{"id":1101,"date":"2009-09-22T23:10:21","date_gmt":"2009-09-23T06:10:21","guid":{"rendered":"http:\/\/www.artsjournal.com\/anotherbb\/wp\/2009\/09\/final_call\/"},"modified":"2009-09-22T23:10:21","modified_gmt":"2009-09-23T06:10:21","slug":"final_call","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/anotherbb\/2009\/09\/final_call.html","title":{"rendered":"Final call"},"content":{"rendered":"<p>A few exhibits I almost missed, and one I still have&#8230;<\/p>\n<p><b>Michael Howard<\/b> at <a href=\"http:\/\/www.sedersgallery.com\/\">Francine Seders<\/a> through Sunday. His acrylics are paintings under construction of houses under construction. Earlier versions were more elusive in subject matter, featuring houses that could go either way, being built or torn down. Present ones look abandoned. Nobody&#8217;s working on them, but there they are.<\/p>\n<p>His watercolors are very <a href=\"http:\/\/images.google.com\/images?q=fairfield+porter&amp;oe=utf-8&amp;rlz=1R1GGGL_en___US344&amp;client=firefox-a&amp;um=1&amp;ie=UTF-8&amp;ei=B9e5SuLWI8uptgffr6i4BA&amp;sa=X&amp;oi=image_result_group&amp;ct=title&amp;resnum=1\">Fairfield Porter<\/a> but with a twist or two, such as the tree in the image below, which seems to be suffering from some tree plague instead of serving as surface for melting snow. The partially melted snow on tree and house has gone on strike and refuses to melt further. It will be there forever, as long as the image adheres to the paper.<\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"michaelhowardh20.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/michaelhowardh20.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"294\" width=\"350\" \/><\/span>Upstairs, <b><a href=\"http:\/\/www.gailgrinnell.com\/Allpages\/art_09_01.html\">Gail Grinnell<\/a> <\/b>shares a gallery with her son, <b>Samuel Wildman<\/b>. He made a giant red skull in wax and plaster that had to be cracked in half to get out of the studio. On the way upstairs at Seders, it broke again. Francine thought he&#8217;d have to repair it and wondered if he had time, but he liked the pieces and left them on the floor, where they now resemble a broken heart. A shot of the whole head below, which did not turn out to be the finished product.<\/p>\n<p><!--more--><br \/>\n<span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"samwildmanskull.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/samwildmanskull.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"294\" width=\"401\" \/><\/span>Grinnell<br \/>\nhung a multi-layered, cut paper drawing in the window. It could be lace<br \/>\nfrom New Orleans after the flood. (Below, studio shot)<\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"gailgrinnelllace.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/gailgrinnelllace.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"604\" width=\"350\" \/><\/span>At <a href=\"http:\/\/www.vermillionseattle.com\/\">Vermillion Gallery<\/a> through Sunday, Ann Duffy&#8217;s oil paintings are a narcotic fantasy for drivers. <i>California Dreaming<\/i> is aptly titled. Empty freeways bathed in a buttery light are a dream.<\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"DuffyCaliforniaDreaming.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/DuffyCaliforniaDreaming.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"318\" width=\"403\" \/><\/span>I went to <a href=\"http:\/\/flatcolor.com\/index.html\">Flatcolor Gallery<\/a> to see <a href=\"http:\/\/www.farmerbobsfarm.com\/\"><b>Robert Hardgrave<\/b><\/a><br \/>\non Tuesday and was indignant to find the front door locked. On the<br \/>\nverge of leaving a passive-aggressive note suggesting the gallery<br \/>\nattempt to keep regular hours, I happened to glance at a sign: Open<br \/>\nWednesday to Sunday.<\/p>\n<p>Never mind then. Hardgrave is a major<br \/>\npainter with a minor career, even by Seattle standards. He&#8217;s more proof<br \/>\n(if proof is needed) that you can&#8217;t go to the top ten galleries and<br \/>\nthink you&#8217;ve seen what&#8217;s to be seen.<\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"roberthardgrave1.jpg\" src=\"http:\/\/www.artsjournal.com\/anotherbb\/roberthardgrave1.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" height=\"393\" width=\"392\" \/><\/span>Hardgrave paints somewhere between the intricate form of <a href=\"http:\/\/www.gladstonegallery.com\/pittman.asp?id=1274\">Lari Pittman<\/a> and the silky slides of <a href=\"http:\/\/www.gregkucera.com\/waterston.htm\">Darren Waterston<\/a><br \/>\nwithout owing much to either. His muscle and heat that fuse grace to<br \/>\nforce are entirely his own. I have till Sunday to see his show.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A few exhibits I almost missed, and one I still have&#8230; Michael Howard at Francine Seders through Sunday. His acrylics are paintings under construction of houses under construction. Earlier versions were more elusive in subject matter, featuring houses that could go either way, being built or torn down. Present ones look abandoned. Nobody&#8217;s working on [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[],"class_list":{"0":"post-1101","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-uncategorized","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/comments?post=1101"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/posts\/1101\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/media?parent=1101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/categories?post=1101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/anotherbb\/wp-json\/wp\/v2\/tags?post=1101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}