competitions have to deal with a variety of variables that may or may not breach rules or ethics, and many are very hard to prove/disprove. I’ve judged many competitions myself and for this reason, it’s becoming an increasingly difficult job.
Unless governments really decide to crack down on AI-related regulation – need I remind you of the massive maelstrom that is social media – we’re witnessing the tip of the AI iceberg. The creative industry is going to have to weather the AI tide, much like traditional painters and illustrators had to ride out the advent of photography.
As I said before: AI is changing the creative industry, but it won’t kill photography. And yet, the line in the sand has to be made now. AI will become an art form in its own right – arguably it already has – but it is not photography.
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London’s Courtauld Institute of Art has opened up its internationally-renowned collection of photographs to the public. It worked with 14,000 volunteers over five years to digitise more than one million images from The Conway Library.
Among them are images that offer a striking glimpse of the Middle East in the mid-20th century.
The photographs, in crisp black and white, depict Yazidi celebrations in Lalish in Iraq’s Kurdistan, refugees from Palestine making bread in Beirut, the Bedouin of Jordan, as well as landmarks such as Aleppo’s Grand Mosque, Mosul’s Great Mosque of al-Nuri and a medieval Armenian castle in the Adana region of Turkey.
The high-resolution photographs, along with the rest of the works in the Conway Library collection, are now available to browse online via The Courtauld website.
The Conway Library houses more than one million images that span the inception of photography to the present day. They include photographs of world architecture, sculpture, paintings and decorative objects. It includes unpublished images that reveal the extent of the damage across Europe following the Second World War, as well as TE Lawrence’s photographs of Saudi Arabia.
The project also includes 160,000 prints by Britain’s leading architectural photographer of the 20th century Anthony Kersting, documenting his extensive expeditions across the Middle East.
Since 2017, almost 2,000 in-person volunteers aged 18 to 86 have worked closely with The Courtauld to catalogue and photograph every image in The Conway Library collection — the majority of which have never been seen before. Volunteers were recruited from a wide variety of organisations, schools and charities, including The Terrance Higgins Trust, The One Housing Foundation, BeyondAutism and My Action for Kids. A further 12,000 volunteers participated remotely online.
“When we began the ambitious project to make The Courtauld’s Conway photographic library available online to the public in 2017, we expected no more than a handful of volunteers,” Tom Bilson, head of digital media at The Courtauld and director of the digitisation project, said.
“It turned into the largest public inclusion project in The Courtauld’s history — working with a truly diverse community of volunteers to engage with some of the most vulnerable people in our society, many of whom have historically been excluded from these kinds of opportunities in the heritage sector. Projects such as this have the capacity to transform cultural organisations by aligning it closely with new audiences that perhaps could never have been reached.”
Updated: May 05, 2023, 7:58 AM
As director of the Southern Arizona Arts and Cultural Alliance, Tucson native Kate Marquez is constantly having to toggle between speaking two languages: the subjective and intuitive expression of the artist, and the objective, bottom-line reasoning of the business professional.
“We are the in-between. That is our job,” Marquez said. “We’re always looking for the right business partner or government entity to support an artist or artist group. And that’s not always easy, because artists or creatives can sometimes get stuck in their own heads, and businesspeople don’t always know how to interact with the arts outside of just writing a sponsorship check. So, you do have to be nimble.”
But Marquez said a funny thing happened during the pandemic – after the very unfunny thing of Tucson being named the third worst-hit city for jobs lost in the creative sector, in a survey by the Washington, D.C.-based Brookings Institute. Seemingly overnight, people in fields far from being considered creative became artists themselves, as they indulged long-hidden talents during their extended time away from the office. And artists, in turn, began learning marketing and economics, if only to survive.
“One thing we’ve noticed coming out of COVID is that number of individual creative-based businesses has grown by at least 30%,” Marquez said.
“People got to hone their creativity during that time, and some of them developed side gigs and others just walked away from their corporate job and said, ‘I’m going to use my creative passion and turn it into a business.’ Whether it was making honey or paper art or whatever. There’s a stronger market now than I’ve seen over that last 20 years of people starting their own small businesses and expanding the creative sector. So that’s exciting to see.”
On the other side, artists who lost income streams due to gallery and museum shutdowns and musicians who could no longer perform live figured out other ways to monetize their creativity.
“It gave everyone permission to think differently,” said Adriana Gallego, who started her current job as executive director of the Arts Foundation for Tucson and Southern Arizona in April 2020, just weeks after everything shut down.
“We all had to figure out how we were going to get out of this and support each other. And one of the pivots I saw were artists learning how to use digital technology – even some of our senior artists, who were not necessarily digital natives.”
Another pivot, conversely, was to create more work outside.
“The murals, the public art in our community, became a big draw for folks, especially during COVID, because they couldn’t go anywhere else,” said Nogales-born Gallego, who worked as a muralist herself in California – as well as an art educator in state-run prisons and, later, director for the Arizona Commission on the Arts – before helming the Arts Foundation.
“So you saw families congregating outside, doing outdoor sculpture tours, or driving around and looking at murals.”
Of course, Tucson has long been known for its outdoor art. “You can’t drive around Tucson anymore without finding a mural, on your way to a restaurant or just taking a stroll through the park,” Gallego said. “But people have become not only more supportive of outdoor art but protective of it. If there’s an artwork that needs mending or got damaged somehow, we get those calls right away so that we can go fix it. It’s been wonderful to see.”
Big businesses, too, in their efforts to retain or lure workers back to the office, have become more cognizant of the role art plays in creating a more welcoming and productive environment – particularly when it comes to displaying a work culture of inclusion and diversity. Even the blandest offices become awash in black, red, yellow and green during Black History Month, with a few bold orange hues and colorful calaveras added throughout Hispanic Heritage Month.
“If we have some artwork in our work environment where we can see ourselves reflected in it, there’s like a connection that is formed,” Gallego explained. Support and use of culturally authentic and indigenous art in the corporate sphere has become business shorthand for telling employees of diverse backgrounds, “We see you,” which – as calculating as it is – has proved a benefit to traditionally under-represented artists.
“One of the first things they asked me when I started with the Arts Foundation was, ‘Help us find outside funding for artists that represent the full demographics of our region, and get us on a path toward diversity, equity and inclusion,’” said Gallego. “And I was like, ‘I’ll get right on it!’”
But finding that funding for the arts in general is still an uphill battle in Tucson. The city of Tucson tapped the Arts Foundation to distribute its funds from the CARES Act relief package, funneling over $1.7 million to some 300 artists and arts organizations in the Tucson area, and the foundation divvied out another $500,000 in relief funds from the National Endowment for the Arts, with much of it going to BIPOC (Black, Indigenous and people of color) grantees and artists in Native sovereign nations.
But that tap has now turned off, leaving organizations like SAACA to find funding through business supporters. The alliance has been remarkably successful, leveraging business support to build a 14,000-square-foot art space called the CATALYST Collaborative Arts & Maker Space at Tucson Mall, where artists in all different fields – from painting to podcasting and culinary arts to music – can work and produce creative projects together. But Marquez said the creative community worries if it could survive another unexpected disruption like the pandemic.
“Arizona is one of only three states without permanent funding for the arts,” she said. “So, without state funding, what a lot of cities in Arizona have done – like Scottsdale, Mesa, Tempe, Chandler and Glendale – they have all input their own funding mechanisms for arts and culture. But in Southern Arizona, there’s not a single community that has any permanent funding stream for arts and culture. So our organization was kind of born out of a necessity.”
Marquez finds it sadly ironic that a region with such a rich artistic and cultural community still lacks that funding stream.
“We’ve got 350 organizations working in our arts and cultural infrastructure, from the Creative Arts Center in Patagonia with 20 volunteers running it, all the way up to the Southern Arizona Artist Guild, which has 180 artists. We’ve got six symphonies that are almost all volunteer. And that’s just what we consider our organized arts infrastructure. We also have one of the highest concentrations in the Southwest of people making jewelry. We have people making lamps, and selling artisan foods at farmers markets. We have sculptors, selling their wares on Etsy or in person at festivals.”
Fortunately, Marquez says, as more businesspeople branch out into creative work – either as a side hustle or an expansion of their current field – the support for what’s considered art is becoming easier to harness.
“Categories that you once wouldn’t think qualify as arts are now seen as having an arts and creative component,” she said. “So, web design would come under that, or architecture, or culinary arts. The real business of the arts represents much larger numbers than have ever really been quantified before here in Southern Arizona.”
As more businesspeople venture into creative endeavors, Marquez hopes more money will flow into the arts.
“Everyone’s a creative now,” she said, “in one way or another.”
Known for his droll, often farcical photographs of everything from sunburned holidaymakers to sozzled hen dos and rain-soaked British royalists, Martin Parr has another side: a curator, collector and champion of photography in all its forms. Parr was the guest artistic director at one of the world’s most prestigious photography festivals, the Rencontres d’Arles, in 2004 – a vintage year, critics agree – and curated the 2010 Brighton Photo Biennial, introducing many new talents to a wider audience. In 2017, he set up the Martin Parr Foundation in Bristol to showcase emerging or neglected UK-based documentary photographers.
This year he is the Master of Photography at Photo London. To celebrate, FT Weekend Magazine invited Parr to select six living photographers whose work he loves and explain why. A miniature exhibition, if you will. — Andrew Dickson
I came across Clémentine’s work when she was still an MA student at the University of South Wales. She had this really fascinating project going: she’d been working with a stylist called Charlotte James, taking pictures of kids from a former mining town in the Valleys. Clémentine is from France originally, but Charlotte grew up in that area. As soon as we saw the pictures, we offered them a show at my foundation in Bristol in 2019, which gave Clémentine one more summer to shoot.
It’s Called Ffasiwn is a great combination of landscapes and fashion photography (“ffasiwn” being the Welsh word for fashion). The kids would make these extraordinary clothes, guided by Charlotte, and then Clémentine would shoot them in estates, in front of houses, against the landscape. The kids look great; you can tell they’re all in on it. The prints are big: when you see them on the wall, they really dominate. It’s great to see a young photographer produce such strong and bold work; I can’t believe she was still a student.
For the opening, we hired a coach and all the teenagers came across. It was the first time some of them had been in an art gallery, I think. Even now, I remember the squeals of delight.
The 78-year-old Markéta Luskačová is, to my mind, one of the best photographers living in the UK. She’s originally from Prague and arrived here in the 1970s. Her work documenting London’s Brick Lane and Portobello Road markets, which was shown at the Whitechapel Gallery in 1991, is stunning. (Markéta’s images are the most distinctive I’ve seen of these well-documented areas.) She even did a book on the musicians that played there; you can tell they were totally relaxed with her photographing them.
In the late 1970s, she was commissioned by the Side Gallery in Newcastle to photograph the nearby seaside town of Whitley Bay. Markéta brought her toddler son with her and would leave him with different families while she shot, becoming part of the furniture of the beach. In 2019 RRB, a Bristol-based publisher, wanted to publish a book of these photographs called By the Sea, and we at the foundation jumped at the chance to show them at the same time. They offer an empathetic, beautifully observed portrait of beach life.
It’s such a great story, this. The Abertillery and Ebbw Valleys Dynamic was a community newspaper founded in the South Wales village of Abertillery in May 2015. The two men who set it up, Tony and Julian, did so basically because they wanted to. They had a page-three slot called Sheep of the Week, ran pub reviews and campaigned to stay in the EU in a massively Leave-voting area. It became this huge success locally, while also really struggling financially. It’s currently not being published, but they say they want to bring it back.
Sebastián is actually Clémentine Schneidermann’s boyfriend — I think he just walked into their office one day and asked if they needed a staff photographer. Just as The Dynamic wasn’t like any local paper you’ve seen, so Sebastián’s images aren’t remotely what you’d expect. They’re surreal, funny, a little weird, totally in keeping with the paper. But there’s a lot of empathy here too. We’ve just opened a show of these pictures at the foundation. Sebastián has recreated a mock-up of their offices inside the gallery.
“The Dynamic” is on display at the Martin Parr Foundation, Bristol, until July 2. A book of the project will be published by ICVL Studio
One of the things I really like about Stephen is that he’s always searching for new ways of doing things. For a long time he took pictures of Hackney Wick in east London using a plastic box camera that he bought for 50p. Around 2010 he developed this idea of putting things physically in his camera: loading actual objects into the body of the camera, next to the film.
That year he made a project for me in Brighton called Outside In. He would go to the beach and put in small crabs, seaweed, insects, things he found lying there, all sorts, then he’d take pictures. Somehow he figured out a way to load the camera and balance the light so everything combines. You get the background, then these other things on top. The images look amazing; sort of otherworldly, but also beautiful. You could recreate composites in Photoshop, I guess, but they wouldn’t look the same. They remind me a little of cyanotypes of plant life made by 19th-century photographers such as Anna Atkins. But they have this element of chance. You can’t pre-plan work like this. You put the ingredients together and see what happens.
Sticking crabs in a camera is a very Stephen Gill thing to do. He comes up with crazy ideas, but somehow it works.
I remember first seeing Rinko’s work in 2002 or 2003. She wasn’t known much outside Japan at that stage. The photobook was called Utatane, published by a tiny press called Little More, and the images were amazing. She had such a distinctive voice — this childlike look at the world. Often you can see the influence of other people, but not with her. When you see someone who’s got a unique vision, it slows you in your tracks. I was really pleased to exhibit her at the Rencontres d’Arles when I was curating it in 2004.
It’s been wonderful to see her reputation grow and grow in the years since. She was recently awarded the Sony Outstanding Contribution to Photography award. Utatane (which translates as siesta, or catnap) is now in its 11th edition.
I’ve met Rinko numerous times now, but I’ve never asked her how she makes the work, or how she gives her pictures that particularly magical quality. I’m not sure you need to know — you can just enjoy the way she looks at the world.
Even though the things she captures are so obvious, in a way — frying eggs, a split melon, a field of flowers, an insect — I realised that I hadn’t seen someone actually take pictures like this before. I still haven’t.
Mohamed grew up in the banlieue just beyond the Boulevard Périphérique, a ring road that runs around Paris, so it’s an area he knows really well. When I first saw these pictures, I thought they were so striking. A lot of the people he was photographing, often young men, were friends of his. He shoots them on location, but he stages and directs them. The pictures are a bit observational, but also like history paintings; the series is simply called Périphérique.
Since the riots in 2005 — which were part of the inspiration for Mohamed’s project — we associate the French suburbs with being tough and difficult. Usually they’re photographed by photojournalists from outside, with all the clichés of the gritty concrete jungle you’d expect. But Mohamed has a natural empathy with the area and his subjects. The pictures have this rather melancholy, downcast feel. There’s an intimacy there that feels very special. He has unique access to this world.
We showed Mohamed’s work in the Brighton Photo Biennial in 2010 and Périphérique has appeared in many different exhibitions since. It won the Deutsche Börse prize in 2020 and appeared as a book last year. It’s been great to see him doing so well.
Martin Parr is the Master of Photography at Photo London, May 10-14 at Somerset House, photolondon.org
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Hot Springs’ monthly Gallery Walk features the opening of new art exhibitions showcased in downtown fine art galleries and studio spaces from 5-9 p.m. today.
The following galleries will be open for Gallery Walk, according to news releases and the Facebook page for the Hot Springs Area Cultural Alliance, which sponsors the event:
All Things Arkansas
610 Central Ave.
“Art Moves: Art & Soul” exhibiting artists Margarita Peraza-Rugeley and Lesley Roegner will display their original pieces for Gallery Walk. See the originals that have been reproduced and displayed along the Hot Springs Creek Greenway Trail outdoor art exhibition.
American Art Gallery
724 Central Ave.
Celebrating 30 years in business. Featuring horsetail hair pottery by Valerie Hanks-Goetz, who will demonstrate pine needle basket weaving. “My passion to find art in unusual places has grown from the Moscogee belief that everything has a purpose and nothing should be wasted,” she said on the HSACA Facebook page.
Artists’ Workshop Gallery
610-A Central Ave.
Irma McLeod and Bonnie Ricci are the Featured Artists for May.
McLeod, a self-taught artist, was born in Monterrey, Mexico. “From a very young age, she spent countless hours drawing, never realizing the passage of time. McLeod had older brothers who helped shape and encourage her creative development. Formal business education and a professional career pushed her away from her drawings. In her heart, McLeod knew she would return to her art someday,” the gallery said in a news release.
“McLeod has spent endless hours researching and learning her craft. McLeod’s primary medium is acrylics. Her animal renditions always elicit positive comments and smiles from viewers.
“After two years traveling in an RV, looking for the perfect place to settle, McLeod and her husband discovered Hot Springs Village. McLeod enjoys views from her deck, gardening and time in her home studio,” it said.
Ricci, a Chicago native, received private art instruction in high school, classes in community college and workshops with national instructors. After marriage, Ricci moved to Minnesota where she studied at Minnetonka Center for the Arts, taking classes in various mediums.
“Now a resident of Hot Springs Village, Ricci is able to spend more time painting. Ricci works in watercolor, pastels, prismacolor pencils and polymer clay, as well as designing jewelry utilizing zippers,” the release said. Ricci currently serves as publicity chair for Artists’ Workshop Gallery.
Lake Hamilton high school students’ art will be on display during May. The art program is led by Rana Ward.
Miniature Art Featured Artists are Jan Briggs and Linda Shearer.
Charlie Mink will entertain visitors with tunes on his dulcimer during Gallery Walk.
Call 501-623-6401 for more information. The gallery is open Sundays noon to 5 p.m., closed Tuesdays, and is otherwise open daily from 10 a.m. to 5 p.m.
The Circle Gallery at Emergent Arts
341 Whittington Ave.
Showing the works created at Art Springs’ “Under Pressure” event. Works printed using a steamroller on Spring Street will be available for viewing during Gallery Walk. Emergent Arts’ business hours are Tuesday through Saturday, noon to 5 p.m.
DeSoto Rock & Gift Shop
626 Central Ave.
A recent expansion includes “some of Hot Springs’ most gifted artists. Art, décor, jewelry, as we as an expansive collection of gem and minerals formal over the world wait to greet you,” the HSACA said.
Dryden Pottery
341 Whittington Ave.
Showing the paintings of local artist Rana Ward, art teacher at Lake Hamilton High School. Also showing pottery made by Caitlyn Gray while employed at Dryden through the Pathways Program.
Gallery Central
340 Central Ave.
The gallery features original fine art in diverse styles and mediums from Arkansas artists and internationally known artists. The gallery also carries women’s clothing, gifts and housewares.
Justus Fine Art Gallery
827-A Central Ave.
The May exhibit features a selection of paintings by Robyn Horn, Sammy Peters, Elizabeth Weber, and others, along with sculpture by Robyn Horn, Sandra Sell, Gene Sparling and Michael Warrick. Work by selected artists from the “Art Moves” outdoor exhibit, part of Arts & The Park. Selections from work created by artists participating in the “Painting the Arkansas Parks” plein-air event in Hot Springs during Arts & The Park will also be displayed during the show. The plein-air artists are members of the Heart of America Artists’ Association based in Northwest Arkansas. Justus Fine Art Gallery is open from 10 a.m. to 5 p.m. Wednesday through Saturday and by appointment. Call 501-321-2335 or visit http://www.justusfineart.com for more information.
The Local Art Entity
The Club House, 118 Arbor St.
The Local Art Entity will feature live music by SAWYER for May’s Gallery Walk during their Spring Art Market. They host a community Art Market curated with unique local vendors as well as a Family Sip & Paint area from 5-9 p.m. Free public admission.
Rebecca Peterman Photography
801 Central Ave., Suite 30
Includes architectural photos of downtown Hot Springs and the 50/Fifty Series of portrait stories of women over 50 and the ways they transform as they age.
The Warehouse
301 Broadway St.
Pleasantly Blue will be performing live and “lots of talented local artists will be displaying and selling their work,” the Facebook post said.
Whittington Gallery
307 Whittington Ave.
Celebrating the rich diversity of people and art on Cinco de Mayo. Complimentary drinks and nachos with the works of 60 local artists. Exhibiting TAG’s “Art of the Month” winner “Faded Glory” by Jennifer Wheeler Peterson.
Wrapped Gift Boutique
404 Central Ave.
Wrapped Gift Boutique introduces new bath house paintings by Alison Parsons. “Developing a new collection of work Parsons has expanded her style in a gestural, lyrical expression,” HSACA said. Also featuring Riley art glass.
“Sea Poppies,” by Irma McLeod. – Submitted photo
“First Rose,” by Bonnie Ricci. – Submitted photo
“Blue Door,” by Irma McLeod. – Submitted photo
